Led Zeppelin II A2/B2 Atlantic 58818 UK 1969 Red/Plum Label ('Wreck' credit) 
This rare and highly collectable first pressing on the red/plum label has the incorrect 'Livin' Lovin' Wreck' credit on the label as well as the 'The Lemon Song' credit of course.  This also includes the original E.J Day light brown gatefold.
As per the first pressings it has the 'Copyright Control' publishing credits rather than the 'Warner Bros/Jewel Music' which is on the later pressings.  As detailed below the audio is of an immaculate standard.
588198 // A / 2 // 1 5  5
588198 // B / 2 // 1 3
The audio on S1 is Near Mint (Mint- for the majority / 'Thank You' is Ex+)
The audio on S2 is Mint- ('Bring It On Home' is Ex+) 

The gatefold cover is VG
The labels are Ex+
The poly-lined inner sleeve is Ex
Visual grading
This vinyl has been very carefully handled down the decades judging by its stunning visual quality.  There are only a small number of faint hairlines and there are no scratches at all and it is without doubt the most impressive 'Wreck' pressing I have ever seen.  This is borne out in the incredible quality of the audio.  Even the hairlines are faint and not glaringly obvious, it really is a stunning looking vinyl and retains a very healthy glossy sheen.  The run out grooves are also extremely clean.
Play grading
There is almost no lead in static on S1 so you're immediately thinking 'Whole Lotta Love' is going to play well.  It does not disappoint!  3/4 barely audible dust ticks on the intro but from the word go the music plays with stunning power and depth and no intrusive interference at all.  The instrumental section is incredible and rarely have I heard such breathtaking clarity, the quality is Mint- without doubt and this on a 'Wreck' pressing!  Even the mega quiet 'way down inside' vocal only section has no 'background'.  The remainder of this classic is nigh on perfect and the fade out again has no interference whatsoever.  This has to be one of the best versions I have ever heard and I cannot stress just how good the sonic quality is here, the guitar riffs and strong bass play with great precision and no distortion on the top end whatsoever.
  The quiet intro on 'What is and What Should Never Be' again impresses with sublime sound quality.  No clicks, pops or crackle, absolutely stunning.  The rest of the track continues the 'stunning' factor and where you often find interference - on the quiet sections - there is none.  This track performs with fantastic power and clarity and once again there is no 'background' on the fade out aside from one faint click literally at the end, more or less in the dead wax!
'The Lemon Song' has a couple of very light dust ticks on the intro and then plays with astounding audio once more.  The strength and clarity of this track cannot be underestimated here.  The bass and drums play with such sharp definition you forget you are listening to a near 50 year old record.  The long bass section is 100% incredible and again this is most probably the most impressive version I have heard in a long time, if not ever.
'Thank You' is often beset with some 'background' but I am pleased to report there is very little here.  After a stunning intro there are a couple of faint static type sounds once the vocal begins but it certainly doesn't intrude on what remains a high quality listen.  As any Led Zepp aficionado knows there is always some distortion with this track on the first/early pressings but there is relatively little here and it isn't intrusive.  It still plays with wonderfully clear sound and the quiet 'if the sun refused to shine...' section towards the end plays in supreme style with barely any 'background'.  Wow!  There is a modicum of light static prior to the first fade out.  Of course a common pressing 'problem' on the fade outs is the amount of interference it generally has but there is very little here and this end section is very impressive overall with only very faint 'background' and none of the intrusive crackle you so often find.
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'Heart Breaker' from start to finish is super impressive audio and has Mint- audio throughout.  The power and depth of this track is quite simply superb and the audio plays with such stunning separation.  The 'quiet' middle guitar section has no interference and the remainder plays in the same fashion.  The power is just immense and 'rocks out' in truly sublime fashion.
  'Livin' Lovin' Wreck/Maid' more than equals this quality with wonderfully dynamic audio.  Once more there are no clicks, pops or crackle and is 'high end' without a shadow of a doubt.  With no distortion either this audio could not be improved upon.
For fear of repeating myself the quiet intro on 'Ramble On' is incredible and plays 'as new'.  It then proceeds to play in the same way with fantastic clarity and power.  It just goes to show you cannot beat these red/plum pressings for depth and clarity of sound if they have been well preserved...which this one has been and even the long fade out here plays with perfect precision.  Once more I am running out of superlatives for the stunning audio on offer here.
'Moby Dick' begins with sublime audio and carries on in that way.  If there was any interference it would 'raise its head' during the drum solo but...there isn't any!  I just cannot believe how clearly this album is playing and I repeat it is nearly 50 years old!  This is the most impressive version of this instrumental I have ever heard...AND THIS ON A 'WRECK' PRESSING!!
There is some very light intermittent static on the 'Bring It On Home' intro but nothing that you would call intrusive - it still plays very clearly and again there are no clicks or pops.  Once the guitar 'kicks in' and as is so often the case with final tracks there is some distortion on the top end.  This is generally accepted as a given on this track and in my opinion it doesn't detract from what is another fabulous listen.  In other words you expect some distortion here.  It still 'rocks out' with great power and the quiet end has barely any static.  A suitably stunning finale to a superb album.
In summary this rare album plays with stunning audio.  With no intrusive clicks, pops or jumps the audio plays with a quality that is so rarely heard on a 'Wreck' pressing.  With complete silence in the dead wax between every track the audio will not disappoint any avid collector and it easily 'knocks spots' off the quality of the more recent reissues.  The depth, clarity and sonic quality is of the highest standard and whilst accepting there will always be some distortion on the final track the lack of interference is breathtaking.
Gatefold cover
The rare light brown E.J. Day gatefold does have some shelf wear as you would expect but is better than many I have seen.  The edges and spine have some rubbing but you can see the majority of 'Led Zeppelin' on the latter.  The catalogue number is 100% legible.  The top and bottom of the spine has some wear also and there is some of the light green colouring that is often found on these gatefolds.  The front cover is relatively clean with only light fading here and there and four small marks top left.  The back cover again has light fading and some ringwear and there is also a small tear on the edge that has been 'repaired' so doesn't look too bad really.  Aside from that the opening edge has only light handling wear.  The inside of the gatefold is very clean indeed.
Inner sleeve
The poly-lined 'Plastic Bags Can Be Dangerous' inner is in excellent condition with no splits or tears just some light creasing and faint age related marking here and there.
The Labels
The red/plum labels are in excellent condition with no marking or writing.  There is some spindle wear although not an excessive amount and this is visible mainly around the centre hole.
Play tested on my Pro-Ject Essential III Turntable / B&W 684 Speakers
This record has been professionally cleaned on a Pro-Ject VC-S machine

588198 // A / 2 // 1 5  5
588198 // B / 2 // 1 3

I grade according to "Record Collector" guidelines.

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