2019, that was only a year or two ago, right? That summer, my dad gave me his old phone for my eleventh birthday. At that time, I was super into The Beatles and I’d scour the internet to find another band with a discography as solid as the Fab Four. I recall Googling “Greatest Bands of All Time”, and next to bands such as Fleetwood Mac, ABBA, The Beatles, and Radiohead, a name stood out amongst all others.
Led Zeppelin, alongside Spongebob Squarepants and Harry Potter, makes up my holy trinity of childhood nostalgia. Of course, I had previously heard “Immigrant Song”, “Black Dog”, and “Whole Lotta Love”, the usual hits that they would play on the radio, but I didn’t know their name or what their other material had to offer. An eleven-year-old kid who only listened to the occasional 80s and 90s hits on his parent’s playlists was blown away by the guitar solos and instrumental passages of the 27-minute live version of “Dazed and Confused” from The Song Remains the Same (1976) that summer.
Fast-forward 6 years, Led Zeppelin remains in my top 5 favorite artists/bands. I still participate in the “Zepathon” annually, where you listen to every studio album in order. As I’ve relistened to their catalog countless times, every album has been my favorite at some point. But the record I return to the most is undoubtedly Physical Graffiti, the crowning achievement of the most influential and popular rock band of the 1970s.
The title was coined by Page to illustrate the whole physical and written energy that had gone into producing the set. Originally planned to be released on November 29, 1974, it was ultimately pushed back to February 24, 1975, due to issues with the album sleeve design. The two five-story buildings photographed for the album cover are located at 96 and 98 St. Mark’s Place in New York City. Many celebrities and notable figures are seen in each one of the windows, with the band members dressed in drag (questionable choice, no doubt about that). It was certified 16X Platinum by the RIAA (Recording Industry Association of America), peaking at number 1 on the Billboard Charts.
Pre-Graffiti
Led Zeppelin finished their incredibly successful North American tour of 1973 with three sold-out nights at the prestigious Madison Square Garden. The band members then took a three-month vacation before returning to the studio to record new music. John Paul Jones, in particular, was exhausted from touring and the band’s interference with his precious family time. He almost left the band in late 1973 before manager Peter Grant convinced him to take the rest of the year off and work on other projects.
From late 1968 to mid-1972, Robert Plant was considered to be the quintessential rock vocalist, earning the nickname “The Golden God” in the process. A combination of smoking, not warming up his voice before shows, doing concerts while sick, and a relentless touring schedule took a toll on his voice. Although signs of his vocal decline started to show during the Australasian tour in early 1972, the Japan concerts in October showed a new Robert Plant struggling to hit the high notes he so effortlessly hit only 4 months before. To make up for their vocalist’s issues, the instrumental trio stepped up to the occasion and performed virtually perfect shows night after night. In fact, the 1973 European tour is generally regarded as the band’s live instrumental peak. After the 1973 North American tour, during the Physical Graffiti sessions, Robert Plant had nodule surgery on his vocal cords, forever changing his voice.
During John Paul’s hiatus, the three remaining members started the first sessions of Physical Graffiti in October 1973, with a loose jam of 50s covers to shake off the rust from their vacations in a familiar location. Headley Grange, a former workhouse in Hampshire, England, was the recording location for parts of their previous albums, Led Zeppelin III, Led Zeppelin IV, and Houses of the Holy. The trio, lacking a multi-instrumentalist in JPJ, laid down the basic tracks for several tracks, which explains the rhythm guitar dominance of Graffiti compared to other Zeppelin albums.
Fast forward to early 1974, John Paul Jones returned for the January and February sessions, fleshing out and writing additional pieces for the eight songs. Robert’s voice was hoarse and raspy, nothing like the ballsy, shrieking Plant of Led Zeppelin I. The completed songs presented other issues, one being that they were too long for a single vinyl release, with a running time of 52 minutes and 8 seconds (vinyl releases generally are around 40 minutes in length). Additionally, the hard rock, big-sounding approach of the tracks led to a sameness in texture without the diversity of their last three albums without acoustic tracks. The solution? Outtakes.
As shortening or editing the new 1974 songs was out of the question, the members of Led Zeppelin proceeded to revisit the archive, choosing 7 songs from their previous sessions to make their first-ever double album. From the third album’s sessions, the pastoral “Bron-Yr-Aur” was an obvious choice; “Down by the Seaside”, “Boogie with Stu” and “Night Flight” from the legendary sessions for the fourth album; and from the Houses of the Holy sessions, “Black Country Woman”, “Houses of the Holy”, and “The Rover” was picked. After swapping around the track order to mask Robert’s vocal issues, the double album was now complete.
Personnel:
Robert Plant – lead vocals, harmonica, acoustic guitar
Jimmy Page – electric, acoustic, lap steel, and slide guitars, production
John Paul Jones – bass guitar, organ, mandolin, acoustic and electric pianos, Mellotron, clavinet
John Bonham – drums, percussion
Ian Stewart – piano on “Boogie with Stu”
Uncredited session musicians – strings and horns on “Kashmir”
Custard Pie (4:13)
Recorded: January–February 1974, Headley Grange, Hampshire
Writers: Page, Plant
Working title: “Drop Down Mama”
The fact that this song is Led Zeppelin’s weakest album opener is mind-boggling, considering how good it is. “Custard Pie” doesn’t compare to the likes of “Good Times Bad Times” (1969), “Whole Lotta Love” (1969), “Black Dog” (1971), “Achilles Last Stand” (1976), which are all excellent songs in their own right. While “Custard Pie” is undoubtedly the weakest opening track compared to the others (excluding “We’re Gonna Groove” from Coda), the bluesy yet funky rocker packs a mean punch that pays homage to the blues artist that had inspired the band so many years ago.
With the working title, “Drop Down Mama”, the song evolved from a much faster take at Headley Grange in October 1973 until the decision to slow down the tempo into a blues-funk track.
Plant’s harmonica, Page’s distorted and dirty guitar sound, and mid-tempo groove by the rhythm section of JPJ and Bonzo is a stark contrast to the melodic and progressive opener “The Song Remains the Same” from the previous album, letting their fans know that they haven’t lost their raw and imposing sound of the early days.
Although never played live, it was periodically performed during the Page and Plant tours from 1995-1998, and Robert Plant’s solo tours. It must’ve been weird being a Zeppelin fan in 1975 and chronologically listening to all the albums up to “Physical Graffiti”. The transition from the high-pitched Plant on “The Ocean” to the raspy “Custard Pie” is a bit disorienting. It’s still a great song, but it doesn’t measure up to the next track.
The Rover (5:36)
Recorded: May 1972, Stargroves (Houses of the Holy outtake)
Writers: Page, Plant
As the bombastic “Custard Pie” comes to a close, the momentum carries on with the formidable Houses of the Holy outtake. The song began its humble roots all the way back in 1970 as an acoustic track when Jimmy and Robert retreated to a cottage in Bron-Yr-Aur, eventually reworked into a bolstering hard-rocker in 1972.
There’s a reason why it has been covered by countless other bands and artists, such as Van Halen, Heart, and Dream Theater. It is as heavy-hitting as “The Ocean,” “Whole Lotta Love,” and “Communication Breakdown,” yet not as well-known. With Jimmy Page soaring during the guitar solo and JPJ and Bonzo locking in the groove, it should come as no surprise that “The Rover” is an undisputed classic.
The central verse riff is my favorite Led Zeppelin riff to play on the guitar– you get bored of “Black Dog” or “Rock and Roll” after a while. Sadly, this song was never performed live in full, as the band first played a 50-second snippet during the “Whole Lotta Love” medley in Sydney in 1972, and used the opening bars as a prelude to “Sick Again” on their 1977 North American tour. “The Rover” is my favorite song from side 1 of this incredible album, and the next track is nothing to sneeze about either.
In My Time of Dying (11:04)
Recorded: January–February 1974, Headley Grange, Hampshire
Writers: Jones, Page, Plant, Bonham, Blind Willie Johnson
Like the iconic “When the Levee Breaks” from Led Zeppelin IV, Zeppelin transformed another old-school blues number into an eleven-minute juggernaut. Originally written and performed by Blind Willie Johnson in 1928, the Zeppelin version draws inspiration from both the original and Bob Dylan’s cover that appears on his 1962 debut album. As their previous record Houses of the Holy had no real blues number, “In My Time of Dying” was bound to happen.
This song is possibly the farthest thing from a pop song Led Zeppelin ever wrote. Robert’s bluesy voice, Page’s precise yet loose guitar, Jones’ creative basslines, and of course, the MVP Bonzo’s thunderous fills and Herculean effort all combine to make an absolute classic that is the longest Zeppelin’s studio recording. The first recording of this song is a rehearsal tape at the 1971 Headly Grange sessions, so it was shelved for quite a time. The song comes to a close with an epic and extensive jam session by the instrumental trio, with a bit of studio banter at the very end. Possibly their best blues composition? “When the Levee Breaks” exists though, so it’s a close match-up.
In terms of live performances of the song, the 1977 live versions by far eclipse the 1975 versions. After his family’s car accident in Rhodes in 1975, Robert Plant realized how fragile his life was, and he resonated with the song even more, leading to inspired and energetic live performances each night. ‘77 versions tone down the adlibs and even include a small excerpt from Led Zeppelin I’s “You Shook Me” at the end which was first incorporated during their 1975 Earls Court shows. Although 1977 concerts were admittedly inconsistent due to the increased heroin usage of Jimmy and the alcohol consumption of Bonzo, the two would go on an absolute rampage more nights than less.
Check out “In My Time of Dying” from their second night in Los Angeles, June 22, 1977, for peak Jimmy Page slide guitar wizardry. The 2007 reunion version is worth checking out as well, 59-year-old Plant’s mature vocals arguably suit the song even better than in his youth.
Houses of the Holy (4:01)
Recorded: May 1972, Olympic Studios, London (Houses of the Holy outtake)
Writers: Page, Plant
Before the 1980s, vinyl was the main way to enjoy and support your favorite artist’s music. After the doom and gloom of side 1’s closer, the would’ve-been title track of Houses of the Holy is a great display of melodic hard rock. The song came fully formed from the session of 1972, not even requiring a remix.
From the warmer delivery and the relative ease of reaching the high notes, you can clearly hear the difference between pre and post-surgery Robert Plant. The similarities with “Dancing Days”, the side 2 opener for Houses of the Holy, are apparent in the likenesses in structure, tempo, and duration. I personally prefer “Houses of the Holy”, as I could at least relate to what the lyrics mean (“I saw a lion, he was standin’ alone, with a tadpole in a jar”, what?).
Although never played live, this upbeat and captivating track represents concert experiences in the 1970s wonderfully. It was featured on the 2007 Mothership compilation album alongside “Ten Years Gone,” “The Rover,” and “In My Time of Dying.” This shows just how strong this album is and how you could fill a greatest compilation album with only the first Physical Graffiti disc.
Trampled Under Foot (5:35)
Recorded: January–February 1974, Headley Grange, Hampshire
Writers: Jones, Page, Plant
Working title: “Brandy and Coke”
If I had to pick one word to describe this track, it would be “sleazy”. It practically oozes 70s rockstar charisma, with an inspired Robert Plant equating a hot rod of a car with a hot woman. John Paul Jones leads “Trampled Under Foot” by the nose with his funky, Stevie Wonder’s “Superstition” inspired D6 Clavinet riff. Bonzo’s aggressive performance enforces the track’s heaviness, representing yet another example of Zeppelin using every member to their full potential.
That’s not to discount the maestro Jimmy Page. applying textures of wah-wah fills, backward echo, stereo panning, and reverb that mirrors Robert’s vocal delivery. If you listen carefully to the breakdown section with Jonesy going off playing the clavinet, two guitars are playing simultaneously. One is playing the main riff, and the other is funking and jamming out. Another guitar comes out of nowhere near the end, using and abusing the wah pedal way before Metallica’s Kirk Hammett got his hands on one.
The song was rightfully played on every tour until their eventual disbanding in 1980. Although devoid of the studio magic of overdubs, the live jam section is groove heaven, with Jimmy and JPJ trading solos like there’s no tomorrow. The only single released from the album on 2 April 1975, “Trampled Under Foot” certainly paved the way for many bold artistic decisions by Rush, Genesis, and many more in the future.
Kashmir (8:37)
Recorded: January–February 1974, Headley Grange, Hampshire
Writers: Bonham, Page, Plant
Working Title: “Driving Through Kashmir”
From their discography, Led Zeppelin has three songs undoubtedly tower over the genre: the epic “Stairway to Heaven,” the progressive “Achilles Last Stand,” and, of course, the exotic “Kashmir.” If I had to pick one song that represents what each member of Led Zeppelin could contribute to create a masterpiece for the ages, I would choose this masterpiece. The closing track for side 1 is one of the most innovative and original songs from their catalog, and certainly the most well-known from Physical Graffiti.
Plant’s timeless and mystical lyrics were penned during his holiday in Morocco after the 1973 North American tour, driving down a seemingly endless single-lane road from Guelnim to Tan-Tan. Bonham holds down and controls the slow tempo, never overplaying, and makes every sparse fill count. Page’s repeating ascending chord pattern evokes a trudge through desert sands with the alternate DADGAD tuning, creating one of the most memorable guitar riffs of the 1970s. Last but certainly not least, the band used session string and horn players from a Pakistani orchestra in Southall, London, with John Paul Jones playing the progressive mellotron.
No surprise to anyone, from their first performance of “Kashmir” in Rotterdam, Netherlands in 1975 to their final show in Berlin, Germany in 1980, it was a concert favorite. From 1977 to 1980, Jimmy Page played a solo electric guitar piece titled “White Summer/Black Mountain Side”, then suddenly jumped into the monumental “Kashmir”. The 2007 reunion version with Bonham’s son Jason on drums is of course the most well-known live version, but then again, the 1977 versions with Plant’s rejuvenated vocals, John Paul Jones’ mellotron tone, and extended outro with Bonzo going crazy take the cake for me. My personal favorite is from the first night of the Los Angeles shows, a perfect representation of what live Led Zeppelin was all about.
The first disc of Physical Graffiti is the definition of all killer, no filler. If Zeppelin had only released the first two sides, it would have been lauded as one of the best albums of the 1970s. But no, they were just getting started.
In the Light (8:44)
Recorded: January–February 1974, Headley Grange, Hampshire
Writers: Jones, Page, Plant
Working title: “In the Morning”, “Take Me Home”, “Everybody Makes It Through”
“How could it get better than Side 1?”, I asked before I heard “In the Light” for the first time. The signature opening features Jimmy Page playing a violin bow, a distinctive sound that had only graced 2 studio recordings at the time, the frantic “Dazed and Confused” and the blustering “How Many More Times”. Jones’ synthesizer runs and distinctive phrasing make what is quite possibly his finest keyboard work with the band.
Led Zeppelin fans are treated by a unique and powerful track thanks to Page and Jones providing the ethereal opening with a 2-minute synthesizer showcase and multi-tracked bowed acoustic guitar. Bonzo provides a solid groove, never overplaying. “In the Light” is about advice for seeing one’s way through trauma, embracing change, and realizing that the road traveled should be a hopeful place.
Due to technical limitations, we can only imagine how epic this song would’ve been onstage. I would highly recommend listening to the alternate official versions released on both Physical Graffiti and Coda’s deluxe edition releases. You can hear the discarded Jones keyboard intro with different yet familiar Robert Plant lyrics and vocal lines.
Bron-Yr-Aur (2:06)
Recorded: July 1970, Island Studios, London (Led Zeppelin III outtake)
Writers: Page
The only individual Page composition on Physical Graffiti, “Bron-Yr-Aur” is both the band’s shortest song and the last solo acoustic piece the band included on one of their studio albums. Conjured during the sessions for Zep III, it reflects the state of mind Jimmy Page was in the summer of 1970. It is also the correct spelling for the rural Welsh cottage where Jimmy and Robert first truly collaborated artistically, unlike Zeppelin III’s “Bron-Y-Aur Stomp”.
The track was only played live during the Summer 1970 tour to promote Led Zeppelin III, the band’s newest album. It must have driven some fans crazy that one of the songs they heard live wasn’t on the record they bought. From live recordings from that era, Robert Plant introduced “Bron-Yr-Aur” by saying its goal was to “celebrate and commit to memory a replenishing place of magical sunrises”, to which I agree wholeheartedly.
Down by the Seaside (5:14)
Recorded: February 1971, Island Studios, London (Led Zeppelin IV outtake)
Writers: Page, Plant
Influenced by Neil Young’s “Down by the River”, “Down by the Seaside” is essentially a well-camouflaged country waltz. First conjured during the 1970 Bron-Yr-Aur cottage sessions by Page and Plant, the band recorded the current electric version of the song during the Led Zeppelin IV sessions.
Understandably “Down by the Seaside” was considered substandard for Led Zeppelin IV, I don’t get how some fans think that the band should’ve replaced “Four Sticks” for this track. I think it’s perfect as a segue from the pastoral “Bron-Yr-Aur” to the magnificent “Ten Years Gone”. The song is a testament to Robert Plant’s seemingly overlooked lyrical originality, as the track contains some of his finest work.
Ten Years Gone (6:31)
Recorded: January–February 1974, Headley Grange, Hampshire
Writers: Page, Plant
Originally intended to be an instrumental piece, like “The Song Remains the Same” from Houses of the Holy, Jimmy Page reportedly recorded around 14(!) guitar tracks to overdub the harmony section. The beautiful, lush guitar work showcases Page’s compositional skills at their peak, he beautifully conveys emotions of nostalgia, regression, and acceptance. Robert’s lyrics are about an old girlfriend who had him choose between their relationship and music circa 1964, hence the title “Ten Years Gone”.
Although the mellowest song from the Physical Graffiti sessions, the Drop D tuning (DADGBE) comes in handy during the crunchy hard rock section. Jimmy Page’s guitar solo is certainly one of his best, if not his magnum opus. I think acclaimed producer Rick Rubin described the song perfectly, “A deep, reflective piece with hypnotic, interweaving riffs. Light and dark, shadow and glare. It sounds like nature coming through the speakers.”
Ten Years Gone made its live debut on the 1977 North American Tour with John Paul Jones using a triple neck guitar to try and replicate the studio version as much as possible. The best live versions of the song would be from the first Los Angeles show on June 21, 1977, and the second night in Copenhagen on July 24, 1979. Although I can’t relate to the lyrics, you can’t help but feel a sense of nostalgia and melancholy. “Ten Years Gone” is undoubtedly the jewel of side 3, preparing you for the tasteful assortment of side 4.
Night Flight (3:36)
Recorded: January 1971, Headley Grange (Led Zeppelin IV outtake)
Writers: Jones, Page, Plant
After the majestic side closer that is “Ten Years Gone”, we dive straight into another Led Zeppelin IV outtake, which is apparent from Robert’s powerful and confident vocals immediately shining through the mix. The bright, poppy, and accessible track tells the story of a man who tries to evade being drafted for the military during the Vietnam War. “Night Flight” was never played live, but was apparently considered as you can hear a rough rendition of the song on a soundcheck recording from Chicago, on July 6, 1973.
I think the band should’ve left Robert’s 1971 vocals and rerecorded the rest of the song more similar to The Wanton Song or The Rover, but that’s my opinion. Gun to my head, if I had to choose my least favorite song from Physical Graffiti, I’d choose “Night Flight”. It certainly is not a bad song, none of them are. It speaks volumes to how strong this album is when double albums are widely known to have filler tracks.
The Wanton Song (4:06)
Recorded: January–February 1974, Headley Grange, Hampshire
Writers: Page, Plant
Working title: “Desire”
Fans and journalists alike have referred to Led Zeppelin, Black Sabbath, and Deep Purple as the “Unholy Trinity” of British heavy metal and rock of the 1970s. “The Wanton Song” is proof of why the band is considered one of the godfathers of metal. Archaically, “wanton” means a sexually unrestrained woman, so you can probably guess what Robert is going to sing about.
“The Wanton Song” is arguably Led Zeppelin’s most pointedly heavy metal track with the instrumental trio attacking their respective instruments with precision and ferociousness not to be heard again on this record. Robert’s vocal performance is mostly hoarse and gruff, capturing him in the middle of recovery from vocal cord nodule surgery back in November 1973. I think this adds to the record’s charm, as Physical Graffiti is a celebration of the band’s 6 years of evolution and change, why not include every variety and texture they can bring to the table?
It’s a shame it was only played a handful of times at the beginning of the 1975 North American tour. As Jimmy Page broke his left ring finger before the grueling tour began, we can only imagine what he would’ve done with the guitar solo with a healthy fretting hand. Page and Plant, the reunion of the two musicians in the mid-90s, revisited this track along with the legendary “Immigrant Song” as the opening motif on their 1995 and 1996 concert tours, which I must say, works surprisingly well. The track most definitely inspired fellow 70s band Rainbow’s “Lady of the Lake”, another great song.
Boogie With Stu (3:51)
Recorded: January 1971, Headley Grange (Led Zeppelin IV outtake)
Writers: Bonham, Jones, Page, Plant, Ian Stewart, Ritchie Valens
Working title: “Sloppy Drunk”
Guitar licks that sound like Marty McFly (or was it Calvin Klein?), steady 4/4 groove, and Plant channeling his inner Little Richard all contribute to this homage to 50s rock n’ roll. The frame of the song was heavily influenced by Ritchie Valen’s “Ooh! My Head”.
The signature piano comes from Ian Stewart, Rolling Stones tour manager, hence the title “Boogie With Stu (Stewart)”. The 1971 jam session that the band and Stewart’s boogie-woogie style resulted in this song and the legendary “Rock and Roll”, which appears on Led Zeppelin IV. While the song doesn’t compare to the juggernauts such as “Kashmir” and “Ten Years Gone”, the good vibes and general unserious aspect of the track make it a fitting inclusion on side 4 of this incredible album.
Black Country Woman (4:24)
Recorded: May 1972, Stargroves (Houses of the Holy outtake)
Writers: Page, Plant
Working title: “Never Ending Doubting Woman Blues”, “What’s the Matter Here”
The MVP of the song is surely the airplane at the beginning, right? Recorded during an outdoor session in the backyard of Mick Jagger’s Stargrove mansion (another Rolling Stones connection!), a plane flies overhead and the band decided to include the strange occurrence in the final mix. Page’s guitar is tuned to Open G, which makes for a joyful and upbeat listening experience. The track is about Robert’s then-wife Maureen Wilson and her sister Shirley.
B-side of the “Trampled Under Foot” single, “Black Country Woman” was played in its entirety only once, right here in Seattle, on June 19, 1972. The song was then brought back in the acoustic portion of the 1977 North American Tour, albeit in a medley form. Although the song structure strays far from the traditional blues song, Robert’s vocal delivery, lyrics, and spirited harmonica playing say otherwise.
Sick Again (4:43)
Recorded: January–February 1974, Headley Grange, Hampshire
Writers: Page, Plant
Similar to other Zeppelin album closers such as “How Many More Times”, “Bring It on Home”, “When the Levee Breaks”, and “The Ocean”, Physical Graffiti ends on a torrid, rumbling rocker. Possibly the song with the most disturbing subject matter Jimmy Page and Robert Plant ever wrote, Robert Plant’s lyrics are a cinematic description of the lives and aspirations of Los Angeles groupies he saw during the band’s 1973 North American tour.
Worked out back in October 1973 by the trio of Page, Plant, and Bonham, you can find an early, stripped-down version of “Sick Again” on the 2015 Deluxe Edition bonus disc. The track features a gruff and weak post-surgery Robert, which explains why he’s so far back in the mix. You can hear the 50s rockabilly influence from the song’s main guitar riff in 5/4
Despite the song being an excellent example of the tight yet loose playing style of Led Zeppelin in the studio, I think “Sick Again” translates to the live stage much better. By 1977, Robert’s voice had healed significantly and he was able to belt out the lyrics like never before. Beginning and ending the double album with compulsive hard-rockers (“Custard Pie” and “Sick Again”) was a bold choice that worked out wonderfully.
Post-Graffiti
With two warm-up shows at Rotterdam and Brussels, the North American tour supporting the album started on 18 January 1975 and concluded on 27 March 1975. As the band hadn’t played live for nearly 18 months, the first few shows were sluggish and rusty compared to the blazing 1973 version of the band. To make matters worse, Plant suffered from a nasty case of influenza and Page had broken his left ring finger before leaving England, which forced him to take painkillers and develop a three-finger playing technique for the first portion of the tour. I couldn’t imagine playing 2 hours and 30 minutes of complex material every night to tens of thousands of fans without an important fretting finger.
As the tour went on, it was clear that although Jimmy’s drug problems (heroin), and Robert’s new vocals led to some hit-or-miss nights, the band would pump out stellar shows quite a lot. Their second night in Seattle, March 21, 1975, in particular, is widely considered to be the best show of the 1975 North American tour. The sound quality is outstanding, easily on par if not better than their other official live releases. The setlist features 4 Physical Graffiti songs (“Sick Again”, “In My Time of Dying”, “Kashmir”, and “Trampled Under Foot”), and there isn’t any sign of sloppiness whatsoever.
After the lengthy North American tour, the band returned in May to play 5 shows at Earls Court Arena, in London. The setlist was virtually the same as the North American tour but with the addition of 4 acoustic-based songs (“Tangerine”, “Going to California”, “That’s the Way, and “Bron-Y-Aur Stomp”). With each night reaching up to 3 and a half hours, you can’t say they didn’t give their fans their money’s worth. After the shows, the band didn’t play live for over a year and a half (again!) due to Robert and his family’s car crash during their holiday in Rhodes, Greece. During this hiatus, the seeds for their next album, Presence (1976) were sown (a story for another time).
As Physical Graffiti collected various out-takes from earlier albums, little was left over from the recording sessions that were not eventually released. An early arrangement of “Custard Pie”, different from the final version, was reworked as “Hots on For Nowhere” on the following album, Presence.[31] A number of other outtakes from earlier album sessions that had not been put on Physical Graffiti were later included on the 1982 album Coda.
Final Thoughts
Led Zeppelin’s catalog is filled with legendary records, you can make an argument for their first six records being one the greatest studio album runs of any artist. While fans often debate which of their first six albums reigns supreme, I consider Physical Graffiti to be their finest album, this particular LP stands out above the rest due to its sheer diversity and sophistication.
Not only is the record their only studio double album, but it also serves as the ultimate showcase of the four member’s full range of capabilities, interests, and ambitions. It seamlessly blends blues, hard rock, metal, and even country into a cohesive masterpiece.
While Led Zeppelin I and Led Zeppelin II are rightly celebrated as genre-defining hard rock and heavy metal albums, and Led Zeppelin III’s pastoral and acoustic charm captivates the listener, Physical Graffiti incorporates and improves on all that.
Although it could never be considered as progressive as Houses of the Holy – thanks in large part to “The Song Remains the Same” and “No Quarter”, the double LP represents the band at their creative peak, effortlessly fusing innovation with their signature sound. The only record that amounts to Physical Graffiti is without a doubt Led Zeppelin IV, and even then the former wins for me due to the panoramic view of everything Page, Plant, Jones, and Bonham were capable of.
I consider Physical Graffiti to be Zeppelin’s finest album. Although you could argue that for any of their first six albums, fans tend to rate Led Zeppelin II (1969), Led Zeppelin IV (1971), and Physical Graffiti (1975) as the big three. I find that this particular LP outshines the two previously listed because of the sheer diversity and sophistication put into the songs. But at the end of the day, comparison is the thief of joy, so it’s kind of pointless to judge and rank incredible music.
Beyond Led Zeppelin, 1975 was an exceptional year for music. Physical Graffiti belongs in the same conversation as A Night at the Opera (Queen), Wish You Were Here (Pink Floyd), Born to Run (Bruce Springsteen), Toys in the Attic (Aerosmith), and Blood on the Tracks (Bob Dylan). With such a wealth of legendary releases, 1975 makes a strong case for being one of music’s greatest years, so check them out as well.
If you’ve made it this far into the article, you might as well give the album a listen. If this is the first time you’ve heard about this band, here is an 80-minute, CD-length concise playlist that showcases their finest work. If you like what you hear, I’d recommend listening to their entire discography from beginning to end, which was endearingly coined by Jack Black as the “Zepathon”. The musical evolution from the young and hungry blues rock and heavy metal beginning to their experimental twilight years is fascinating, to say the least. I think Zeppelin is a perfect band to get into, as they only have 8 studio albums. The live material is a whole different subject matter, I’m ashamed to think of how much time I’ve invested in listening to bootlegs.
I know firsthand how hard it is to branch out and listen to music you’re unfamiliar with. If you’re used to listening to pop, hip-hop, or any other genre, the transition to rock music is tough. I would highly encourage giving Physical Graffiti time to soak in – don’t judge it based on only one or two listens. Have a great mid-winter break, Shorecrest!
