Physical Graffiti

Zeppelin's sixth studio album appeared in 1975, a generous 80 minutes of music spread over two 12" vinyl disks in those days known as a `double album'.PG contains a mix of styles ranging from pounding hard rock numbers (`Trampled Underfoot' was inspired by Robert Johnson's `Terraplane Blues') through poignant reflective songs with great dynamics like `Ten Years Gone' and `Down by the Seaside'. Add in a boogie-woogie jam, a short acoustic guitar piece, a thunderous 11-minute re-work of the gospel classic `In my Time of Dying' and the seminal `Kashmir': an epic, majestic number of awesome power "like the last dinosaur on Earth walking up the path" by common consent one of Zeppelin's finest moments (if not THE finest) and you have a truly classic album. In fact, PG is so packed with great songs it's difficult to pick out highlights without going through the complete song list as many excellent reviews have done already.If you're new to exploring the music of this talented British rock band from the 1970s, PG might be a good place to start because it has just about everything. Around half the songs were new compositions from 1973-75 and the remainder re-worked numbers - in some cases extensively re-worked - which hadn't made previous album releases, for example the title track from the `Houses of the Holy' album which didn't make the final cut of that 1973 release, but was revived for inclusion on PG. All four band members are here on top form, the contributions of John Paul Jones on `Trampled Underfoot', `In the Light' and `Kashmir' being particularly outstanding. The end-result is every bit as great as the `runes album' (LZ4) but more stretched-out and varied with greater scope; more the rounded collection than unified vision.PG showcases Zeppelin at the height of their creative powers and belongs in any collection of classic rock music. It's still selling after 35 years, still sounds fabulous and has found new generations of young fans not even born when this music was created.

Really like this Album,great to listen to in the car.

After having 4 albums released which are, for the most parts, in the same vein, Houses of the Holy came out and was something different, deviating from the heavy blues rock and folky songs, with more popmusic and even funky influences, plus the rather apart progrock on No Quarter. Ironically the title track from that 5th album was nowhere to be heard, till this monster double album was released. It contains songs from earlier recordingsessions and new written material, which suit each other excellent. From the hard rock to acoustic folk, progrock to country blues, Led Zeppeling masters it all. Sadly no place was found for the Immigrant Song single B-side Hey hey, What Can I do, nor for the HoftH outtake Walters Walk. Anyway, those can be found on the closing album Coda. Exactly 40 years after its release on 24 february 1975 this new package is unveilled with a companion CD with alternate takes. Contrary to II, III, IV and HoftH not from (almost) each song a different recording but only of 7 songs, nearly halve of the albumtotal. However, most don't make a big difference, Sick Again is much shorter. Everybody Makes it Through the Light is a much better song than the one on the original album, shortened to In The Light.. But no new songs are presented here. Press mentioned that tapes were found with unreleased songs, apart from different versions. Spoken was about Midnight Moonlight, a ten minute song (present on the first album by The Firm and credited to Page and Paul Rodgers, the singer of that band). So those extra songs don't shine new light on this album, which in it self is brilliant. Later albums Precence nor In Through the Out Door can compete with the overwhelming musical power of Physical Graffity. A joy to listen to, each time again.

'Physical Graffiti' finds Led Zeppelin at just about the peak of their considerable powers. It's a sprawling behemoth of an album that takes in just about everything that the band stood for. From the stomping blues- rock of 'Custard Pie', to the supercharged funk of 'Trampled Underfoot' and the quirky barrel -house rock n' roll of 'Boogie With Stu', there is a sufficiency of riches to keep even the most avid listener occupied for a long ,long time. Of course,no discussion of this album would be complete without mentioning 'Kashmir' or the monumental slide guitar fest of 'In My Time of Dying',classic examples of how the band could develop and extend basic ideas into feverishly exciting displays of musical power.And lets not forget the shimmering beauty of the solo guitar instrumental 'Bron -Yr-Aur' and the heartfelt 'Ten Years Gone' with its beautiful solo by Jimmy is nothing short of extraordinary.Critics may argue that amid the gold there might be a hint of filler,and maybe (just, maybe)they might have a point.But even the less distinguished material ('Sick Again'/'Down By The Seaside'?)there is always some aspect of the performances to enjoy even if lyrical or musical inspiration occasionally flags.For me this is definitely a desert island set and whilst it may have flaws,it is about as consistently enjoyable and varied as rock albums ever get.Sadly the Zep would seldom reach these heights again- although 'Presence' has it's moments and 'In Through The Out Door' has glimmers of the old genius, but at least they knew when to quit.'Physical Graffiti' is a fitting monument to a great band,that sounds as alive and dynamic today as it did all those years ago.