Led Zeppelin Album: “Physical Graffiti [Remaster]”

If you can understand sheet music and are attempting to master any instrument (from a cello to a tuba) you might want to take a look at the scripts for this album. You'll be devistated! Also, if you are interested in making an album and happen to own a studio, you might find a listen to Physical Graffiti to provide a very instructive statement the limits of how complex mixing and multi-tracking get.

Sure, a few tracks on the ablum: Custard Pie and Trampled Under Foot, are probably the best embodiment of the blues-rock Zep-sound that most people are familiar with, but after those tracks, the album turns into a zen statment on overindulgence. Normally, I might agree that musical overkill is a bad thing, but there's a right time and place for everything; and within the framework of this album, overkill becomes baroque. I argue that only Zep could pull this off.

Beginning with Kashmir, the album lays track upon track until many songs (ie: In the Light, Ten Years Gone) are orchestrated with somtimes 7 or 8 different guitar tracks and 3 or 4 different bass tracks. Bach himself might be proud of such hefty orchestration. Throw in JPJ's keyboards, along with several exotic instruments such as mellotrons and vibrophones, and you've got yourself a saturated hard-rock symphony. Many of the songs, such as Kashmir, In The Light, and Ten Years Gone, are very cerebral, creating a soothing Indian Raga-like effect, while others sustain a hectic Occidental pace (ie: Rover, Night Flight) but are never abrasive to the ear.

I feel that the overall album gets a bum rap sometimes, because many people would prefer to hear the more concise and abbreviated sound associated with the pentatonic riffs of earlier Led-days (ie: Whole Lotta' Love, Heartbreaker). They complain that this album is overindulgent, solos are extended too long, etc.. But they never really explain why this makes the album less worthy than say, the Runes Album. I think that the intent of the album was to push the manifold of hard-rock overindulgence and the result is the raga-like, baroque musical symphony from the '70s that is Physical Grafitti.

I would not hesitate to say that this is the best album from the 70's hard-rock genre; if not the best rock and roll album of all time.

By 1975, Led Zeppelin had established itself as the premier hard rock group in the world, which gave them the luxury to experiment and to release older tracks which normally wouldn't see the light of day. Seven older tracks were added to eight new songs to create "Physical Graffiti", and the result is Zeppelins finest studio output.

"Kashmir", although overplayed, still ranks alongside "Stairway to Heaven" and the latter "Achilles' Last Stand" (from "Presence") as one of the bands greatest "Zepics". The real beauty of "Graffiti", however, lies with the songs which don't make the airwaves that often. "In My Time Of Dying" is one of Zeppelins underappreciated tracks. Similarly, "The Rover" , "Houses of the Holy", "Custard Pie", "The Wanton Song", and "Sick Again" illustrate the band could still compose a compact rocker and play it with conviction. Jimmy Pages talent shines on "In the Light" and "Ten Years Gone", proof that while he may not have been on the same technical level as his contemporary Jeff Beck, he was the most expressive and well rounded guitarist of his generation.

The remaining songs show off Zeppelins diversity and fearlessness: traces of funk ("Trampled Underfoot"), country ("Down by the Seaside"), and soul ("Night Flight") grace "Graffiti's" grooves, along with acoustic blues ("Boogie With Stu", "Black Country Woman") and Pages shimmering acoustic solo "Bron-Y-Aur".

Performance-wise, it is not Robert Plants finest hour, as he does sound hoarse in several songs, but his bravado makes up for lack of technical excellence. John Paul Jones continues to stretch out as a performer and songwriter (check out the intro of "In the Light" and his brass/string score of "Kashmir"), while the late John Bonham maneuvers through the complex time changes of "In My Time of Dying" and "Kashmir" with ease, the former containing some of his most powerful work.

The album is not an easy first listen, especially when compared to earlier work such as "Led Zeppelin II", but it is the most powerful evidence that Led Zeppelin was at its creative peak.

As a 12 year old girl who loves Led Zeppelin (and gets a lot of grief for it from her friends!) I'd have to say that this is my favorite Led Zeppelin album, with Zoso as a very close second favorite. Some favorite tracks: Custard Pie, Trampled Underfoot, Kashmir, In the Light, Night Flight

Listening to that CRAPPY,DOUCHEBAG song "Come with me" by Puff Daddy which was a sample of Kashmir made me go out and buy Physical Graffiti. This goes to show that trying to sample the best songs (even the classics), proves that today's artists, whether pop, r&b or rap have ran out of ideas when it comes to creating original music! If they (including Puffy) was trying to pay tribute to the artists of yesterday, then they're doing a piss-poor job. (John Bonham, who co-wrote Kashmir with Page & Plant is definately rolling over in his grave). Led Zeppelin's double album, the last great album, is without a doubt a masterpiece (that, ZOSO, Houses of the Holy,and ITTOD, my personal faves). What makes these 2CDs work is the fact that songs recorded between the album's release (1974-75) were blended with earlier unreleased Zeppelin songs (1970-73)...I guess that explains why Houses of the Holy(the song on PG) wasn't on Houses of the Holy..the album. Nevertheless, the combination was well worth it. And like the Beatles White Album, the Led-ed fellows did very well on experimenting with synthesizers, classy guitar riffs, and Robert Plant's wailing to the top of his lungs. You just gotta love Jimmy Page's Bron-yr-Aur, A very soothing acoustic ditty. It may be short, but it's worth listening to again and again. This album is a must-have for every household. I know just about every fan of LZ has bought this Cd as well as the re-releases, and if you haven't, BUY THIS CD QUICK BEFORE PUFF DADDY GET MORE WEIRD IDEAS!

....and all I listened to was THIS album. I was 12 going on 13 and already in my 3rd band (they all sucked) and looking for my next shot at glory when Zepp just yanked the rug out. I cannot even explain how much "Trampled Under Foot" made my nuts hurt or how much "Kashmir" made my soul soar or how much "Boogie With Stu" - well, you get the picture. I already had a copy of one of Howlin' Wolf's "Folkways" releases so I guess I was curious about the BLUES. Ok, so I was 12, but I also had all of Zepp's previous albums and more Sabbath, Neil Young, and *sigh* REO SpeeeeeedWagon than I care to admit. So, again, I was no stranger to anything vinyl, 8-track, or cassette could muster. Something about "Bron-Yr-Aur Stomp" tied it all in with my Dad's Kingston Trio records and I was ruined for life. Music could be, and WAS anything. Don't tell me about overblown, over produced records.....No, Steve Perry's Journey was still on the Eastern horizon and Uriah Heep still sounded quite like System of a Down (C'Mon...listen to "Aerials" and tell me it doesn't belong on the "Demons and Wizards" album). It's all music folks and it all has impact. This one impacted the Hell outta me.