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Product Description
Product Description
Physical Graffiti is the last great Led Zeppelin title, recorded before the influences of the day (synthesizers, disco) ended Zeppelin's reign as the kings of loud and sexy blues-metal. The two-disc album playfully experiments with new sounds including folk, rock riffs, folk and Middle Eastern rhythms.
Review
By 1975 no one was bigger or heavier than Zeppelin. America was punch drunk after the quadruple whammy of their first four albums, each supported by tours that went from scene-stealing support slots to stadium-filling three-hour marathons, almost overnight. Even the slightly below average (ie: one or two sub-par tracks) Houses Of The Holy (1973) hadn't dented their reputation one jot. The world, and its attendant pleasures, was theirs for the taking. At this point most modern bands would take 5 years off and forget each others' names. What did Robert, Jimmy, John Paul and Bonzo do? Produced a double album that some still hold to be their best of all time.
Admittedly, a fair amount of Physical Graffiti was composed of offcuts and work-in-progress from their previous two albums (cf 'Houses Of The Holy') though these were offcuts startling quality. But what really shines out is the sheer genre-defying eclecticism of it all. Far more than just a crowd-pummelling hard rock act with the world's beefiest rhythm section, these boys were able to do everything from folk (''Bron Y Aur'') and blues ("In My Time Of Dying") to country rock ("Down By The Seaside") and barrelhouse rock 'n' roll ("Boogie With Stu"). In fact Graffiti serves pretty much as a primer of the band's entire oeuvre.
And amongst these flights of dexterity we get some of the band's best-loved numbers of all-time. "Trampled Underfoot", driven by Jones' stomping Fender Rhodes pulls off the remarkable trick of being both heavy AND funky as hell. "Custard Pie" and "The Rover" are monster axe workouts, and of course "Kashmir" is still a juggernaut of incredible power: a blend of east and west inspired by Page and Plant's mystical wanderings and underpinned by Bonham's legendary rumble, famously captured in all its ambient glory in the huge hallway of Headley Grange Manor. And it all came wrapped in one of those fabulously intricate die-cut sleeves that make all people of a certain age long for a return to the glory days of vinyl.
Nick Kent's review in the NME casually mentioned that by this point Zep could seemingly turn this stuff out in their sleep. He was right. Six years of touring and recording had honed them into an unstoppable force, but tragedy lay in wait around the corner in the form of death, drug abuse and changing tastes. But Physical Graffiti remains a towering monument to the glory of Zeppelin in their high-flying heyday. --Chris Jones
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Customer Reviews
Most Helpful Customer Reviews
64 of 66 people found the following review helpful
By Rich
Format:Audio CD
I first picked this album up in 1990, after hearing Jimmy Page play a tantalising snippet of the Kashmir riff on Arena's 'Heavy Metal' documentary.
At that time buying a double lp was quite an investment for a schoolkid on pocket money alone, but I was mesmerized by the mystery around *that* riff and the fact the album looked so unusual. What I couldn't have expected was to seemingly stumble on something so complete and fulfilling, that I would still be returning to it every week for the next 15 years or more.
Each time I listen, I discover a new angle to a song. Another riff, another rhythm track, another vocal line. Zeppelin were truly at the height of their majestic powers when this album was released in 1975.
This is partially a result of a patchwork chronolgy behind the songs. Some were outtakes from previous studio works ('Houses of the Holy', 'Black Country Woman', 'Boogie with Stu'). Others were adaptations of previous songs, once ditched and now ressurected and re-worked during 1974 ('The Rover', 'Down By the Seaside').
The longest songs are invariably the newest and it is clear that on this album Zeppelin's intention was to define the 'epic'. 'Kashmir' is monstrous, sounding like it has been hewn from the roots of the Earth. It's sister-piece, 'In the Light' adds a darker tone. Then there is the electric storm of 'In My Time of Dying', crackling with intensity, slide guitar, prayers to Jesus and the relentless thunder of Bonzo's drums.
My favourite song (at the moment) is 'Ten Years Gone', a lovesong no less. However this arrangement is probably the most complex and painstaking ever assembled by Page, and the effect is stunning. Multiple guitar overdubs make a plaintive call against Plant's wistful recollections of love once lost.
This is an album of moods - covering the entire spectrum. As well as the epics there is much light relief and plain 'ole rock 'n' roll. 'Custard Pie', 'Sick Again' and most notably 'Trampled Underfoot' with Jones' infectious clavier riff.
The most rewarding album I can think of.
At that time buying a double lp was quite an investment for a schoolkid on pocket money alone, but I was mesmerized by the mystery around *that* riff and the fact the album looked so unusual. What I couldn't have expected was to seemingly stumble on something so complete and fulfilling, that I would still be returning to it every week for the next 15 years or more.
Each time I listen, I discover a new angle to a song. Another riff, another rhythm track, another vocal line. Zeppelin were truly at the height of their majestic powers when this album was released in 1975.
This is partially a result of a patchwork chronolgy behind the songs. Some were outtakes from previous studio works ('Houses of the Holy', 'Black Country Woman', 'Boogie with Stu'). Others were adaptations of previous songs, once ditched and now ressurected and re-worked during 1974 ('The Rover', 'Down By the Seaside').
The longest songs are invariably the newest and it is clear that on this album Zeppelin's intention was to define the 'epic'. 'Kashmir' is monstrous, sounding like it has been hewn from the roots of the Earth. It's sister-piece, 'In the Light' adds a darker tone. Then there is the electric storm of 'In My Time of Dying', crackling with intensity, slide guitar, prayers to Jesus and the relentless thunder of Bonzo's drums.
My favourite song (at the moment) is 'Ten Years Gone', a lovesong no less. However this arrangement is probably the most complex and painstaking ever assembled by Page, and the effect is stunning. Multiple guitar overdubs make a plaintive call against Plant's wistful recollections of love once lost.
This is an album of moods - covering the entire spectrum. As well as the epics there is much light relief and plain 'ole rock 'n' roll. 'Custard Pie', 'Sick Again' and most notably 'Trampled Underfoot' with Jones' infectious clavier riff.
The most rewarding album I can think of.
43 of 46 people found the following review helpful
By A Customer
Format:Audio CD
Congratulations! You have chosen well. Seven years on the road have paid off and the band lay down the tracks which will propel them into the stratosphere. Here, you get the lot: earthy blues, driving rock, intimate ballads, fun, laughter, all in all, 80-odd minutes of JOY!
The sheer weight of tracks like Custard Pie, Kashmir, The Rover would sit well in any band's entire canon but they are here on the first disc! Above all, it's the way the band nail every song in total sympathy with each other. True, Page lays down the guitar overdubs at times like he has to sell them tomorrow, but what a result.
And as an answer to the question 'where is the follow-up to 'Stairway to Heaven?' look no further than Kashmir and Ten Years Gone as worthy replacements.
Usually by side four, bands start to waver and it's true that Zep added some earlier also-rans but they stand up by themselves and only once drop into the realms of 'filler' on the singalong 'Boogie with Stu', but an album that can end on a great rock track after 80 minutes puts that into perspective and 'Sick again' is a worthy closer.
30 years on, it still hits all the right buttons.
7 of 7 people found the following review helpful
By Chuck E
VINE™ VOICE
Format:Audio CD
All the hoop-la surrounding the mothership of all reunions had me delving back into my vinyl collection try to recall the impact of the Zep behemoth on an impressionable teenager. Zep I and II set the template, Led Zep III took off in another direction to remind everyone that the band had too much imagination to be ghettoised under the label `heavy metal'. Zep IV then fused the hippie/folk/blues/metal elements into a rock masterclass that would render any attempt at emulation hopeless. Houses of the Holy followed up in the only way possible, by experimenting in new directions/arrangements.
So, by Physical Graffiti the band had scaled the heights and were already gazing down from the rock pantheon - where to go from there? This is where I came in. Of course I'd heard the Top of the Pops theme tune but back then, unless you had an older brother, it was quite possible to never hear or see Led Zeppelin - no singles meant no radio play (unless you knew about John Peel), videos hadn't been invented. So it was purely on seeing a strange but inspired film clip of some 1920s dancing girls flapping to some American singer (as I then thought) wailing away over the megariff of Trampled Under Foot (see YouTube) that prompted me to shell out on a double cassette without having heard of Led Zeppelin. Slapping it into my mono tapedeck, the sublime noise that was Custard Pie cast a spell that has lasted 30 years. The downside is - nothing is ever going to sound that good again. The combination of raw power and stunning musicianship was just irresistible. With twelve rock classics on one album this was the high water mark. Presence had a couple of tracks (Nobody's Fault and Achilles Last Stand) that would hold their own on a `best of', but never again would they be able to compete with a back catalogue that included Custard Pie, In My Time of Dying, Trampled Underfoot, Kashmir, Ten Years Gone. The range of Plant's vocals, Page's riffing, Bonham's murderous drumming and JPJ's bass/keyboard work on this album has no equal.
You'll never spend under a tenner more wisely.
So, by Physical Graffiti the band had scaled the heights and were already gazing down from the rock pantheon - where to go from there? This is where I came in. Of course I'd heard the Top of the Pops theme tune but back then, unless you had an older brother, it was quite possible to never hear or see Led Zeppelin - no singles meant no radio play (unless you knew about John Peel), videos hadn't been invented. So it was purely on seeing a strange but inspired film clip of some 1920s dancing girls flapping to some American singer (as I then thought) wailing away over the megariff of Trampled Under Foot (see YouTube) that prompted me to shell out on a double cassette without having heard of Led Zeppelin. Slapping it into my mono tapedeck, the sublime noise that was Custard Pie cast a spell that has lasted 30 years. The downside is - nothing is ever going to sound that good again. The combination of raw power and stunning musicianship was just irresistible. With twelve rock classics on one album this was the high water mark. Presence had a couple of tracks (Nobody's Fault and Achilles Last Stand) that would hold their own on a `best of', but never again would they be able to compete with a back catalogue that included Custard Pie, In My Time of Dying, Trampled Underfoot, Kashmir, Ten Years Gone. The range of Plant's vocals, Page's riffing, Bonham's murderous drumming and JPJ's bass/keyboard work on this album has no equal.
You'll never spend under a tenner more wisely.
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Most Recent Customer Reviews
5.0 out of 5 stars
Great listening.
I thought it was time I caught ip on Led Zep. This was the album I was advised to start with. I would recommend it.
Published 4 days ago by ann vickers
5.0 out of 5 stars
PHYSICAL GRAFFITI - a double album that really should be a double...
Critics often pan 2LP sets as 3 sides good and 1 side just filler. This is not one of them. There is so much going on. Read more
Published 4 days ago by Mr Paul Savory
5.0 out of 5 stars
Zeppelin at the zenith
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'. Read more
Published 11 days ago by The Guardian
5.0 out of 5 stars
brill
got this for my husband he is so pleased as the tape had stoped playing .arrived in 2 days and no problems.
Published 12 days ago by eileen
5.0 out of 5 stars
Physical Graffiti
One of the best bands of all time this is a classic
let the good times rock and roll brilliant
let the good times rock and roll brilliant
Published 24 days ago by Samuel McCalmont
5.0 out of 5 stars
cd
well happy with this seller the service was second to none and the product is of great quality I would definatley recommend to all users on Amazon new or old well done
Published 1 month ago by Juice
5.0 out of 5 stars
Even on CD this is a faultless album
It is tricky to play vinyl LP's in the car so if you need to listen to this outstanding album buy this CD. Read more
Published 1 month ago by Geoff
5.0 out of 5 stars
A great buy.
This was bought as a present, and there have not been any complaints, so it must be good, and it is played.
Published 1 month ago by giggkiwi22
5.0 out of 5 stars
Led Zep
Physical Graffiti sounds good on my old system. Led Zep at pre-famous best. They sound like a band who are going to be big one day, strong rock'n'roll and blues, naive but tight! Read more
Published 1 month ago by Janine's Dad
5.0 out of 5 stars
Hardly need to say how good this is.
Been listening to this band for over 40 years - about time I had this in my collection! Good price too.
Published 2 months ago by Mr Simon H Holt
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