Physical Graffiti

Location & Checkout Length	Call Number	Checkout Length	Item Status
Traverwood Adult A/V 2-week checkout	CD Rock Led Physical	2-week checkout	Due 05-10-2024

Title from container.
Discs 1 and 2 originally released as Swan Song 2-200 on Feb. 24, 1975.
Compact disc.
Disc 1. Custard pie -- The rover -- In my time of dying -- Houses of the holy -- Trampled under foot -- Kashmir. Disc 2. In the light -- Bron-yr-aur -- Down by the seaside -- Ten years gone -- Night flight -- The wanton song -- Boogie with Stu -- Black country woman -- Sick again. Disc. 3 Physical graffiti, the companion disc. Brandy & Coke (Trampled under foot) (Initial rough mix) -- Sick again (Early version) -- In my time of dying (Initial rough mix) -- Houses of the holy (Rough mix with overdubs) -- Everybody makes it through (In the light) (Early version/In transit) -- Boogie with Stu (Sunset sound mix) -- Driving through Kashmir (Kashmir) (Rough orchestra mix).
Performed by Led Zeppelin (John Bonham, drums ; John Paul Jones, bass, keyboards, mellotron ; Jimmy Page, guitar ; Robert Plant, harmonica, vocals).

COMMUNITY REVIEWS

Some call it a Masterpiece submitted by mark_a_jay on June 20, 2012, 9:14am This album is somewhat of an enigma. In many ways, this release is full-on Zeppelin, and yet, in other ways, it really is quite different than what had come before. There's a great Rolling Stone article about the making of this record, and it gives some great insight into the dynamics going on between the band members (for example, their bassist, John Paul Jones, was in-crisis and seriously contemplating quitting the band right around this time), but also, between them and the recording engineer(s) who worked on this project. I mention that only because it does help epxlain and inform the band's direction during these recording sessions.

As for the sessions, it's important to remember that several of the tracks were actually recorded for other Zeppelin records, but for whatever reason were not included in those releases. This is why, for example you will find "Houses of the Holy" on this record and not on the record released under the same name. That's but one example as there are several 'left'overs' that ended up on this record. Eight tracks were recorded at Headley Grange (if you ever wondered how Zeppelin got that "fat" drum sound on "When The Levee Breaks" on Zeppelin IV, it was there, in the (huge) foyer of Headley Grange that Bonham's drum kit was situated to take advantage of the low echo but lengthy reverb present in the space (remember...these were the pre "Pro Tools" days)), but among the tracks that were from other sessions (and included in 'Graffiti) were classics like Bron-Yr-Aur (pronounced "Brahn-rahr"), which is a beautiful in-the-round type mix that features Page alone, playing in an alternate tuning (I think open C...maybe?), recorded back in 1970.

Some of the other out-takes from previous sessions (included on 'Graffiti) were "Night Flight", "Boogie with Stu" (an homage to Richie Valens' "Ooh, My Head" and so named because it featured Ian Stewart on a rather out-of-tune piano), and "Down By the Seaside", all three of which were recorded during the sessions for Led Zeppelin IV (and you know that one...don't you?). There are still other out-takes that were included, but the thing about this record is that much like the Stone "Exile on Main Street" it works both on the merits of individual tracks, as well as complete release; the context borne of all tracks frames the others.

Indeed, the record was not originally conceived as the double-LP that it was ultimately issed as - this stemmed from the fact that the original eight tracks would be too long for a single record...and yet, there wasn't enough material to warrant a double-LP...until they decided to go back to the vaults and find suitable tracks, previously recorded, that would fit the overall musical theme and stylings of the record. However, it all sort of worked out. I suppose you could criticize the effort by saying that not all of the tracks were played with the completed project in mind and therefore, its merely a happy accident that it turned out as well as it did. That may indeed be the case, but it doesn't in any way detract from my enjoyment of the record, and in fact, I'm forever grateful that Page Plant et al decided that including previously recorded tracks made the record 'work' and allowed all eight (original) tracks to be heard.

There are some full-on rock anthems on this record (the record opens with "Custard Pie" ('talk about a great guitar solo...)), but also, there are some beautiful, melodic, and often times bitterwseet tracks. A personal favorite of mine being the seldom heard "Ten Years Gone", which speaks to a critical moment in Robert Plant's life when faced with an ultimatum given by his then girlfriend ("it's music...or me...make a choice") he chose the former rather than the latter. It's a really great track, with nice dynamics (for rock music anyway), with some great riffs played by (Jimmy) Page - it's a rather unusual rock track in that it almost appears to be written in movements rather than the traditional rock / blues structure.

You want "Full-Throttle"? OK then...queue-up "The Wanton Song" (Bonham's triplets on this are legendary - and check out the timbre that John Paul Jones managed to get from the bass on this track - I have no idea how it was done, but the bass sounds incredibly good), the previously mentioned "Custard Pie", "Trampled Under Foot", "The Rover"...

Then there's "In My Time of Dying". Zeppelin were heavily influenced by American blues and gospel, and this influence (particularly) serves as the roots of this track. It's a tour-de-force in slide guitar, and Bonham's drumming on this is ...thunderous. Let's not forget "In the Light", which features John Paul Jones' work on synthesizer and Page's guitar, and is the PERFECT tune for dimming the lights, and simply listening; it's a somwhat spooky / haunting number that does wonders with dynamics and phrasing. Like "Ten Years Gone", this is another lengthy track, written in movements, and begins with a dark, somewhat haunting part comprising Page's bowing of an acoustic guitar, along with Jones' synthesizer; the track builds...releases...builds again...releases again. Brilliant.

Then...we have..."Kashmir". I have to say that when I first heard the record, I liked this tune quite a bit, but it took some time for the tune to become a 'go-to' Zeppelin number for me. It's a sprawling, expansive, middle-Eastern-tinged number that some have dismissed as the height of bombast and indulgence...and while there may be an element of truth in that, it's still a remarkable number. I think (though I am not sure) that this particular track was the first where significant orchestration was employed. Sure, they used the Mellotron on a great many tracks, but this is something else. And...it is unique. Though there are periods where I avoid listening to this tune (most likely because it was over-played, both by me...and on the radio in those days), but I always come back to it.

So much to say...and so hard to say it well...but in my opinion, this record is indeed a masterpiece. If you have not heard this CD, you really need to do so. Go ahead...add it to your request list. Now.

A lot of greats submitted by VickyB77 on July 30, 2015, 3:40pm There are some classics on this that everyone knows, but even the not-as-well-knowns are still fantastic. I'm bummed I was born too late to enjoy this when it was fresh and new!

Physical Graffiti by Led Zeppelin submitted by Fevvers - STAR473 on August 4, 2016, 1:38am I can't begin to give a review as in-depth and well-analyzed as mark a jay's, but I can and will add my voice to those declaring Physical Graffiti a great and very interesting album from Led Zeppelin. It's cool to hear the rough cuts, mixes, and outtakes that you won't find elsewhere. Strongly recommended for Led Zeppelin fans and listeners interested in the recording process.

sprawling double album plus bonus disc submitted by tisaallen on July 13, 2022, 4:34pm Some people swear by Physical Graffiti, but I never really loved it. This version adds a 3rd disc of alternate versions that are interesting but don't really add that much.