Led Zeppelin’s ‘Physical Graffiti’ turns fifty

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Half a century ago, what many consider the best rock band ever produced their finest album. In the latter part of February, 1975, Led Zeppelin unveiled Physical Graffiti. I acknowledge that making such a claim might ruffle feathers among Beatles and Stones devotees, as well as Zeppelin fans who favor Led Zeppelin II or the legendary Untitled (known today as IV). However, I stand by my assertion. For now, at least. Perhaps we can reconsider this during our retrospective later on.

Initially, the album “Physical Graffiti” was scheduled for release in 1974. However, it ended up being delayed a bit. This slight postponement played a part in making it as exceptional as it is. Let’s delve into that aspect later on. For now, it’s essential to note that the delay had nothing to do with the quality of the music itself. Instead, it reflects the vast array and depth of what Led Zeppelin were accomplishing during that period.

At that moment, they were considered the best rock band globally. Over a span of six years before the release of ‘PG’, the band had put out five studio albums. The debut was unveiled at the start of 1969 and quickly gained momentum with “Good Times, Bad Times.” It reached the top ten in the US album charts and peaked at number six in the UK.

Led Zeppelin’s Physical Graffiti was magical

The next four albums all went to number one on both sides of the pond.

Title Unknown, often referred to as IV, or simply “Stairway to Heaven”, was released in 1971, effectively silencing any arguments about who reigned supreme in the realm of rock and roll. The Beatles had disbanded, and despite the incredible music produced during Mick Taylor’s tenure with the Rolling Stones, they always appeared precariously close to disintegration (Taylor would officially leave a few years after this).

In approximately three years, the band had produced four impressive albums and embarked on a demanding touring routine. This intense workload was taking its toll on them, leading them to delay the release of album number five – Houses of the Holy, which came out in 1973. While I personally enjoy Houses , not all fans shared my sentiment. Compared to their usual style, it had a softer tone.

Compared to Zeppelin III, it felt remarkably mellow, a sentiment that contrasts with the hard-driving blues rock of its predecessors. Contrary to what some dedicated fans might argue, tracks like “The Immigrant Song” and “Celebration Day” were not soft at all. In the realm of rock & roll criticism, Houses of the Holy is often described as laid-back.

Had we ventured into uncharted territory? Was it time for the boys to take a pause? What could potentially be the appearance of our upcoming album? A sense of foreboding hung in the air, as there were doubts whether there would indeed be another album. Our secret advantage, bassist/keyboardist John Paul Jones, was feeling drained and contemplating his departure.

Jones regained strength and it turned out to be monumental. The 15 songs spanning 82 minutes showcased new directions while continuing to rock as hard or harder than any band on Earth. If the nine songs they recorded at Headley Grange in early 1974 had been of average length, they could have easily filled a single album.

Initially, three tunes surpassed the eight-minute mark individually, accumulating almost half an hour. Conversely, the remaining six tracks were roughly the same duration. If they had either shortened one of the extended songs or removed two of the shorter ones, the entire album could have been contained within a single disc.

The band refused to abandon any projects. Since they recently established their own record label, Swan Song, led by their manager Peter Grant, they possessed enough influence to make that choice independently.

Jimmy Page, Robert Plant, John Bonham, and John Paul Jones delved into their past works, searching for high-quality tunes that hadn’t previously appeared on any of their albums due to various reasons. Eventually, they unearthed six such songs. As a result, they had compiled enough material for a full double album.

The album kicked off with two high-energy hard rock tracks that were characteristic of Zeppelin’s style. “Custard Pie” was a fresh addition, while “The Rover” was previously recorded during the Houses of the Holy sessions. Originally, “The Rover” might have been considered too blues-oriented for the “laid-back” feel of Houses. However, it fit perfectly on the new album.

On the first side, there was an additional track which sparked curiosity among early listeners, hinting at something extraordinary unfolding. Previously, they had performed traditional blues songs, but “In My Time of Dying,” drawn from Blind Willie Johnson’s “Jesus Make Up My Dying Bed,” ventured into unexplored territory. This track spanned eleven minutes, delving into the slowest possible tempo before swiftly transitioning through varying speed changes that might leave any listener dizzy with surprise.

It’s common knowledge that Jimmy Page is among the world’s top-tier guitarists. At the four-minute point, he only reinforced this reputation by increasing the intensity. Jones and iconic drummer John Bonham managed the rhythm shifts smoothly without breaking a sweat.

As a dedicated fan, I can’t help but feel grateful that “The Song Remains the Same” didn’t make it onto “Houses of the Holy.” Instead, its absence turned out to be my lucky day! This omission serves as an enticing introduction to the next two masterpieces, elevating Led Zeppelin’s sixth album from merely good to absolutely sublime.

One of the most iconic duos in rock history is the consecutive playing of “Trampled Under Foot” and “Kashmir.” In “Trampled,” Jones’ clavinet creates an irresistible funk rhythm that mirrors Stevie Wonder’s “Superstition.” As for “Kashmir,” it seamlessly blends hard rock with progressive elements as effortlessly as any song in history, spanning over eight-and-a-half minutes.

In comparison to the first disc, the second one is often viewed as less strong due to including more remnants from past recordings. However, I won’t dispute that viewpoint. Instead, I’d like to highlight that an album with two standout tracks such as “In the Light,” which showcases Jones’ captivating clavinet skills again, and “Ten Years Gone,” a remarkable power ballad, is still considered a notable accomplishment.

By incorporating “Sick Again,” the robust energy of “The Wanton Song” (which can be seen as a less funky version of “Trampled Under Foot”), and the charming melody of “Down by Seaside”, you would have created an album that would have made most other rockers envious during that period.

The reason behind the late unveiling was due to Peter Corriston, a man known for his Grammy-nominated package designs, creating an exceptional album cover. He discovered two eerie tenement buildings on St Mark’s Place in Manhattan’s lower east side, which he used as inspiration for his design. The cover showcased four stories of the adjacent buildings, with openings to accommodate multiple interior sleeves that could display various images within the buildings’ windows.

Instead of producing something comparable for Stones with “Some Girls” a few years later, it turned out to be a bit tricky to mass-produce the design in 1974 (actually, 1975). As a result, the release was delayed until early ’75.

A minor issue is that a band not as iconic as Led Zeppelin might have faced pressure from their record label to abandon an unusual album design and release it quickly instead. However, this label, Swan Song, was actually the band itself. When they met to discuss the matter, they discovered they all shared the same viewpoint.

They insisted on keeping all the initial tracks in the playlist and delayed the launch to secure their preferred cover art, which is one of the reasons why PG turned out to be as enchanting as it ended up being.

The airship embarked on numerous tours to promote its album, with “Sick Again,” “In My Time of Dying,” “Kashmir,” and “Trampled Under Foot” frequently performed during concerts. The album was highly successful, earning praise from many critics, but it failed to receive any Grammy recognition, aside from the packaging by Corriston – a point of pride. In 1975, it was the Captain & Tennille who took home the Record of the Year award.

In addition, the band’s rendition of “Kashmir” in the 2012 concert film, “Celebration Day,” was the only piece of music nominated for a best rock performance award under the rating PG. However, it did not win; instead, Imagine Dragon’s “Radioactive” took the prize, possibly due to the impressive breath taken during that song.

Indeed, by then, Led Zeppelin had already disbanded. Tragically, their dissolution occurred when their drummer, John Bonham, passed away in 1980. However, for the “Celebration Day” performance, his son Jason took over on the drums.

Speaking of the start, let’s discuss the Led Zeppelin albums. According to my personal interpretation, I consider “Untitled” as their best and greatest. Compared to others, it stands out for being more perfectly crafted with no ‘filler’ songs like “Boogie With Stu” or “Black Country Woman.” However, what truly makes it exceptional is its scope – its grand ambition. It reaches even higher than the already lofty standards set by “Untitled,” which is quite remarkable.

Fifty years ago, I was part of an incredible journey with a band called Led Zeppelin. Their album “Physical Graffiti” was like hitting the jackpot for me as a gamer – it had everything I needed in one place: epic tracks, intricate guitar solos, deep lyrics, and a rhythm section that could move mountains. But after that masterpiece, no other albums quite matched up to its grandeur. The last three records they released still had some amazing tunes, but none could compare to the treasure trove found in “Physical Graffiti.” Sadly, five years later, John Bonham was gone, and so was the band. Yet, their legacy lives on, and I dare say that few rock & roll bands have ever equaled the greatness they achieved back then.

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2025-02-12 14:31