Physical Graffiti Led Zeppelin

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CD - Remastered

  • Release Date: 08/16/1994
  • Original Release: 1975
  • Sales Rank: 1,345
  • Label: ATLANTIC / WEA
  • UPC: 075679244222

Listener Rating: (30 ratings)

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CD$64.99

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  • Overview
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Track List
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Physical Graffiti

Disc 1
1LISTENCustard Pie 4:14
2LISTENThe Rover 5:37
3LISTENIn My Time of Dying 11:06
4LISTENHouses of the Holy 4:02
5LISTENTrampled Under Foot 5:36
6LISTENKashmir 8:28

Disc 2
1LISTENIn the Light 8:47
2LISTENBron-Yr-Aur 2:06
3LISTENDown by the Seaside 5:16
4LISTENTen Years Gone 6:33
5LISTENNight Flight 3:37
6LISTENThe Wanton Song 4:09
7LISTENBoogie with Stu 3:53
8LISTENBlack Country Woman 4:32
9LISTENSick Again 4:43

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Editorial Reviews

Led Zeppelin returned from a nearly two-year hiatus in 1975 with Physical Graffiti, a sprawling, ambitious double album. Zeppelin treat many of the songs on Physical Graffiti as forays into individual styles, only occasionally synthesizing sounds, notably on the tense, Eastern-influenced "Kashmir." With John Paul Jones' galloping keyboard, "Trampled Underfoot" ranks as their funkiest metallic grind, while "Houses of the Holy" is as effervescent as pre-Beatles pop and "Down by the Seaside" is the closest they've come to country. Even the heavier blues -- the 11-minute "In My Time of Dying," the tightly wound "Custard Pie," and the monstrous epic "The Rover" -- are subtly shaded, even if they're thunderously loud. Most of these heavy rockers are isolated on the first album, with the second half of Physical Graffiti sounding a little like a scrap heap of experiments, jams, acoustic workouts, and neo-covers. This may not be as consistent as the first platter, but its quirks are entirely welcome, not just because they encompass the mean, decadent "Sick Again," but the heartbreaking "Ten Years Gone" and the utterly charming acoustic rock & roll of "Boogie With Stu" and "Black Country Woman." Yes, some of this could be labeled as filler, but like any great double album, its appeal lies in its great sprawl, since it captures elements of the band's personality rarely showcased elsewhere -- and even at its worst, Physical Graffiti towers above its hard rock peers of the mid-'70s. Stephen Thomas Erlewine, All Music Guide

Customer Reviews

IF ONE READS THE BACK COVER(ON THE ALBUM)by BIGDADS88

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February 21, 2009: THEY WILL FIND THAT ALL THE SONGS ON THIS ALBUM WERE SONGS THAT DID NOT MAKE IT ON THE ALBUMS BEFORE. STILL, IT IS THEIR BEST.

The single most important Led Zeppelin albumby Anonymous

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April 06, 2008: Led Zeppelin's Physical Graffiti shows a willingness to stop all the silliness that the last five albums (despite the fact they're all good) contained, and actually be serious for a change. This album features some of the most moving and thoughtful music ever made. Custard Pie is homage to the other five albums, and any raunch that they might have had it also features some clever sexual innuendo I've never heard before. The Rover is based on traveling and wandering, just as the band do from country to country to tour. In My Time of Dying is another homage to the blues that have become part of their repertoire. In the Light is a masterful combination of psychedelic and hard rock reminiscing of the days of the 60s. Bron-Yr-Aur is a song for the fans it was written about the cottage that the band used to stay at for a time to relax and come up with new material it's FOR the fans, because the band wanted to recollect one of the most special places they went to in their lives, and its meaning is universal: to reflect on what makes us truly happy. Night Flight could be the penultimate Led Zeppelin song, its simplicity encapsulates the embodiment of Led Zeppelin. Down by the Seaside is a pretty little song that respects nature. Boogie with Stu is a backwoods classic with soul. Ten Years Gone is probably my favorite song by them, as it represents a good portion of my life. Kashmir is a rare Middle-Eastern bit. And, Sick Again, the glam rock tribute, reminds me so much of the New York Dolls. The only duds are The Wanton Song, Trampled Underfoot, and Black Country Woman. The first two are so alike and so disco-influenced (not to mention all about innuendo, I just got over Custard Pie), I was about to be sick. Black Country Woman is too twangy and an unnerving reminder of Hats Off to Roy Harper from III. On the whole, this is the closest to Progressive Rock the band can get. I was highly impressed upon hearing it and I recommend this album with all my heart.


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