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Physical Graffiti Import

4.7 out of 5 stars 1,038 customer reviews

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Audio CD, Import, August 16, 1994
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Product Description

After a two-year hiatus, Led Zeppelin returned in 1975 with one of rock's greatest double albums, a sprawling work akin to Exile on Main Street in its loose, offhand brilliance. Includes Trampled Under Foot; Houses of the Holy; Kashmir; Down by the Seaside; Black Country Woman; In My Time of Dying , and more.

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This 1975 release came smack in the middle of a long and nearly mythic career. 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. Playfully experimenting with new sounds, the band blended Middle Eastern rhythms, folk-stylings, heavy blues, and deeply impassioned rock riffs into a two-disc set that sounded as if they were still enjoying their place in the rock pantheon. As sprawling and adventurous as this collection is, there are some tracks so tightly focused--so ultra-Zeppelinesque--that it's tempting to name this as a number one or number two must-have. "Trampled Underfoot" and "Custard Pie" alone are almost worth the double-disc price tag. --Lorry Fleming
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Product Details

  • Audio CD (August 16, 1994)
  • Number of Discs: 2
  • Format: Import
  • Label: Swan Song
  • ASIN: B000002JSN
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (1,038 customer reviews)
  • Amazon Best Sellers Rank: #9,487 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

A Kid's Review on February 9, 2006
Format: Audio CD
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
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Format: Audio CD
Containing some of Zeppelin's very best tracks, "Physical Graffiti" is definitely worth the price of two discs. Like most double albums, it can get a little excessive... but if you've purchased their first 4 albums and still can't get enough, this is a must have! "Kashmir" is essential by itself and possibly the best song the group ever recorded... a majestic epic that fuses rock, blues, and middle eastern influnces... all the things Zep is known to do best! Then there's the blistering "Trampled Under Foot" which has one of Page's best riffs of all time and a funky clavinet played by the multi-talented John Paul Jones. Plant is in top form on the spiritual catharsis of "In My Time of Dying" with John Bonham providing the raw energy all the way through.
Disc one is more consistent, but disc two offers a wide variety of gems such as the building ballad "Ten Years Gone" which offers some of Robert's best lyrics to date, the fun old-timey feel of "Boogie With Stu", the countrified acoustic track "Black Country Woman", and the wild "Wanton Song". Many of these tracks have the feel of b-sides (which is essentially what they were) and makes them even more fun to listen to.
One of the few double LPs to truly be worth purchasing (along with the Beatles White Album, Stevie Wonder's Songs In the Key of Life, George Harrison's All Things Must Pass, and Pink Floyd's The Wall), Physical Graffiti is the high water mark of Led Zeppelin's career.
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Format: Audio CD
Wow. As Zeppelin's most ambitious statement, and their first and only double album, Physical Graffiti would hypothetically be a contender for greatest rock album of all time it it weren't for Zoso (Not that I'm complaining or anything! :-))
Custard Pie is blues on speed, while being squashed under the skillful wah-wah pedal of Jimmy Page.
The Rover simply rocks. It combines headbanging with flair in a musical statement that is hard to overestimate.
In My Time of Dying contains some of the best spitfire-blues slide guitar you'll ever hear.
Houses of The Holy is a great, catchy pop-rock song that just makes you wanna get up and get your schwerve on.
Trampled Under Foot is pure, 100%, unfiltered headbanging enjoyment.
Jimmy Page & Robert Plant both agree that "Kashmir" was their greatest work. I say they're just being humble about "Stairway to Heaven", but Kashmir is a close second. (Man, Puffy really pissed me off when he did "Come With Me"! Ruined a great song! (Yeah I know Jimmy helped him, but I think Jimmy was just trying to expose a new generation of listeners to Zeppelin, which is honorable))
In The Light has two distinct moods: A peaceful, glorious side, and a dark, foreboding, heavy metal side. These two moods throw you back and forth until you're dizzy, which is a good thing.
Bron-Y-Aur is an acoustic track kinda hidden amidst greatness, but it's actually Jimmy Page's best perfomance on this album! As a guitarist, trust me. This is NOT an easy song to play! Very pretty, too.
Down By The Seaside is a really peaceful little song, with really cretive use of a tremolo effect on Page's guitar. Gets you in the mood for the next two songs.
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Format: Audio CD
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).
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