Physical Graffiti (Disc 1)  (38:54)
	01	Custard Pie						04:12
	02	The Rover						05:35
	03	In My Time Of Dying						11:04
	04	Houses Of The Holy						04:01
	05	Trampled Under Foot						05:34
	06	Kashmir						08:28
Physical Graffiti (Disc 2)  (43:11)
	01	In The Light						08:44
	02	Bron-Yr-Aur						02:06
	03	Down By The Seaside						05:13
	04	Ten Years Gone						06:30
	05	Night Flight						03:36
	06	The Wanton Song						04:06
	07	Boogie With Stu						03:51
	08	Black Country Woman						04:23
	09	Sick Again						04:42

Physical Graffiti
Date of Release Feb 24, 1975

AMG EXPERT REVIEW: Led Zeppelin returned from a nearly two year hiatus in 1975 with the double-album Physical Graffiti, their most sprawling and ambitious work. Where Led Zeppelin IV and Houses of the Holy integrated the influences on each song, the majority of the songs on Physical Graffiti are individual stylistic workouts. The highlights are when Zeppelin incorporate influences together and stertch out into new stylistic territory, most notably on the tense, Eastern-influenced "Kashmir." "Trampled Underfoot," with John Paul Jones' galloping keyboard, is their best funk-metal workout, while "Houses of the Holy" is their best attempt at pop, while "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 monsterous epic "The Rover" -- are louder, more extended and textured than their previous work. Also, all of the heavy songs are on the first record, leaving the rest of the album to explore more adventerous territory, whether it's acoustic tracks or grandiose but quiet epics like the affecting "Ten Years Gone." The second half of Physical Graffiti feels like the group is cleaning the vaults out, issuing every little scrap of music they set to tape in the past few years. That means that the album is filled with songs that aren't quite filler, but they don't quite match the peaks of the album, either. Still, even these songs have their merits -- "Sick Again" is the meanest, most decadent rocker they ever recorded and the folky acoustic rock & roll of "Boogie with Stu" and "Black Country Woman" may be tossed off, but they have a relaxed, off-hand charm that Zeppelin never matched. It takes a while to sort out all of the music on the album, but Physical Graffiti captures the whole experience of Led Zeppelin at the top of their game better than any of their other albums. -- Stephen Thomas Erlewine

1. Custard Pie (Page/Plant) - 4:13
2. Rover (Page/Plant) - 5:36
3. In My Time of Dying (Bonham/Jones/Page/Plant) - 11:04
4. Houses of the Holy (Page/Plant) - 4:01
5. Trampled Under Foot (Jones/Page/Plant) - 5:35
6. Kashmir (Bonham/Page/Plant) - 8:31
7. In the Light (Jones/Page/Plant) - 8:44
8. Bron-Yr-Aur (Page) - 2:06
9. Down by the Seaside (Page/Plant) - 5:14
10. Ten Years Gone (Page/Plant) - 6:31
11. Night Flight (Jones/Page/Plant) - 3:36
12. Wanton Song (Page/Plant) - 4:06
13. Boogie with Stu (Bonham/Jones/Page/Plant) - 3:51
14. Black Country Woman (Page/Plant) - 4:24
15. Sick Again (Page/Plant) - 4:43

Roy Harper - Photography
Jimmy Page - Guitar, Producer, Remastering
Robert Plant - Harmonica, Vocals
John Paul Jones - Bass, Keyboards, Mellotron
John Bonham - Drums
George Chkiantz - Engineer
Peter Grant - Producer, Executive Producer
Keith Harwood - Engineer, Mixing
Andy Johns - Engineer
Eddie Kramer - Engineer, Mixing
George Marino - Remastering
Ron Nevison - Engineer
Ian Stewart - Piano
Mike Doud - Artwork, Design, Cover Design
Peter Corriston - Artwork, Design, Cover Design
Elliot Erwitt - Photography
Dave Heffernan - Illustrations
B.P. Fallen - Photography

CD Swan Song SS-200-2
1995 CD Atlantic 7567-92442-2
1990 LP Atlantic 200
1990 CD Atlantic 200
1975 CS Swan Song CS2-200
CD Atlantic 92442
1994 CD Atlantic 92442
1994 CS Atlantic 92442
2001 LP Classic Compact Disc 2200


Custard Pie
Composed By Jimmy Page/Robert Plant
Performed By Led Zeppelin

AMG REVIEW: Led Zeppelin was one of, if not the funkiest hard rock bands of the 1970s. In addition to all of their big- rock bluster, the versatile band was known for their intricately textured acoustic moments as well as their eminently danceable variations on James Brown rhythms. While Zeppelin had been borne from blues bands, by the early- to mid-'70s, especially on the masterful double-LP Physical Graffiti (1974), they seemed to fall more under the spell of soul and the urban R&B and funk of artists like Stevie Wonder.
"Custard Pie" features just such a staccato, start-and-stop Brown riff, though guitarist Jimmy Page makes it sound considerably more rock & roll, with a chunky Keith Richards/ Faces-sort of groove. Not to be outdone, legendary drummer John Bonham digs into the monstrous beat. In addition to his bass guitar, John Paul Jones lays down a suitably funky Clavinet part. The head-bopping, hip-shaking feel-good vibe of the song extends to Robert Plant's bluesman sexual innuendoes "Oooh, your custard pie yeah/Sweet and nice/When you cut it mama/Save me a slice/Your custard pie yeah/I declare that it's sweet and nice/I like your custard pie/When you cut it mama/Mama please save me a slice."

Unlike many British rock acts who paid tribute to American blues masters, Led Zeppelin had a bad habit of lifting significant portions of old blues songs uncredited. But this habit itself was lifted from the blues/ folk tradition of borrowing from other artists and traditional songs passed around. In the case of "Custard Pie," Page and Plant used an amalgam of Bukka White's "Shake 'Em on Down" and Sleepy John Estes' 1935 "Drop Down Daddy," both of which had, in turn, subsequently spawned variations by Sonny Terry, Big Joe Williams, and Blind Boy Fuller. Zeppelin's unique sonic blend, though, adds as much to the song as any of the above. Page, as always, adds inventive guitar textures, including a fabulous wah-wah solo. Plant's torrid, high-register vocals are also an identifiable element of the Led Zeppelin sound. He just has one of those great rock & roll voices where the lyrics don't matter - which is a good thing for many of the band's songs.

Page tore through an excellent version of it on tour with the Black Crowes, a fiery reading that edges it even closer to the boogie of the Faces than Zeppelin's. It was released on Live at the Greek (2000). Crowes vocalist Chris Robinson does not aim to imitate Plant's vocal, even while his own style approximates it. He gives it a good Southern-boy approach, and the band's twin-guitar attack with Page and Rich Robinson is almost punk rock in its aggressive attack. - Bill Janovitz



Trampled Under Foot
Composed By John Paul Jones/Jimmy Page/Robert Plant
Performed By Led Zeppelin

AMG REVIEW: Very few heavy rock bands were as good as Led Zeppelin in adding contemporary funk and R&B influences in their heavy-guitar maelstrom. While Sly & the Family Stone and Stevie Wonder had been fusing rock & roll and R&B under the " funk" catch-all for years, and rock & roll bands like the Rolling Stones and Faces had always heaped a healthy dose of boogie into their rock, few hard rock/ heavy metal bands seemed to care as much about danceability and the sexy side of rock & roll as Zeppelin.
Taking the first half of Wonder's classic "Superstition" riff, Clavinet keyboard and all, John Paul Jones manually loops and lays into it, providing "Trampled Under Foot"'s incessant rhythm and theme. John Bonham provides his pummeling as a stalwart foundation, while Jimmy Page doubles the main riff on distorted guitar, layering multiple other, part-specific guitar textures throughout the arrangement. The lick is unrelenting. Indeed, there is only one main change, the wah-wah guitar seventh chords that ascend at the end of the refrains - there is no real chorus, per se. Only a midsong breakdown, repeated once, offers respite from the assault.

Vocalist Robert Plant offers his predictable bluesman sexual innuendo, though this time he seems inspired by T. Rex's Marc Bolan, riffing on a woman-as-hot-rod metaphor: "Greasy slicked down body/Groovy leather trim/I like the way ya hold the road/Mama, it ain't no sin/Talkin' 'bout love/I'm talkin' about love/I'm talkin' 'bout/Ooh, trouble-free transmission/Helps your oil's flow/Mama, let me pump your gas/Mama, let me do it all." There must be something ironic about the lyrical content being assembled under the songs title, a reference from the New Testament: "You are the salt of the earth; but if the salt has become tasteless, how will it be made salty again? It is good for nothing anymore, except to be thrown out and trampled under foot by men." (Matthew 5:13) "When you see Jerusalem surrounded by armies, then recognize that her desolation is at hand...and Jerusalem will be trampled under foot by the Gentiles until the times of the Gentiles be fulfilled" (Luke 21:20, 24b). How any of this ties into Zeppelin's song is anybody's guess. The title probably just sounded cool at the time.

The Zeppelin recording is a heavy stomp, due in no small part to Bonham's trademark pulverizing style. But rarely has a hard rock band showed as much attention to the hip-shakeability aspect of rock & roll as to overloaded guitars, shrieking vocals, and loud drums. Only Aerosmith and AC/DC come to mind as other bands who rocked as hard, while retaining the same amount of boogie. Generally you get either one aspect or the other. Plant tempers his high-register vocals with an Elvis Presley-like quivering croon, a chesty bellow. There is a great tape-echo-like stereo delay effect on his vocal track. Bonham seems to have learned something from the polyrhythmic beats of James Brown and his drummer John "Jabo" Starks. And, of course, Jones almost completely apes Wonder's heavy Clavinet riffing, playing plenty of off-beat licks. - Bill Janovitz



Kashmir
Composed By John Bonham/Jimmy Page/Robert Plant
Performed By Led Zeppelin

AMG REVIEW: I have a friend who recommends that when you have an annoying song stuck in your head, you should think of Led Zeppelin's "Kashmir" and your problem is solved. It works for me; the song's infectious, ascending hook and monstrous John Bonham drum groove obliterate any remnants of the latest catchy teen pop song that might have been overheard at the grocery store. "Kashmir" takes us back to when it provided an ominous soundtrack to driving aimlessly with friends around the sleepy suburban streets of youth.
The centerpiece to Led Zeppelin's ambitious - and at times masterful - 1975 double record, Physical Graffiti, "Kashmir" opens with an explosive cymbal crash, launching into a Middle Eastern-tinged chord progression which alternates with a horn-driven epic second part, and then a sparse, funk rock third section. The main body has the drums playing the standard 2/4 time signature, while the rising musical theme creates tension by playing against it in 3/4 time. The instrumentation blends orchestral brass and strings with electric guitar and mellotron strings. Like much Zeppelin lyrical matter, "Kashmir" teeters on the silly, if not the pretentious. But Plant pulls it off, exploring the mystical; the descriptions are as if from an ether dream: "Oh let the sun beat down upon my face/And stars fill my dreams/I'm a traveler of both time and space/To be where I have been/To sit with elders of the gentle race/This world has seldom seen/They talk of days for which they sit and wait/And all will be revealed." By way of dreaming, meditation, or medication, the singer is searching for the same answers the elders are patiently waiting to have "revealed." In addition to his blues background, Plant shows a Pakistani influence in his singing, like the prayers/chants of Nusrat Fateh Ali Khan, the devotional singer made popular on soundtracks and through collaborations with pop singers in the mid- to late '90s. Plant has called the song "the definitive Led Zeppelin song." Its sprawling eight-minute-30-second form is almost cinematic in scope. This aspect, as well as its Arabic and Indian influences, were emphasized by former Killing Joke brethren Youth and Jaz Coleman in their symphonic arrangement of the song on the 1997 Kashmir: The Symphonic Led Zeppelin. Page and Plant also played up the Eastern influences on their 1994 reunion record, the live souvenir No Quarter. Rapper/entrepreneur Puff Daddy enlisted the help of Jimmy Page himself on guitars for his 1998 song "Come With Me," which is all but an outright cover of "Kashmir," built almost exclusively on a sample loop of the song. Indeed, writing credit is given to the song's original authors. - Bill Janovitz






В 1975 год Led Zeppelin вступили самой популярной группой мира. Результаты продаж пластинок и билетов на концерты были настолько впечатляющи, что этот негласный титул даже никем не оспаривался! Годом ранее музыканты учредили собственный рекорд-лейбл "Swan Song", названный так по неизданной инструментальной композиции Джимми Пейджа. Первым релизом и стал двойной альбом отцов-основателей - "Physical Graffiti", вышедший 24 февраля 1975 г. (записывать его музыканты начали аж в ноябре 1973-го в поместье Хэдли Грейндж, в передвижной студии басиста "The Faces" Ронни Лейна). Предварительные заказы на эту пластинку составили сумму в 15 млн. долларов, так что не удивительно, что она моментально оказалась на 1-м месте хит-парада и стала четырежды "платиновой". Именно на "Physical Graffiti" можно найти "визитную карточку" группы - песню "Kashmir", где Джимми Пейдж демонстрирует мастерство игры на ситаре, "Houses of The Holy", так и не ставшую титульной композицией предыдущего альбома, и чартовый суперхит "Trampled Underfoot".

Swan Song SSK 89400
Released on February 24, 1975
Recorded between November 1973 and December 1974 at Headley Grange with
Ronnie Lane's mobile studio and the Rolling Stones mobile studio,
Olympic Studios, Island Studios, Stargroves and Electric Ladyland.

Produced by: Jimmy Page
Executive producer: Peter Grant
Engineers: Eddie Kramer, George Chkiantz,
Keith Harwood, Andrew Johns,
and Ron Nevison
Package Concept and Design by: AGI
Mike Doud, London
Peter Corriston, London
Photography: Elliot Erwitt, B.P. Fallen,
and Roy Harper
Tinting Extraordinaire: Maurice Tate
Window Illustration: Dave Hefernan
Jimmy Page Electric guitar, acoustic guitar,
pedal steel guitar, backing vocal
Robert Plant Lead vocal, harmonica
John Bonham Drums, tympani, backing vocal
John Paul Jones Bass, mellotron, synthesiser, organ, piano, grand piano,
synthesiser piano, synthesised bass, backing vocal

Disc One
1) Custard Pie (4:20)
(Page/Plant)
Recorded in 1974 at Headley Grange, Hampshire,
with Ronnie Lane's Mobile Studio and at Olympic Studios
Engineered by Ron Nevison(Mobile) and Keith Harwood(Olympic).
Mixed at Olympic Studios with Keith Harwood.
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"
2) The Rover (5:44)
(Page/Plant)
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"
3) In My Time Of Dying (11:08)
(Page/Plant/Jones/Bonham)
Recorded in 1974 at Headley Grange, Hampshire,
with Ronnie Lane's Mobile Studio
Engineered by Ron Nevison.
Mixed at Olympic Studios with Keith Harwood.
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"
4) Houses Of The Holy (4:01)
(Page/Plant)
Recorded in 1972 at Olympic Studios, London
Engineered by George Chkiantz.
Mixed at Electric Lady, New York, with Eddie Kramer.
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"
5) Trampled Underfoot (5:38)
(Page/Plant/Jones)
Recorded in 1974 at Headley Grange, Hampshire,
with Ronnie Lane's Mobile Studio and at Olympic Studios
Engineered by Ron Nevison(Mobile) and Keith Harwood(Olympic).
Mixed at Olympic Studios with Keith Harwood.
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"
Released as a single on 4/2/75; #38 U.S. pop.
6) Kashmir (9:41)
(Page/Plant/Bonham)
Recorded in 1974 at Headley Grange, Hampshire,
with Ronnie Lane's Mobile Studio and at Olympic Studios
Engineered by Ron Nevison(Mobile) and Keith Harwood(Olympic).
Mixed at Olympic Studios with Keith Harwood.
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"
Disc Two
1) In The Light (8:44)
(Page/Plant/Jones)
Recorded in 1974 at Headley Grange, Hampshire,
with Ronnie Lane's Mobile Studio and at Olympic Studios
Engineered by Ron Nevison(Mobile) and Keith Harwood(Olympic).
Mixed at Olympic Studios with Keith Harwood.
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"
2) Bron-Yr-Aur (2:07)
(Page)
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"
3) Down By The Seaside (5:15)
(Page/Plant)
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"
4) Ten Years Gone (6:55)
(Page/Plant)
Recorded in 1974 at Headley Grange, Hampshire,
with Ronnie Lane's Mobile Studio and at Olympic Studios
Engineered by Ron Nevison(Mobile) and Keith Harwood(Olympic).
Mixed at Olympic Studios with Keith Harwood.
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"
5) Night Flight (3:37)
(Page/Plant/Jones)
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"
6) The Wanton Song (4:10)
(Page/Plant)
Recorded in 1974 at Headley Grange, Hampshire,
with Ronnie Lane's Mobile Studio and at Olympic Studios
Engineered by Ron Nevison(Mobile) and Keith Harwood(Olympic).
Mixed at Olympic Studios with Keith Harwood.
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"
7) Boogie With Stu (3:45)
(Page/Plant/Jones/Bonham/Ian Stewart/Mrs. Valens)
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"
8) Black Country Woman (4:30)
(Page/Plant)
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"
9) Sick Again (4:40)
(Page/Plant)
Originally released on February 24, 1975 on "PHYSICAL GRAFFITI"









Led Zeppelin: Physical Graffiti


Журнал "Classic Rock" №8 январь/февраль 2002г.


Released: 1975
Producer Jimmy Page
Label: Swan Song
Highest UK chart: 1
Highest US chart: 1

К записи своего шестого альбома, начатой в конце 1973 года, Led Zeppelin приступили неторопливо и обстоятельно, поскольку, достигнув положения "лучшей рок-группы мира", обладали практически неограниченными "запасами" студийного времени. Работа была начата в студии "Headley Grange" - той самой, где был записан их легендарный "Led Zeppelin 4". Отговорив Джона Пола Джонса уходить из группы (хотите верьте, хотите - нет, но басист мечтал податься в хормейстеры), они записали восемь треков общей продолжительностью звучания 52 минуты. А поскольку в те времена CD еще не существовало, у них, естественно, возникла проблема: для одинарного альбома записанного материала было слишком много, а для двойного - слишком мало.

Посему было принято решение покопаться в студийном архиве в поисках песен, не вошедших в их предыдущее альбомы. Идея себя оправдала, и семь треков вкупе с уже записанными составили двойник "Physical Graffiti", поступивший в продажу в начале 1975 года.

Альбом стал своеобразной ретроспективой творчества Led Zeppelin, так как на нем были представлены все стили, с которыми они когда-либо экспериментировали - от блюз-рока ("Custard Pie") до ни на что не похожей одиннадцатиминутной брутальной конструкции "In My Time Of Dying", где Пэйдж блеснул своей поистине маниакальной игрой на слайд-гитаре.

Потрясающей красоты "медитативный" орган Джона Пола Джонса оживил восьмиминутную "In The Light", а романтическая "Теn Years Gone", построенная па контрастах, стала такой же классической песней Led Zeppelin, что и "Stairway To Heaven". Увлечение Пейджа и Планта Востоком нашло свое отражение в композиции "Kashmir" - гипнотические барабаны Бонзма и арабские клавишные Джонса впечатляют настолько, что даже рэппер Пафф Дэдди не удержался от того, чтобы записать ее кавер-версию.

Одной из наиболее запоминающихся вещей альбома стала "Trampled Underfoot" - настоящий фанк а-ля Kool And The Gang в "цеппелиновском" прочтении, где тандем Бонам - Джонс работает, как хорошо отлаженная машина, а вокал Планта напоминает вопль сексуального маньяка, застрявшего в автомобильном моторе. "Black Country Woman" и "The Rover" были записаны весной 1972 года для альбома "Houses Of The Holy", как и одноименная композиция. "Down By The Seaside", сочиненная явно под влиянием Нила Янга, и инструментальная "Bron Yr Аur" вовращают слушателя во времена полуакустического третьего альбома. Не вошедшие в "Led Zeppelin 4" песни "Night Flight" - о ядерной войне, недавно исполненная Плантом и группой Strange Sensations, а также "Boogie With Stu" -студийный джем-сейшн с пианистом Йеном Стюартом (lan Stewart) из The Rolling Stones были записаны в один день с "Rock And Roll", "The Wanton Song" в очередной раз демонстрирует мастерство Пейджа, а последний трек "Sick Again" ("Снова мутит") повествует о том, как сильно могут "достать" группи, в то время буквально преследовавшие музыкантов. "Physical Graffiti" оказался последней великой записью Led Zeppelin, показавшей, на что способны действительно талантливые музыканты. Счастливые и уверенные в себе люди, тогда они еще не знали, что их ждет впереди - смерть Джона Бонэма и последовавший за ней распад группы.