Album: Physical Graffiti
Artist: Led Zeppelin
Born: Soho, London
Released: February 1975
Genre: Heavy Rock
Influenced: Stone Roses, Black Crowes, White Stripes, Queens Of The Stone Age
If there was only one Led Zeppelin album I could take to a desert island, it'd be Physical Graffiti. Though it was released in 1975, much of the music was recorded during the band's early 70s heyday, and several songs such as the wonderful acoustic track Bon-Yr-Aur (an offcut from 1970's Led Zeppelin III) were held over from previous albums. In terms of style, it covers the full spectrum of Zep's sound from folk and blues to heavy rock, even dipping into country, funk and prog rock. As a vinyl addict, it's also by far their most beautiful album and one of the most prized records in my collection (as an aside, the inlay card says the album was printed at Gothic Print Finishers -- with an SE9 postcode, near where I grew up -- but I've never been able to track down any more info about the operation other than it no longer exists). Physical Graffiti is also my favourite Zep album because it's got Ten Years Gone, Kashmir and In My Time Of Dying on it.
Having already professed a love of sprawling double albums many times on this blog, it's no surprise that I have a fondness for Physical Graffiti. Side 1 has probably the hardest rocking, most typically Zep-sounding songs, though Custard Pie (and Trampled Under Foot) definitely draw some inspiration from the soul music of Stevie Wonder (note John Paul Jones' use of the clavinet). As always, the blues are also a heavy influence, especially on the lyrics (which, as ever, are a little ridiculous and full of sexual innuendo), but Zep do put their own unique sonic stamp on this album. In My Time of Dying is one of four Zep epics on Physical Graffiti, and it would become part of their impressive live repertoire. Kashmir is undoubtedly the most famous of the bunch, and rightly so if nothing else for Plant's singing, but my favourite is Ten Years Gone, one of the band's most experimental compositions. Watching them play it live is impressive, especially the way John Paul Jones plays that three-necked guitar. Side 3 also contains the brilliant acoustic folk of Bron-Yr-Aur, named after the cottage in Wales where the band recorded Led Zeppelin III, as well as the prog rock of In The Light and the country rock of Down By The Seaside. Side 4 is the least engaging, I mean what good is a Zep song without a guitar solo (Night Flight), but Black Country Woman has merits and would have been a better choice for House Of The Holy than the woeful D'Yer Maker. The fact that this album has a few faults only endears it to me really, as this is Led Zeppelin at their most creative and expansive.
If there was only one Led Zeppelin album I could take to a desert island, it'd be Physical Graffiti. Though it was released in 1975, much of the music was recorded during the band's early 70s heyday, and several songs such as the wonderful acoustic track Bon-Yr-Aur (an offcut from 1970's Led Zeppelin III) were held over from previous albums. In terms of style, it covers the full spectrum of Zep's sound from folk and blues to heavy rock, even dipping into country, funk and prog rock. As a vinyl addict, it's also by far their most beautiful album and one of the most prized records in my collection (as an aside, the inlay card says the album was printed at Gothic Print Finishers -- with an SE9 postcode, near where I grew up -- but I've never been able to track down any more info about the operation other than it no longer exists). Physical Graffiti is also my favourite Zep album because it's got Ten Years Gone, Kashmir and In My Time Of Dying on it.
Having already professed a love of sprawling double albums many times on this blog, it's no surprise that I have a fondness for Physical Graffiti. Side 1 has probably the hardest rocking, most typically Zep-sounding songs, though Custard Pie (and Trampled Under Foot) definitely draw some inspiration from the soul music of Stevie Wonder (note John Paul Jones' use of the clavinet). As always, the blues are also a heavy influence, especially on the lyrics (which, as ever, are a little ridiculous and full of sexual innuendo), but Zep do put their own unique sonic stamp on this album. In My Time of Dying is one of four Zep epics on Physical Graffiti, and it would become part of their impressive live repertoire. Kashmir is undoubtedly the most famous of the bunch, and rightly so if nothing else for Plant's singing, but my favourite is Ten Years Gone, one of the band's most experimental compositions. Watching them play it live is impressive, especially the way John Paul Jones plays that three-necked guitar. Side 3 also contains the brilliant acoustic folk of Bron-Yr-Aur, named after the cottage in Wales where the band recorded Led Zeppelin III, as well as the prog rock of In The Light and the country rock of Down By The Seaside. Side 4 is the least engaging, I mean what good is a Zep song without a guitar solo (Night Flight), but Black Country Woman has merits and would have been a better choice for House Of The Holy than the woeful D'Yer Maker. The fact that this album has a few faults only endears it to me really, as this is Led Zeppelin at their most creative and expansive.
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