Physical Graffiti: Why Led Zepplin rocks

Photo courtesy of Leo Reynolds, Flickr

In their most prolific period — from 1969 to 1975 — Led Zeppelin released six albums. Each album has secured itself a rightful place as a classic in the canons of rock history. The last of these six was Physical Graffiti . Like most mega-bands of the ’70s, Led Zeppelin decided that after reaching incredible heights, their next logical step was to release a double album. Unlike most of those like-minded bands, Zeppelin ended up releasing (another) timeless piece of work.

Physical Graffiti is not Zeppelin’s best work – that distinction falls upon IV; nevertheless, it is the summation of everything beautiful about rock. If aliens came here and demanded we show them “rock music,” we would play them this album. It is epic, grandiose, funky, gnarly, mystical and strange all at once.

Roughly half of Physical Graffiti is composed of new material recorded for the album, with the other half being composed of old cuts that the band felt had to be released. Despite this and the album’s significant length, Graffiti doesn’t feel disjointed. In fact, it feels like Zeppelin’s most comfortable work.

In other words, Physical Graffiti is where Zeppelin completely come into their own, producing tracks that while not (like their previous records) groundbreaking, are unquestionably defined by classic Zeppelin sensibilities. Author Dave Lewis put it best when he described Physical Graffiti as “the definitive summary of [Zeppelin’s] studio work,” creating “an embarrassment of riches.”

Graffiti does this by showcasing each band member’s best qualities. Jimmy Page creates some of his most melodic and memorable riffs. Page, who also produced the record, beautifully layers his lyrical guitar parts in a way that often overwhelms the senses with joy and wonder. “Ten Years Gone” – my favorite Zeppelin song – is one of the album’s best examples of Page’s dedication to guitar artistry. The song swells with a distinctively Zeppelin hook, and progresses into one of the bands’ finest and most touching ballads.

“Houses of the Holy,” on the other hand, is one of the record’s more hard-hitting tracks. And though the track is seemingly a more traditional rock song, its structure is unique, and it is propelled by a groove only John Bonham – the greatest drummer man has ever known – could produce. This is true of all of the album’s less ethereal songs, including the funky “Trampled Under Food” and the frantically wonderful “Wanton Song.”

Speaking of Bonham, he is absolutely astounding on his album. His grooves are deceptively simple and immeasurably important to the success of every song, as is the subtly brilliant bass-playing of John Paul Jones, the other half of Zeppelin’s legendary rhythm section. Jones always finds a way to milk out of his bass riffs magic that no other bassist could produce, marrying Page’s complex guitar patterns with Bonham’s intricate drum phrases.

And of course, no discussion of Physical Graffiti would be complete without mention of the album’s centerpiece – “Kashmir.” Undoubtedly ahead of its time, “Kashmir” embodies the band’s adoration of the mythical. The instrumental is magnificently orchestrated and perfectly extravagant. Singer Robert Plant’s lyrics define the journey, his voice as captivating and matchless as ever. Songs like “Kashmir” and albums like Physical Graffiti are clear reminders of why Zeppelin is a cut above the rest.