It had been nearly two years since Led Zeppelin had released a studio album when Physical Graffiti made its appearance February 24, 1975. It would become their second most successful commercial release, selling 16 million copies in the United States alone. Rolling Stone would name it to their list of The 500 Greatest Albums Of All Time.
Zeppelin's contract with Atlantic had expired and they decided to form their own label, Swan Song. In addition to themselves, the label would become the home for such artists as Bad Company, Dave Edmunds, The Pretty Things, and Maggie Bell before folding during 1983. Today it is just used exclusively for reissues.
The album jacket cover of the original vinyl release was very innovative. It pictured an actual tenement building in New York City located at 96 and 98 St. Mark Place. The inner sleeve allowed you to change the pictures in the windows.
Physical Graffiti was a long, sprawling double album which reached out in a number of musical directions. Led Zeppelin’s albums were always an attack on the ears and senses and this double dose is almost overwhelming. The length allowed the group to try new things and also reach back into their past for some forgotten, unused material.
I have always found the first disc the stronger of the two with three of the tracks ranking among their best. The album begins with “Custard Pie” with blues riffing and wah-wah guitar by Page. The lyrics are filled with sexual innuendo and are an immediate attention grabber. “In My Time Of Dying” clocked in at over 11 minutes and was the longest studio track of their career. It had the sound and feel of improvisation which was always a good thing for the group. “Kashmir” remains one of my favorite Zeppelin tracks. Page’s playing is some of the best of his career as the tonal shifts and sophistication are phenomenal.