{"id":470,"date":"2016-02-26T06:31:45","date_gmt":"2016-02-26T06:31:45","guid":{"rendered":"http:\/\/www.loudsoundepicenter.com\/?p=470"},"modified":"2016-02-27T05:54:55","modified_gmt":"2016-02-27T05:54:55","slug":"why-physical-graffiti-was-zeppelins-most-prominent-release","status":"publish","type":"post","link":"https:\/\/loudsoundepicenter.com\/?p=470","title":{"rendered":"WHY PHYSICAL GRAFFITI WAS ZEPPELIN’S MOST PROMINENT RELEASE"},"content":{"rendered":"

Led Zeppelin<\/strong> reached a new range of creativity with the release of their monstrous sixth album, Physical Graffiti<\/strong>. Entering a new dynamic by embracing the hard rock scene of the mid 70’s, the band made a prominent adaption that enhanced their traditional sound.<\/p>\n

This record\u00a0had a very different impact than the group’s previous album, Houses Of The Holy<\/strong>. After a bombarding production with\u00a0the quartet’s fourth release, Houses Of The Holy\u00a0<\/strong>was an impressive followup featuring larger than life acoustic numbers such as The Rain Song<\/em>, hard hitting blues\u00a0tunes like The Ocean<\/em>\u00a0and folk rock\u00a0tracks like\u00a0Over the Hills and Far Away<\/em>. Many of these same compliments fit the profile of Zeppelin IV<\/strong>.<\/p>\n

From this perspective, Zeppelin IV<\/strong> and Houses Of The Holy<\/strong> bridge smoothly together. However, this also allows Physical Graffiti<\/strong> to stick out like a sore thumb. While it does stay true to the band’s blues roots, Physical Graffiti<\/strong> stems beyond the accustomed folk element from previous releases.<\/p>\n

Beginning with a few punchy riffs from hard rock riveters, Custard Pie<\/em> and The Rover<\/em>, the LP also ends in the same fashion with a heavy side four featuring notable tracks like The Wanton Song<\/em> and Sick Again<\/em>. That is not to say this album doesn’t share familiar attributes from past records.<\/p>\n

There is a significant amount of diversity in this album as if they are trying to one up themselves after\u00a0an outstanding attempt at doing so in Zeppelin IV<\/strong>. Spanning from rock to blues and funk as well as everything in between, Physical Graffiti<\/strong> covers a lot of ground like you’d expect from\u00a0a double album by\u00a0Zeppelin<\/strong>.<\/p>\n

There are three tracks in particular that serve as grandiose epics. The first appearing on side one, In My Time Of Dying<\/em>, displays the group’s mastery of another blues cover. On the flip side, Kashmir<\/em> earns its notoriety of being\u00a0an orchestral masterpiece and overall great anthem. The final abstract number is the space rock tune, In The Light<\/em> which proved to be another genre that Zeppelin<\/strong> could triumph in.<\/p>\n

The quartet even left room for funk and boogie shuffles such as\u00a0Trampled Under Foot<\/em> and Boogie With Stu<\/em>. Meanwhile,\u00a0Down by the Seaside<\/em> and Black Country Woman<\/em> offer a slice of the band’s talent in the folk department.<\/p>\n

As a whole, the focus on a heavier tone with an aggressive attitude is what makes this record stand out from the rest. Zeppelin<\/strong> drove themselves in a direction that challenged the hard rock competition of the era and created\u00a0an evolution in their\u00a0catalog.<\/p>\n","protected":false},"excerpt":{"rendered":"

Led Zeppelin reached a new range of creativity with the release of their monstrous sixth album, Physical Graffiti. Entering a new dynamic by embracing the […]<\/a><\/p>\n<\/div>","protected":false},"author":1,"featured_media":476,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,5],"tags":[7,58,59,60,68,178,70,177,103],"class_list":["post-470","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-on-this-date","category-soundwave","tag-70s-hard-rock","tag-jimmy-page","tag-john-bonham","tag-john-paul-jones","tag-led-zeppelin","tag-led-zeppelin-houses-of-the-holy","tag-led-zeppelin-iv","tag-led-zeppelin-physical-graffiti","tag-robert-plant"],"jetpack_featured_media_url":"https:\/\/loudsoundepicenter.com\/wp-content\/uploads\/2016\/02\/Physical.png","_links":{"self":[{"href":"https:\/\/loudsoundepicenter.com\/index.php?rest_route=\/wp\/v2\/posts\/470","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/loudsoundepicenter.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/loudsoundepicenter.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/loudsoundepicenter.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/loudsoundepicenter.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=470"}],"version-history":[{"count":3,"href":"https:\/\/loudsoundepicenter.com\/index.php?rest_route=\/wp\/v2\/posts\/470\/revisions"}],"predecessor-version":[{"id":478,"href":"https:\/\/loudsoundepicenter.com\/index.php?rest_route=\/wp\/v2\/posts\/470\/revisions\/478"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/loudsoundepicenter.com\/index.php?rest_route=\/wp\/v2\/media\/476"}],"wp:attachment":[{"href":"https:\/\/loudsoundepicenter.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=470"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/loudsoundepicenter.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=470"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/loudsoundepicenter.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=470"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}