SUCH A LONG WAIT ...

November 73. Freed of a tour that began to take the appearance of a chore, especially for a John Paul Jones on the breaking point, between Led Zeppelin for the sixth time in the studio, especially in their mansion Headley Grange, to save it a new album and organize the launch of their own label, Swan Song. To manage both cases, the group will thus take his time and almost seven months out with forceps, a rare item, both controversial, adored, singular both in its form as its content: Physical Graffiti. Composed half of new features, including some that Kashmir will become over time the main cast of the airship, while some are found discarded pieces in previous sessions, for each other, this disc is an emphasis confining the majesty .

On this double album so two eras, two magic formulas to various claims, but that leave behind such an impression, that we come to forgive dispensable. Witnesses to a rich influences period if the first volume aims to be the comeback of a heavy blues never hesitating some eastern tablecloths, the second disc leaves the mixed taste of a failed performance. Not that it is bad, but because the recipe applied lack of spontaneity key characteristic of the group. Nevertheless, as often in his discography and the support of some key titles, Led Zeppelin delivers a set of large bill.

You guessed it, despite some wanderings, at one time or another, Physical Graffiti is the kind of album that takes you to the body and does not let go. Dominating about it on Custard Pie and avoiding demonstrating the intense slide In My Time Of Dying, the airship fascinated by this natural ability to qualify the violence of a sensual breath. For if the music game is intense, is more air through countries, more folk that Page and others prove more fertile. While some see in this double record, questionable opposition of genres, an indigent filling will, there are others who, by giving up any resistance, let go of that feeling so strange, that is sometimes called, Obviously.

Neglecting any and apart from the incomparable power of the Kashmir hypnotic, absolved of any solo, most songs do not venture very rarely in the ordinary. Without naming them all, it is emphasized melodic, The Rover, Trampled Under Foot for his infectious groove, then in a little more soft register, or Ten Years Gone Down By The Seaside, which it would be wrong to deprive yourself. Delicate exercise, so few double albums have managed to cross the borders of time, this violent shrouded object of inspiration remains an event at each listening. Maybe a little too long, maybe a little too simply, Physical Graffiti however summarizes in itself, what were the seventies: a laboratory in service of a certain idea of ​​music.

Both, physical discipline of a sovereign John Bonham, cycle end for Robert Plant suffered a premature wear of its vocal cords and indicative of a John Paul Jones light of opportunism, this house dedicated to the sacred heroism page resembles in many ways to his drawer cover: plural, yet unique.