Физическая Граффити: История Создания Легендарного Альбома Led Zeppelin

Physical Graffiti is the sixth studio album by the English rock band Led Zeppelin. Released as a double album on 24 February 1975 in the United States and on 28 February 1975 in the United Kingdom, it was the group's first album to be released under their new label, Swan Song Records. The band wrote and recorded eight new songs for the album in early 1974 at Headley Grange, a country house in Hampshire, which gave them ample time to improvise arrangements and experiment with recording. The total playing time covered just under three sides of an LP, so they decided to expand it into a double album by including previously unreleased tracks from the sessions for the band's earlier albums Led Zeppelin III (1970), Led Zeppelin IV (1971) and Houses of the Holy (1973). The album covered a range of styles including hard rock, progressive rock, rock 'n' roll and folk. The album was then mixed over summer 1974 and planned for an end of year release; however, its release was delayed because the Peter Corriston designed die cut album cover proved difficult to manufacture. Physical Graffiti was commercially and critically successful upon its release and debuted at number one on album charts in the UK and number three in the United States. It was promoted by a successful U. S. tour and a five night residency at Earl's Court, London. The album has been reissued on CD several times, including an expansive 40th anniversary edition in 2015. Physical Graffiti was later certified 16× platinum in the United States by the Recording Industry Association of America (RIAA) in 2006, signifying shipments of over eight million copies in the US.

The first attempt by Led Zeppelin to record songs for Physical Graffiti took place in November 1973 at Headley Grange in Hampshire, England, where they'd previously recorded their untitled fourth album. The recording equipment consisted of Ronnie Lane's Mobile Studio. Guitarist and producer Jimmy Page and drummer John Bonham recorded an instrumental which was later reworked as "Kashmir" during this visit. However, these sessions came to a halt quickly and the studio time was turned over to Bad Company, who used it to record songs for their debut album. The press reported that bassist/keyboardist John Paul Jones was ill and unable to record. However, he had become disillusioned with the group and fed up with touring, and told manager Peter Grant he was considering quitting. Grant asked him to reconsider and to take the rest of the year off to recuperate. The group reconvened at Headley Grange in January and February 1974, where they recorded eight tracks engineered by Ron Nevison. Lead singer Robert Plant later referred to these eight tracks as "the belters," including "off the wall stuff that turned out really nice." As with previous sessions at Headley Grange, the informal atmosphere allowed the group to improvise and develop material while recording. Sometimes the group would rehearse or record a track several times, discuss what went wrong or what could be improved and then realized they'd worked out an alternative arrangement for it which was better. Bonham was a driving force at the sessions, regularly suggesting ideas or the best ways in which a complicated arrangement could be played successfully. This led to him getting a lead songwriting credit on several tracks. The eight songs extended beyond the length of a conventional album, almost spanning three sides of an LP, so the group decided to create a double album, adding material they'd recorded for previous albums but never issued. This included various jam sessions such as "Boogie With Stu," which Page thought would be unsuitable as a track on a single album. Additional overdubs were laid down, and the final mixing of the album was performed in July 1974 by Keith Harwood at Olympic Studios, London. The title "Physical Graffiti" was coined by Page to illustrate the whole physical and written energy that had gone into producing the set.

The album spanned several years of recording and covered a range of musical styles, including hard rock ("Custard Pie", "The Rover", "The Wanton Song", "Sick Again", "Houses of the Holy"), eastern influenced orchestral rock ("Kashmir"), progressive rock ("In the Light"), driving funk ("Trampled Under Foot"), acoustic rock and roll ("Boogie with Stu", "Black Country Woman"), love ballad ("Ten Years Gone"), blues rock ("In My Time of Dying"), soft rock ("Down by the Seaside"), country rock romp ("Night Flight"), and acoustic guitar instrumental ("Bron Yr Aur"). Several tracks from the album became live staples at Led Zeppelin concerts. In particular, "In My Time of Dying", "Trampled Under Foot", "Kashmir", "Ten Years Gone", "Black Country Woman", and "Sick Again" became regular components of the band's live concert set lists following the release of the album.

"Custard Pie" was recorded at Headley Grange in early 1974. The first take was played at a faster tempo than the finished version, with various improvised vocals. After a basic run through, the group then discussed possibilities for rearranging it. Page played the guitar solo through an ARP synthesiser, while Jones overdubbed a Hohner Clavinet part and Plant played harmonica. "The Rover" was written in 1970 at Bron Yr Aur, a cottage near Machynlleth, Wales. It was first recorded at Headley Grange in May 1970 as an acoustic number for Led Zeppelin III. It was reworked as an electric number in 1972 for Houses of the Holy, which formed the basis for the backing track. Page subsequently added guitar overdubs in 1974 with Keith Harwood engineering. "In My Time of Dying" is based on a traditional song that Bob Dylan recorded on his debut album in 1962. The track was recorded live, with Page later adding further slide guitar overdubs. The arranging and structuring was led by Bonham, who worked out where the various stop / start sections in the track should be, and how the group would know where to come back in. The very end of the song features his off mic cough, causing the rest of the group to break down at that point. Bonham subsequently shouted "That's got to be the one, hasn't it? ", feeling it was the best take. It was left on the album to show fans that Led Zeppelin were a working band that took care in their recordings.

"Houses of the Holy" was recorded as the title track for the album of the same name in May 1972 at Olympic Studios with Eddie Kramer engineering. It was left off that album because of its similarity to other tracks such as "Dancing Days", which were felt to be better. Unlike some of the other older material on Physical Graffiti, it required no further overdubbing or remixing. "Trampled Under Foot" developed from a jam session driven by Jones at the Clavinet. The song went through several arrangement changes before arriving at the version heard on the album, with the group rehearsing various different ideas and arguing about the overall style. Bonham decided the track was too "souly" and rearranged it into a funk style, suggesting that Page should play a guitar riff throughout in place of chords. The lyrics are a series of double entendres around driving and cars. The song quickly became a popular live piece that was played at every live show from 1975 onwards, and was later revived by Plant for his solo tours. It was released as a single in the US on 2 April (with "Black Country Woman" as the B side) and was a top 40 hit. "Kashmir" was an idea from Page and Bonham, and was first attempted as an instrumental demo in late 1973. Plant wrote the lyrics while on holiday in Morocco. Jones played Mellotron on the track, and arranged strings and brass parts that were played by session musicians. The song was one of the most critically acclaimed on the album, and was played at every gig from 1975 onwards. Page and Plant played it on their 1994 tour, and it was reworked in 1998 by Sean "Puffy" Combs for his single "Come With Me" which featured Page on guitar.

"In the Light" was recorded at Headley Grange in early 1974. It was initially called "In the Morning" and went through several rehearsals and takes to work out a basic structure. A drone / chant introduction was later added to the piece. "Bron Yr Aur" was a solo acoustic piece by Page, named after the cottage where he had composed and arranged much of Led Zeppelin III with Plant. It was recorded at Island Studios in mid 1970. The track was later used as background music in the group's film The Song Remains the Same. "Down by the Seaside" was originally written as an acoustic track at Bron Yr Aur in 1970, and was influenced by Neil Young. It was reworked as an electric track during sessions for the fourth album the following year. Page and Bonham led the arranging, changing tempo from the slow to fast section and then back again. "Ten Years Gone" was mostly composed by Plant about an old love affair, and was combined with an instrumental piece from Page, featuring overdubbed electric and acoustic guitar parts. When the track was performed live, Jones played a triple neck guitar featuring mandolin, six and 12 string guitars, in order to try to reproduce the various guitar overdubs on the studio recording.

"Night Flight" was recorded at Headley Grange in 1971 for the fourth album. Besides the usual bass, Jones plays Hammond organ on the track, and Page plays guitar through a Leslie speaker. Plant wrote the lyrics after reading a news headline entitled "Nuclear Damage Test Threat" and wondered why there seemed to be little peace and love in the world. "The Wanton Song" was built around a Page guitar riff. Unlike some of the other tracks recorded at the 1974 Headley Grange sessions, it was straightforward to arrange, with the group building the song around the riffs. "Boogie with Stu" was a jam session with Rolling Stones pianist Ian Stewart based around the Ritchie Valens song "Ooh My Head". It was recorded in 1971 at Headley Grange during the same session that produced "Rock and Roll" for the group's fourth album. It did not credit Valens or Bob Keane, instead crediting Valens' mother. Eventually a lawsuit was filed by Keane, and half of the award went to Valens' mother, although she was not part of the suit. "Black Country Woman" was recorded in the garden at Stargroves in 1972 for Houses of the Holy, as part of the group's desire to work in "off the wall" locations outside a traditional studio environment. The track was nearly abandoned when an aeroplane cruised overhead, but it was left on the final recording for effect. "Sick Again" was written by Page and Plant about the 1973 tour and their experience with meeting groupies. The track was driven by Bonham's drumming and Page's guitar riffs. The arrangement had been worked out before recording, and was straightforward to put down on tape.

As Physical Graffiti collected various out takes from earlier albums, little was left over from the recording sessions that was not eventually released. An early arrangement of "Custard Pie", different from the final version, was reworked as "Hots on For Nowhere" on the following album, Presence. A number of other outtakes from earlier album sessions that had not been put on Physical Graffiti were later included on the 1982 album Coda.

The album was originally released with a die cut sleeve design depicting a New York City tenement block, through whose windows various cultural icons could be interchangeably viewed. The album designer, Peter Corriston, was looking for a building that was symmetrical with interesting details, that was not obstructed by other objects and would fit the square album cover. He subsequently came up with the rest of the cover based on the idea of people moving in and out of the tenement, with various sleeves that could be placed under the main cover and filling the windows with various pieces of information. The two five storey buildings photographed for the album cover are located at 96 and 98 St. Mark's Place in New York City. The original photograph underwent a number of tweaks to arrive at the final image. The fourth floor of the building had to be cropped out to fit the square album cover format. In 1976, the album was nominated for a Grammy Award in the category of best album package.

Physical Graffiti was first issued on CD as a double disc set in 1987. However, it was done without input from the band, and the first pressing accidentally edited off the studio banter at the end of "In My Time of Dying" (later fixed on repressings). Page was unhappy with his lack of input over the CDs and decided he would produce new versions himself. He booked a week in May 1990 with engineer George Marino to remaster the entire back catalogue. Eight tracks from Physical Graffiti appeared on the four disc Boxed Set and three on Remasters, both in 1990; the remainder appeared on Boxed Set 2 in 1993, while the album was properly reissued in 1994. An extended remastered version of Physical Graffiti was reissued on 23 February 2015, almost exactly forty years after the original album was released. The reissue comes in six formats: a standard two CD edition, a deluxe three CD edition, a standard two LP version, a deluxe three LP version, a super deluxe three CD plus three LP version with a hardback book, and as high resolution 24 bit/96k digital downloads. The deluxe and super deluxe editions feature bonus material containing alternative takes and arrangements of songs. The reissue was released with an altered colour version of the original album's artwork as its bonus disc's cover.