The sixth studio album of Led Zeppelin will not stop being less than wonderful because it has one or one hundred years of history. It is one of those immortal discs. Forty years isn’t a bad date either and so Jimmy Page used this to launch a special edition anniversary—also on the 24th of February just like in 1975— in all formats available. There doesn’t even lack a “super deluxe edition box” for the most discerning fans.

As with the rest of the discography of a band essential to understand rock music in particular and the music the 20th century in general, it has been remastered again and a new cd has been equipped with “extras” and other tracks that were left behind in the drawer of the recording studio. “Companion audio”, as it’s called on the official website. More or less what David Gilmour just did with Pink Floyd. In this case, of course, it is priceless to collectors.



Physical Graffiti is definitely the most elegant work of Led Zeppelin, as well as the most diverse. It is often called a disc of maturity in which they tried to pour everything they learnt in those years of turmoil and excess of the mid-seventies, have already become part of living rock history. They, however, enjoyed playing with Oriental styling on Kashmir or funk on Trampled Under Foot with John Paul Jones playing with the keyboard. All doors were open. Pop included. It was, by the way, the first released album under the label Swan Song.

For experts and laymen seeking inspiration, they had the forethought to edit it as a double album, with the first part a “classic” in heavy metal and the other dedicated to the “experimentals,” in its day unanimously praised by critics. Today, from the perspective of time, it was perceived at times, that the first signs of decay would eventually appear. A year after its release, The Song Remains the Same would arrive, the pinnacle of success and a turning point in their career. Nothing would ever be the same again.