Physical Graffiti is probably my favorite release from this band as it not only plays to their  significant strengths, but also includes outtake material as far back as 1970(i.e. Bron-Yr-Aur and Down By the Seaside), which fuses the combination of "old vs. new", flawlessly in its presentation. The exhausting, labored take of In My Time of Dying, hears Zeppelin peaking within their age-old tactic of homage to Black Americana Blues interpretation as one of THE defining moments on the record. The other major significant number is Kashmir, which remains another creative peak for the band musically, in its hypnotic-like, main melody and John Bonham's archetypal drum rhythm attack; further heightening the number is the use of a string section and John Paul Jones' mellotron arrangement.

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In the Light has elements of a middle-eastern flavor that is eerily captured by Jones' synthesizer lines and Robert Plant's overdubbed, tonal harmony vocals along with Jimmy Page's main guitar lines that adds to the mystique of this stirring track. Further into the number, there is literally a sense of "light and shade" as the chorus melody features Jones' use of the clavinet keyboard, accentuated by Page's scale-like guitar melody intertwined. Ten Years Gone remains the ballad of the double set and lyrically recalls a long lost love, featuring a strong vocal performance from Plant, while Page multi-tracks a myriad of guitars that builds this number up into dizzying heights of brilliance.

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The more typical hard rock numbers displayed here in Custard Pie, The Rover(from the Houses of the Holy sessions), Night Flight(from the 71' 4th album sessions) and Sick Again, offer up some strong ensemble interplay and a significant wealth of the power of Zeppelin collectively as an iconic group within its own right. Trampled Underfoot and The Wanton Song are similar in tempo and offer up some heavy boogie rock in the process; "Foot" in particular, is driven by Jones' arresting Clavinet playing and Bonzo's pummeling drum beats. Down by the Seaside(another 4th album outtake) features a carefree, lazy number that seems to float along until the bridge of the track picks up speed but only for a moment before returning to the calmer outset of this fine composition. Boogie with Stu spotlights Ian Stewart from the Rolling Stones on piano and is a treat to listen to, even though its ilk is mainly of an outtake quality, it's charming to hear Zeppelin in an "impromptu" setting. Black Country Woman is a basic acoustic rock/blues number which, again, has a sense of a laid-back nature and is a cutting/jamming type of track that is tossed out without prejudice or pretension.

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The Stones had Exile on Main St., which was a sprawling, yet captivating creative peak and so Zeppelin's Physical Graffiti can be looked upon in a similar light here; never again would both bands be able to reach these heights of creativity or the central force of power within themselves, and as such, remain benchmarks of significant importance within their prospective careers.

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Rating Grade- A+