Life as a born-during-the-Johnson-administration 46 year old in a millennial-driven culture felt a little less alienating this week when the rock music world celebrated the 40th anniversary of Physical Graffiti. Led Zeppelin’s epic double album was released on February 24th back in 1975 and can now be called, officially, “middle-aged”. We’re in good company, yes! I like it :-)
Since I’ve already opined extensively about Zeppelin on this blog, I’ll spare my readers another fawning monologue and highlight instead the album cover for Physical Graffiti. But first I want to mention that I love the MP3 phenomenon as much as anybody. For all us music lovers it’s been, truly, a revolution. But if we lost anything of value with the death of LPs (the need for ample upright storage space not among them) it’s the art and design of the album cover. Particularly the rock album cover. Can you envision them? I’m sure you can. The Beatles’ Abbey Road. Pink Floyd’s Dark Side of the Moon. The Rolling Stones’ Sticky Fingers. Sure there are covers to CD releases today, but it’s not quite the same.
Peter Corriston designed the iconic cover for Physical Graffiti which is instantly identifiable to Zeppelin fans:
The source for this image is a block in New York City’s East Village, building street numbers 96 and 98 on St. Mark’s Place. My town has provided countless settings and images that have made their way into popular culture, and it always makes me proud. From the Empire State Building to the Bethesda Fountain in Central Park to the promenade in Brooklyn Heights, in music and television and movies, New York City is everywhere … and don’t you forget it! Here are the Physical Graffiti apartments:
The top floor of the building was cropped out and the window spaces on the album were cut out and inserted with liner notes and illustrations. You can read more about the Physical Graffiti album cover at this page.
It looks like I’ve just done a Music Monday at midnight on Saturday. So I might as well go the whole nine yards and conclude with actual music. But what to choose from this magnificently rich, confusing, strange, uninhibited double album? One on which you can detect the wear and tear in Robert Plant’s voice, and savor Jimmy Page falling obsessively in love with his guitar? No we won’t do the masterpiece “Kashmir”, but an acoustic ditty that was recorded outdoors in the garden at Mick Jagger’s house. From Physical Graffiti, this is “Black Country Woman”.
Have a great weekend, friends! Be back soon. Until then, peace ..