![]() It was really fast, because I'd been in the Yardbirds prior to this and the Yardbirds were still doing shows in July of 1968. John Paul Jones and I were from the south, and John Bonham and Robert Plant were from the Midlands. You've got people from two different geographical locations in England, as well. of the fact that these four musicians together later. It has to be sort of considered, the whole aspect of fate, really. And I've gotta say, it's been wonderful being able to do these companion discs because this is the sort of thing where people just go, "Wow, that's really, really cool," and it just gets them thinking about the whole aspect of what Led Zeppelin was, its music and how hard it worked on the music, too.Īh, well, you know that's. It's a really good example of Led Zeppelin at work because this is the embryonic state of what is going to become "In The Light." When you hear this and you realize there's this incredible keyboard part that's gonna go at the beginning, then John Paul Jones plays and then Robert comes in with these vocals, which is sort of reminiscent of music from Bulgaria. But this is like the initial run-through working of it. This is really right in the early stages of what is going to be "In The Light." As it continues, you start to hear the framework of the riffs. You get other things which are really hard and coming at you. You get things which may be very sensitive and caressing. And on this album, I should say the double album Physical Graffiti, the whole thing is just full of character, sort of statements of music and numbers, and some are really, really groundbreaking. And in the process of that, because of the quality of these four musicians individually, let alone collectively, we were pushing the boundaries of music and aware of that. It was always a fascinating prospect going in to record, to be honest with you, because it was always gonna be a sort of summing up of where we were at any given point in time and where we were trying to push ourselves collectively. (I can't remember now what we used to have for lunch.) But I really, I just remember the sort of whole work ethic of this, and it was just so productive. With this you could just wake up in the morning, have your breakfast, get into the music. ![]() And you had a multitrack recording studio so you could actually get to work on this stuff without having to necessarily go into a studio and comply by other peoples' hours. ![]() And there was a fire in there, you could put logs on the fire and it was all really, really nice. It's in a residential house and it's the equivalent of the sitting room, the lounge, the main formal room where you'd have your Christmases, in a large house. The essence of Physical Graffiti is the fact that we go back to this house, this residential house in the countryside called Headley Grange, where we recorded the fourth album. On Revisiting The Physical Graffiti Recording Sessions ![]()
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