3.75
1. L (low/male) / R (high/female) BGV really dope!
2. Piano panned slightly R; Beautifully balanced tension - Not quite a resolve... Not needed
3. Unfunky UFO Kick Drum FUCKS. Wide and Woody-sounding
4. Handcuffs vocal performance is ridiculously dynamic
5. Handcuffs snare transient sounds fragile and rubbery in the most pleasant way
6. Thumpasaurus synth is .... wet (resonant)
2/5
If I didn't have a slight inclination to re-listen to this album in hopes to find SOMETHING interesting, I'd rate it 1/5.
I found this album to lack substance. Considering this album served to "document" the political/economical state of affairs of its time, I'd deem this a great failure.
This album also tends to dry up very quickly in-terms of instrumental intrigue. The musicianship is average and the only risk-taking I heard was the sparse inclusion of a saxophone.
4.
Some of the most attention-grabbing sequencing I've heard from an album.
Voice reminiscent of Jeff Buckley - vibrato when pushing it
Simple yet iconic cover art
I'm stunned at the level of depth achieved in the mix of these songs with relatively little happening on an instrumental basis
"Strangers" resampling itself was so fucking cool. I love the application of scene changes in this song; from completely jarring cut-outs, to vocal tone shifting from warm / saturated, to cold and sleek.
Same goes for the sonic palette used for the drums throughout the album. Plenty of interesting contrast.
5/5
This John Paul Jones guy... Sheeeeesshh
Physical Graffiti doesn't really give you the chance to second guess it. Probably my favourite package of Led Zeppelin tunes. Also worth noting the cover art is so tough
Serves as a good solo-listen album, or a throw-on throughout the house album.
"In the Light" arrangement is world class. Sneakily the coolest song here. An outro as triumphant as can be, all while never doing too much
The second half of this album is where the magic happens for me
I can appreciate the pendulum shift that occurred as a result of Wu-Tang. However, I struggle to find consistent enjoyment when listening to their records.
This was quite the explorational listen for me. I had no clue what I was getting into. The cover art drew me into an unexpected 40 or so minutes of some of the greatest musicianship I've heard.
Although this album felt impossibly cohesive, I felt like it was missing a peak. Maybe I'll find that peak with a third listen? For that reason though, this album had great replay value, as I kept listening to hear the nuances I've yet to pick up on.
Timeless mix and arrangement tricks during the bridge/outro of Faron Young.
Captivating vocal performance on Bonny. Convincing delivery with every word.
Appetite's bass-line is the driving force in what was a refreshing change of pace. BGV in the bridge panning left to right, but fade into a guitar as they enter the right field - very hooky use of panning.
Love breaks down let me down. Felt like the bases were loaded, and the chorus was about to stamp an iconic moment of musicianship into this album. The track quickly fell into mediocrity.
The rest of the album followed suit. Never a standout moment. Swing and a miss in my opinion.
4.5
Extremely inventive guitar work without the pretentious connotation that may come with albums of that nature. This one feels groundbreaking.
Lyrically captivating! Phenomenal musicianship across the board - wow.
Again, back to the work of Tom Verlaine -> I had to look him up
His playing makes me want to sell my spaceship console of a pedal board and hone in on my ability solely as a guitarist.
I'm going to make a lot of music thanks to this one.
Hmmm— some really interesting moments here but nothing really stuck with me.
I understand and appreciate its importance, but can’t seem to find a reason to listen to this one again.
Very cool interplay between LV and BGV
Super dynamic and hooky instrumentals and lyrical ideas. Monkey Gone to Heaven is the perfect display of these ideas.
I listened to this one in a cafe and kept looking to my right and left thinking people were telling me they, “La La Love” me.
A stray away from genres that were eaten up by the culture at the time. I hear a distinct amount of Pixies in bands from The White Stripes all the way to Young Fathers.
