Editing Physical Graffiti (section)

==Songs==
[[File:Bron-y-aur - geograph.org.uk - 21107 (cropped).jpg|thumb|right|[[Bron-Yr-Aur]] cottage was the birthplace of "[[The Rover (Led Zeppelin song)|The Rover]]", "Bron-Yr-Aur", and "Down by the Seaside".]]
The album spanned several years of recording and covered a range of musical styles, including hard rock ("Custard Pie", "[[The Rover (Led Zeppelin song)|The Rover]]", "[[The Wanton Song]]", "[[Sick Again]]", "[[Houses of the Holy (song)|Houses of the Holy]]"), eastern-influenced orchestral rock ("[[Kashmir (song)|Kashmir]]"), progressive rock ("[[In the Light]]"), driving funk ("[[Trampled Under Foot]]"), acoustic rock and roll ("Boogie with Stu", "Black Country Woman"), love ballad ("[[Ten Years Gone]]"), blues rock ("[[In My Time of Dying#Led Zeppelin version|In My Time of Dying]]"), soft rock ("Down by the Seaside"), country rock romp ("Night Flight"), and acoustic guitar instrumental ("Bron-Yr-Aur").{{sfn|Lewis|1990|pp=54–56}}<ref name="AllMusic" /><ref name="Rolling Stone Magazine 2">{{cite magazine|url=https://www.rollingstone.com/artists/ledzeppelin/albums/album/158693/review/5944206/physical_graffiti|title=Physical Graffiti|magazine=Rolling Stone|date=27 March 1975|url-status=dead|archive-url=https://web.archive.org/web/20100306030326/http://www.rollingstone.com/artists/ledzeppelin/albums/album/158693/review/5944206/physical_graffiti%3B|archive-date=6 March 2010}}</ref>

Several tracks from the album became live staples at [[Led Zeppelin concerts]]. In particular, "In My Time of Dying", "Trampled Under Foot", "Kashmir", "Ten Years Gone", "Black Country Woman", and "Sick Again" became regular components of the band's live concert [[set list]]s following the release of the album.{{sfn|Lewis|1990|pp=55–56}}{{sfn|Lewis|2010|p=114}}

===Side one===
"Custard Pie" was recorded at Headley Grange in early 1974. The first take was played at a faster tempo than the finished version, with various improvised vocals. After a basic run-through, the group then discussed possibilities for rearranging it.{{sfn|Lewis|1990|p=21}} Page played the guitar solo through an ARP synthesiser, while Jones overdubbed a [[Hohner Clavinet]] part and Plant played harmonica.{{sfn|Lewis|1990|p=55}}

"[[The Rover (Led Zeppelin song)|The Rover]]" was written in 1970 at [[Bron-Yr-Aur]], a cottage near [[Machynlleth]], [[Wales]]. It was first recorded at Headley Grange in May 1970 as an acoustic number for ''[[Led Zeppelin III]]''. It was reworked as an electric number in 1972 for ''[[Houses of the Holy]]'', which formed the basis for the backing track.{{sfn|Lewis|1990|p=19}} Page subsequently added guitar overdubs in 1974 with Keith Harwood engineering.{{sfn|Lewis|1990|p=55}}{{efn|The original sleeve features the credit "Guitar lost by Nevison, salvaged by the grace of Harwood" and refers to the various recording sessions for the track.{{sfn|Lewis|1990|p=55}}}}

"[[In My Time of Dying#Led Zeppelin version|In My Time of Dying]]" is based on a traditional song that [[Bob Dylan]] recorded on his [[Bob Dylan (album)|debut album]] in 1962.{{sfn|Lewis|1990|p=55}} The track was recorded live, with Page later adding further [[slide guitar]] overdubs. The arranging and structuring was led by Bonham, who worked out where the various stop / start sections in the track should be, and how the group would know where to come back in. The very end of the song features his off-mic cough, causing the rest of the group to break down at that point. Bonham subsequently shouted "That's got to be the one, hasn't it?", feeling it was the best take.{{sfn|Lewis|1990|p=22,55}} It was left on the album to show fans that Led Zeppelin were a working band that took care in their recordings.{{sfn|Williamson|2007|p=234}}

===Side two===
"Houses of the Holy" was recorded as the title track for the album of the same name in May 1972 at [[Olympic Studios]] with [[Eddie Kramer]] engineering. It was left off that album because of its similarity to other tracks such as "Dancing Days", which were felt to be better. Unlike some of the other older material on ''Physical Graffiti'', it required no further overdubbing or remixing.{{sfn|Lewis|1990|p=55}}

"[[Trampled Under Foot]]" developed from a jam session driven by Jones at the Clavinet. The song went through several arrangement changes before arriving at the version heard on the album, with the group rehearsing various different ideas and arguing about the overall style. Bonham decided the track was too "souly" and rearranged it into a funk style, suggesting that Page should play a guitar riff throughout in place of chords.{{sfn|Lewis|1990|pp=21–22}} The lyrics are a series of [[double entendres]] around driving and cars. The song quickly became a popular live piece that was played at every live show from 1975 onwards, and was later revived by Plant for his solo tours.{{sfn|Lewis|1990|p=55}} It was released as a single in the US on 2 April (with "Black Country Woman" as the B-side) and was a top 40 hit.{{sfn|Lewis|1990|p=95}}

"[[Kashmir (song)|Kashmir]]" was an idea from Page and Bonham, and was first attempted as an instrumental demo in late 1973. Plant wrote the lyrics while on holiday in Morocco. Jones played [[Mellotron]] on the track, and arranged strings and brass parts that were played by session musicians. The song was one of the most critically acclaimed on the album, and was played at every gig from 1975 onwards.{{sfn|Lewis|1990|pp=55–56}} Page and Plant played it on their 1994 tour,{{sfn|Lewis|2010|p=342}} and it was reworked in 1998 by [[Sean Combs|Sean "Puffy" Combs]] for his single "[[Come with Me (Puff Daddy song)|Come With Me]]" which featured Page on guitar.<ref>{{cite book|title=Dancing with the Devil: How Puff Burned the Bad Boys of Hip-hop|first=Mark|last=Curry|page=101|publisher=NewMark Books|year=2009|isbn=978-0-615-27650-2}}</ref>

===Side three===
"In the Light" was recorded at Headley Grange in early 1974. It was initially called "In the Morning" and went through several rehearsals and takes to work out a basic structure. A drone/chant introduction was later added to the piece.{{sfn|Lewis|1990|pp=21,56}}

"Bron-Yr-Aur" was a solo acoustic piece by Page, named after the cottage where he had composed and arranged much of ''Led Zeppelin III'' with Plant. It was recorded at Island Studios in mid-1970. The track was later used as background music in the group's film ''The Song Remains the Same''.{{sfn|Lewis|1990|p=56}}

"Down by the Seaside" was originally written as an acoustic track at Bron-Yr-Aur in 1970, and was influenced by [[Neil Young]]. It was reworked as an electric track during sessions for the fourth album the following year. Page and Bonham led the arranging, changing tempo from the slow to fast section and then back again.{{sfn|Lewis|1990|p=56}}

"Ten Years Gone" was mostly composed by Plant about an old love affair, and was combined with an instrumental piece from Page, featuring overdubbed electric and acoustic guitar parts. When the track was performed live, Jones played a triple-neck guitar featuring mandolin, six- and 12-string guitars, in order to try to reproduce the various guitar overdubs on the studio recording.{{sfn|Lewis|1990|p=56}}

===Side four===
[[File:Stargrove - geograph.org.uk - 62433.jpg|thumb|Some older material for ''Physical Graffiti'' was recorded at [[Stargroves]].]]
"Night Flight" was recorded at Headley Grange in 1971 for the fourth album. Besides the usual bass, Jones plays [[Hammond organ]] on the track, and Page plays guitar through a [[Leslie speaker]].{{sfn|Lewis|1990|p=56}} Plant wrote the lyrics after reading a news headline entitled "Nuclear Damage Test Threat" and wondered why there seemed to be little peace and love in the world.{{sfn|Lewis|2010|p=85}}

"The Wanton Song" was built around a Page guitar riff. Unlike some of the other tracks recorded at the 1974 Headley Grange sessions, it was straightforward to arrange, with the group building the song around the riffs.{{sfn|Lewis|1990|p=56}}

"Boogie with Stu" was a jam session with [[Rolling Stones]] pianist [[Ian Stewart (musician)|Ian Stewart]] based around the [[Ritchie Valens]] song "Ooh My Head".{{efn|The track is co-credited to "Mrs. Valens", a reference to Ritchie's mother. The credit came about after the band had heard she never received any royalties from her son's hits.{{sfn|Williamson|2007|p=179}}}} It was recorded in 1971 at Headley Grange during the same session that produced "[[Rock and Roll (Led Zeppelin song)|Rock and Roll]]" for the group's fourth album.{{sfn|Lewis|1990|p=56}} It did not credit Valens or [[Bob Keane]], instead crediting Valens' mother. Eventually a lawsuit was filed by Keane, and half of the award went to Valens' mother, although she was not part of the suit.<ref>{{cite book |last=Lehmer |first=Larry |title=The Day the Music Died: The Last Tour of Buddy Holly, the Big Bopper and Ritchie Valens |publisher=Schirmer |year=2004 |page=166 |isbn=978-0-825-67287-3}}</ref>

"Black Country Woman" was recorded in the garden at Stargroves in 1972 for ''Houses of the Holy'', as part of the group's desire to work in "off the wall" locations outside a traditional studio environment. The track was nearly abandoned when an aeroplane cruised overhead, but it was left on the final recording for effect.{{sfn|Lewis|1990|p=56}}

"Sick Again" was written by Page and Plant about the 1973 tour and their experience with meeting [[groupie]]s. The track was driven by Bonham's drumming and Page's guitar riffs.{{sfn|Lewis|1990|p=56}} The arrangement had been worked out before recording, and was straightforward to put down on tape.{{sfn|Lewis|1990|p=21}}

===Unreleased material===
As ''Physical Graffiti'' collected various out-takes from earlier albums, little was left over from the recording sessions that was not eventually released. An early arrangement of "Custard Pie", different from the final version, was reworked as "Hots on For Nowhere" on the following album, ''[[Presence (album)|Presence]]''.{{sfn|Lewis|1990|p=57}} A number of other outtakes from earlier album sessions that had not been put on ''Physical Graffiti'' were later included on the 1982 album ''[[Coda (Led Zeppelin album)|Coda]]''.{{sfn|Lewis|1990|p=62}}