69. in my time of dying

“Because the highest Led Zeppelin track on this list would have to be from Physical Graffiti, the best of their least overexposed albums. I mean, I never even heard In My Time Of Dying until I finally bought Physical Graffiti, summertime 1989, almost fifteen years after the fact – that fateful day I went to the record store intending to spend a hundred bucks on maybe seven CDs and instead walked out with better part of thirty used albums, plus a pile of 7-inches. Because everybody was suddenly doing what I’d thought I was doing: switching to CDs. Which meant they were dumping all their vinyl. Which meant here was pretty much every album I’d always wanted but couldn’t really afford, now being  pretty much given away. And when I got home, Physical Graffiti was the first thing I played, with In My Time Of Dying EVERYTHING that had ever made Led Zeppelin legendary. The blues, the ROCK, the epic and dynamic darkness that said as much about the hard times of the Mississippi Delta circa 1932 as the concert trails of 1974. Or the imminent end of the world circa 1989, for that matter — one’s time of dying never more than a heartbeat or a split atom away.” (Philip Random)

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323. trampled under foot

“Funky Zeppelin. Sort of. Trampled Underfoot‘s not exactly easy to dance to, yet it is most definitely a groove, and relentless at that. Found on Physical Graffiti, the last truly great Led Zeppelin album, which I didn’t properly discover more than a decade after the fact. But that’s something that pretty much all the records on this list have in common, perhaps the only thing. It doesn’t matter how many times you miss them, get caught looking the other way. They will find you in time. Oblivion just can’t contain them.” (Philip Random)


380. in the light

“I remember first hearing In The Light on the radio when Physical Graffiti was brand new and I was maybe sixteen, and immediately thinking, okay, this is serious stuff. This is about something. Because by 1975, the music you found on the radio was less and less about anything. It was just predictable gruel, programmed to fill sloppy gaps between advertising. Not that I was sophisticated enough to voice it as such. I just knew something good was fast slipping away – all that cool significance that had been so prevalent way back when in 1972 and 3. Because when you’re that young, you just don’t know that’s how the world works – that it’s precisely the best, most beautiful and cool stuff that THEY consciously destroy, because that’s just the kind of gangsters they are. But you are beginning to suspect something. And more to the point, you’re not just waiting for it to come to you anymore, you’re starting to go after it. The Light, that is. Everybody needs some light.” (Philip Random)


861. custard pie

A Led Zeppelin rocker from 1975’s Physical Graffiti, but for Philip Random, it was more of a 1988 record. “A pivotal year for me. At the time, it was just something to be endured, one of those phases where the winter winds never stopped howling, even in the middle of summer (figuratively speaking of course). The Winter of Hate we ended up calling it. Aliens with a hunger for human flesh had taken over all the world’s governments and the only thing worth laughing about was that nothing was funny anymore. Musically, this manifested in a lot of pure raw noise as even punk/hardcore wasn’t really fierce enough anymore. Or maybe I was jonesing for some honest, raw, nasty blues – the kind of stuff Led Zeppelin had in ample supply on their biggest, longest, last truly great album. Man did it sound right!”