Having put off doing another Zeppelin gem as long as I could as a Zep head, I've decided I can't hold off any longer. I chose this ignored epic from their zenith that is 1975's Physical Graffiti album. A double that displayed the full width and breadth of what Zep could do, up until that point and that anything was possible with the diverse talent, impeccable musicianship and song craft the band displayed effortlessly. Though the other 8 plus minute showcases, Kashmir ('the riff to end all riffs') and In My Time of Dying, are what dominated the reviews; it is this 'big' gem that needs some appreciation. While not as immediate as an earth shaking Arab March or a dirty swamp-dredged, slide riff, In The Light begins with a sonic overture, a cathedral of Eastern drones made from a bowed acoustic guitar and synthesizer combo creating a intricate sonic landscape though it stretches out a bit too long even for building atmosphere.
It then proceeds to descend into some crashing doom laden chords bringing the song more terrestrial with a swaggering Robert Plant vocal. The soft clavinet break where Plant sings the title line shows their music could be quite positive and uplifting. The Eastern-tinged fuzz synthesisers continue during the song with some strong echo while there is an ascending keyboard line that serves as a continual motif particularly during the ending; which features Page's 'meowing' guitars playing off each other. The layers of synths, keyboards and guitars create a subdued, 'underwater' feel giving the song a particular atmosphere distinct from any other tracks on the double album. Both Page and Plant consider it the best cut on a double album bursting with ground breaking compositions. It is certainly there with Ten Years Gone and Over the Hills as one of their most subtle and complex pieces.
It then proceeds to descend into some crashing doom laden chords bringing the song more terrestrial with a swaggering Robert Plant vocal. The soft clavinet break where Plant sings the title line shows their music could be quite positive and uplifting. The Eastern-tinged fuzz synthesisers continue during the song with some strong echo while there is an ascending keyboard line that serves as a continual motif particularly during the ending; which features Page's 'meowing' guitars playing off each other. The layers of synths, keyboards and guitars create a subdued, 'underwater' feel giving the song a particular atmosphere distinct from any other tracks on the double album. Both Page and Plant consider it the best cut on a double album bursting with ground breaking compositions. It is certainly there with Ten Years Gone and Over the Hills as one of their most subtle and complex pieces.
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