On November 19, 1982 "Led Zeppelin" released the album "Coda".
It is the ninth and final studio album—and their first compilation album of "Led Zeppelin", released two years after John Bonham’s tragic death in 1980 and the band’s subsequent dissolution.
"Coda" is a passage that ends a musical piece following the main body, and therefore was chosen as the album title.
The original album contains a collection of eight rejected and live tracks spanning their twelve-year career that were not released before. it offers fans a chance to explore the band's lesser-known material while providing a retrospective glimpse into their stylistic evolution.
Guitarist Jimmy Page explained the motivation behind the release as related to the popularity of unofficial "Led Zeppelin" recordings:
“Coda was released, basically, because there was so much bootleg stuff out. We thought, ‘Well, if there’s that much interest, then we may as well put the rest of our studio stuff out.’”
While not a cohesive studio album, "Coda" serves as a posthumous celebration of "Led Zeppelin's" immense talent and creativity, even if it doesn’t reach the heights of their classic records.
The album opens up with "We’re Gonna Groove" (live) and a punchy, high-energy performance. Originally written by James Bethea and Ben E. King in 1960, this track captures "Zeppelin" at their live best. Originally recorded for "Led Zeppelin II", it showcases John Bonham's dynamic drumming and Jimmy Page’s fiery guitar licks, making it an exhilarating introduction. No wonder the band used to open their shows with it in the early of 1970. "Poor Tom" (outtake) comes right after with a folky, acoustic-driven number recorded during the "Led Zeppelin III" sessions, this song highlights the band’s softer, blues-inspired side. Robert Plant’s plaintive vocals and harmonica playing and Bonham’s nimble shuffle on the drums make it a hidden gem. "I Can’t Quit You Baby" (Soundcheck Recording) is not a live rehearsal take and was actually recorded live in 1970. This Willie Dixon classic emphasizes "Zeppelin’s" early affinity for raw, bluesy jams. Page’s solos and Plant’s impassioned delivery evoke the spirit of their formative years. "Walter’s Walk" (outtake) was recorded during the "Houses of the Holy" sessions, this hard-rocking track combines a propulsive rhythm section with Plant’s charismatic vocals. This track started as an improvisation part during "Dazed and Confused" on the band performances.
The second side of the vinyl opens with "Ozone Baby" (outtake). A playful rocker from the "In Through The Out Door" sessions, with boasts infectious riffs and an upbeat vibe. "Darlene" (outtake) is a piano-driven boogie tune that reflects "Zeppelin’s" versatility. It was also recorded from the "In Through The Out Door" sessions. John Paul Jones shines on keyboards, while Bonham’s drumming adds a steady groove, creating a track that feels both fresh and nostalgic. "Bonzo’s Montreux" Is a drum solo piece recorded by John Bonham in 1976 layered with effects by Page. This track serves as a tribute to his unparalleled skills. "Wearing and Tearing" (outtake) closing the album with a furious punk-inspired energy. Recorded in 1978 during the punk revolution it proves "Zeppelin" wasn’t afraid to embrace the changing musical landscape of the late '70s.
It is interesting to note that the 1993 compact disc edition has four additional tracks. "Baby Come On Home" (outtake from "Led Zeppelin" sessions), "Travelling Riverside Blues" (live), "White Summer/Black Mountain Side" (live) and "Hey, Hey, What Can I Do" (B-side of the "Immigrant Song" single).
The deluxe 2015 super deluxe edition feature bonus material containing alternative takes and previously unreleased songs like: "If It Keeps On Raining" ("When the Levee Breaks", rough mix), "Sugar Mama" ("Led Zeppelin" outtake), "Four Hands" ("Four Sticks", Bombay Orchestra), "St. Tristan's Sword" (rough mix, "Led Zeppelin III" outtake), and "Desire" ("The Wanton Song", rough mix) and more.
Coda is, at its core, a patchwork of material from various points in "Led Zeppelin’s" career. As such, it lacks the cohesion and thematic ambition of their studio albums. However, it succeeds as a testament to the band’s versatility and mastery across genres, from blues and folk to hard rock and experimental percussion. As it's name implies it is a final farewell from a band whose influence continues to shape rock music and serves as a fitting epilogue to a legendary career.
For Listening: Spotify, Apple Music
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