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83 of 90 people found the following review helpful:
3.0 out of 5 stars
Leftovers, April 4, 2000
In November 1982, "Coda" was released to an unsuspecting public, two years after the death of John Bonham. While there are no standout pieces, this collection of songs does succeed in chronicling Zeppelin's 12 year flight."We're Gonna Groove" opens the album and is taken from the recording sessions that yielded "Led Zeppelin II". This track was a one time show opener and it's easy to see why. Jimmy Page adds sub-octdivider effects on guitar while a young Robert Anthony Plant screams his head off. "Poor Tom" is an interesting piece left over from the "Led Zeppelin III" era. Bonham supplies a fine rhythm track under Page's stellar 12-string acoustic work and Plant's harp. "I Can't Quit You Baby" is taken from a soundcheck from the Royal Albert Hall in 1970. This take is far more explosive than the version found on "Led Zeppelin" (and better, too). "Walter's Walk" is from the 1972 "Houses Of The Holy" sessions and is easily one of the better songs on the album. Bonham's drum sound is massive, and Page stays in the pocket...until the final refrain when he goes postal. Plant's vocals *must* have been overdubed during the compiling of this collection because the quality of his voice is more consistant with the 1978 "In Through The Out Door" sessions, range-wise, whereas if you listen to a song from "Houses" ("Over The Hills And Far Away"), his voice is more powerful. "Ozone Baby", "Darlene", and "Wearing and Tearing" are all outtakes from the "Out Door" sessions. "Ozone Baby" is a nice, uptempo rocker which obviously would not have belonged on "Out Door". "Darlene" is another highlight of the album. John Paul Jones' piano work is fantastic, while Jimmy Page slips into his Scotty Moore/Jimmy Burton persona to deliver some inspired lead work. Why this song was left off "In Through The Out Door" in favor of "Hot Dog" or "South Bound Saurez" I'll never understand. "Wearing and Tearing" is a two million mile-an-hour punk/thrash piece with acappella vocals ala "Black Dog". Plant does sound hoarse, though, and while the energy level is remarkable, Plant's Drano-induced yelling/screeching brings this track down a peg or two. That leaves "Bonzo's Montreux", a 1976 John Bonham drum instrumental with electronic effects added by Page. It's a nice tribute, but not something you will listen to over and over. So, that's "Coda". There is nothing timeless on this album, but there is nothing on here that diminishes the legacy of Led Zeppelin, either. It's an album that you take out every so often to hear some ideas that didn't see the light of day the first time around, and there are some good ideas to be heard. Buy "Coda" with the knowledge that it is a summary of a bygone era, nothing more, nothing less.
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12 of 14 people found the following review helpful:
5.0 out of 5 stars
Buy this last, but still buy it., May 16, 1999
By A Customer
This album was released after LZ's breakup. It consists of the studio album outtakes that weren't used to fill the gaps on Physical Graffiti. Basically, its the eight worst tracks by the best rock band in the world. However, LZ (apparently) never wasted studio tape: all these tracks are worthwhile. I Can't Quit You is a 1970 rehearsal of a blues cover found on the first album. Ozone Baby, Darlene, and Wearing and Tearing were three punk-influenced tracks recorded with In Through The Out Door. Bonzo's Montreax is a drum solo in the spirit of Moby Dick. The others are tracks from 1970-2. Although the tracks are weaker than other Zep material, these songs are worth a listen from time to time. After the other 9 CD's, buy this.
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11 of 13 people found the following review helpful:
4.0 out of 5 stars
True Zeppelin fans will want this, July 8, 2002
First off, it's interesting to notice the years that each of these eight songs were released -- spanning from 1969 to 1978. Like all past Led Zeppelin albums, "Coda" contains its share of varied styles and highly memorable jam sessions by each talented musician. It opens with the fun and highly energetic "We're Gonna Groove," done originally by Ben E. King and James Bethea. "Coda" boasts plenty of energy, and the songs are nowhere near as lame as many have claimed they are over the years. The Page/Plant team did a wonderful job on "Poor Tom," a folksy, high-energy ditty with great background drumming, some notable harmonica, a cool bass line and a nice bridge where Plant gently sings and the guitars gently chime.
Though Led Zeppelin influenced every hard rock band under the sun, they themselves also blatantly played their own influences on record, and one such song is the popular Willie Dixon blues track, "I Can't Quit You Baby," a song also heard on Zeppelin's debut album, Led Zeppelin 1, where it expertly melds blues and rock together. Though it was written in 1972, "Walter's Walk" sounds vaguely like an 1980s-era Plant song, with its sharp sound and raring-to-go vocals. Likewise, "Ozone Baby" is a fairly rocking, almost danceable track that displays a band still very much in top form when they recorded it in 1978. In fact, it's unfortunate that some of these late 70s "Coda" songs didn't find their way on Zeppelin's last studio album, In Through the Out Door.
Clicking on all cyclinders throughout "Coda" was the legendary drummer John Bonham. His own song, which truly pays homage to his unbelievable talent, "Bonzo's Montreux," in some ways steals the album. Bonham is a one-man orchestra on the all-drum song, and you simply have to hear it to believe it. "Darlene" feautures great instrumentation by John Paul Jones, who plays a rollicking piano. Finally, the closing song, "Wearing and Tearing," is appropriately titled. The rocking song shows a great band on its way out with a fast riff to speed the song along and wild-fire vocals. Interestingly, it's the sort of style Zeppelin didn't always attempt during their massive heyday, preferring instead a slower pace and long solos by Page.
In my opinion, every song in the Zeppelin catalog is to be treasured, and the songs on "Coda" are no exception. Those that say this record is nearly a complete throwaway are mistaken. Zep were cool because they never over-produced themselves, and they played like a bar band and stadium rockers all at once. Zeppelin always sounded natural together, and that's one of the reasons I like "Coda" so much.
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