gcczep
Ever Onward...
Led-Zeppelin – Coda
The band’s swan song on it own similarly titled label three years removed. After Bonham’s untimely passing, the group apparently had to fulfill one more release from their contract. Page sifted through what unreleased material they had sitting in the coffers then assembled this collection together. There must not have been much considering two along with another pair off the supplementary CD bonuses are all live cuts. Tracks five, six and eight were originally planned for release as a commemorative EP prior to the Knebworth concerts but plans for it fell through.
We're Gonna Groove – upon further internet research, this was from the Albert Hall show in 1970 though credited as a studio recording from Morgan Studios in 1969. Whoever oversaw their tape archives is either a horrible labeler or the band just skimming the live stuff and passing it off as new. Lies or is it? Sure doesn’t sound like it. Now after that rant, however it is the track is very immediate and raw. It’s chaotic to the point where the late Ben E. King would likely have asked “What the hell did these white boys do to my song?”
Poor Tom – It starts off with a cool Bonham drum rhythm track where the rest of the band clambers on for the ride. Page plays a laid back acoustic accompaniment while Plant sings effortlessly along. It has an non-obtrusive, sleepy tempo to it punctuated in the end with an unassuming harmonica solo. It skips about neither lulling the listener to sleep or get them up shake their hips. Keep a truckin’...
I Can't Quit You Baby – Oddly noted as a “rehearsal” recording from the 1970 Albert Hall gig but is really a live rendition. Plant is in fine form vocal wise while Page unleashes as a nice, fluent, coherent solo. Onstage, it is completely different from its more sedate studio counterpart. Yes, they did not stick with the primitive crude style of its origins but when you have a musically rutting foursome armed with a full complement of amps why should they? Yeah, I wouldn’t either...
Walter's Walk – my favorite in the set. I really like how this track swings with Page playing off Bonham’s massive drum sound. Prior to Coda, I was only familiar with it as an instrumental thrown in the middle of “Dazed And Confused” after the violin bow solo. It was sans vocals, faster in tempo with Plant scat singing to Page’s riffs. The guitar solo doesn’t happen until the end which is a good one too. It’s a fine rocking toe tapper albeit a heavy handed one. I can somewhat see why this was not part of “Houses” but it would have been a good inclusion in “Graffiti”...
Ozone Baby – not my preferred song on here. On occasion, I can tolerate it but usually it is three minutes and 35 seconds of non descript numbing boredomania. I mean, I don’t hate it with a passion but it doesn’t rock my insides either. OK, it’s just plain stupid which I utter with some degree of sardonic affection. Oh and let me cap it off the title is dumb too. Come on guys...
Darlene – Similar to “Hot Dog” with that honky tonk feel but much better overall I might add. In comparison, this seems like the band put more effort and thought into it rather than just the on the spot spontaneity. Jones shines here with great piano work. I can picture the group just settling back then easing into a casual, relaxed jam which is what this really is. Then again I see this playing in a Texan bar while the patrons line dance to it. Yee...hah!
Bonzo's Montreux – this is just Bonham playing around with Page adding some electronic effects to dress it up. Not a signature song meant to compete with “Moby Dick” but somewhat memorable...if you are a die-hard fan that is.
Wearing and Tearing – the group’s answer to punk? Well, no. It doesn’t have the flinty, devil may care, sharp bite of the genre. It is more of a track that was speeded up just for its own sake. Plant sounds just like he did for “I’m Gonna Crawl” but more or less with mixed results. Take your collective foot off the pedal boys, it’s really beyond you, a silly attempt and not worth it either. It’s very good actually but it isn’t “What the **** was that?” smoking.
1993 Compact Disc edition additional tracks:
Baby Come On Home – the band doing a number that comes across as blue eyed soul to my ears. It is similar in feel to “Your Time Is Gonna Come” from the debut LP. I have listened to Plant’s CBS singles as a solo artist prior to his joining the band and it has similar slants yet of course, this with a more talented backing band at his disposal. If anything he sounds like an overwrought Tom Jones at the end without the sly wink.
Travelling Riverside Blues – a gem from the BBC Sessions with Plant singing a plethora of blues clichés. Now this is more like it if one were to appreciate a more traditional interpretation of the blues. Great slide work by Page. It doesn’t have the bombastic assault the group would like to have aired but in its simplicity lies the charm. It also has the “lemon” references which can be either be cute, funny, appalling or cutely funnily appalling depending on how uptight one’s compass is.
White Summer/Black Mountain Side – taken from the June 27, 1969 concert at the Playhouse Theatre in London, this is just Page and Bonham onstage. Page shows good dexterity without the slop or choppiness of its live airings particularly during 1977 to 1980.
Hey Hey What Can I Do – the B-side to “Immigrant Song” finally makes it to CD. I remember in high school doing a trading a pair of albums for the single because it was not on LP. Ah, the folly of youth in lieu of what I gave up. My trading partner then is still a close friend of mine. I still remind him for being a s**t-head for taking me to town on it. Oh...and the song? It is just a slow version of “Black Country Woman” with the same theme yet drunker with an even drunker chorus. I like it loads...
So there you have it, Led-Zeppelin’s ninth and final studio album. OK, personally I don’t consider as a PROPER album but more of a hodge-podge of bits thrown together. If anything, it was an obligatory act along with being the last bone thrown out for its fanbase at the time. It still finds its way in my playlist though not as much as the previous eight even including Presence. Content wise, I would not use it as an introductory piece to a curious fan but it doesn’t stain their legacy either. As a whole it is a mere footnote to a well regarded library of work.
The album jacket? Not exactly a standout. on the drab side outside with an emblematic landscape pic of LPs on the back cover. I do like the potpourri of band photos lining the inside gatefold. There was talk of naming it “Early Days And Latter Days” with a whimsical, heartfelt homage to Bonham showing him folding shirts from his early days as a clothing salesperson. What they chose to name it is more fitting and a classy from a band standpoint.
Last edited:
