You’d be surprised at how many great songs there are on Coda, and even more surprised at the amount of great buried studio songs that exist. To honour that, here’s a list of Led Zeppelin oddities and concealed hotcakes to dig up, some released recently on the Deluxe reissues of the Zep Catalogue. These definitely deserve a compilation of their own. ”Coda 2”, anyone?
5: Wearing and Tearing: Coda (In Through the Out Door Sessions)
Wearing and Tearing, an extremely hard and energetic riffy rock song, was one of three omitted from In Through the Out Door, and understandably so, as the heavy nature of the song would seem out of place in Zeppelin’s softest album. No punk band could match this aggression. OK, maybe Black Flag.
4: La La: Led Zeppelin II Instrumental
La La is a fun instrumental led by John Paul Jones’ organ, a sound rarely heard so prominently on a Led Zeppelin track. Featuring some great acoustic from the biological researcher himself, La La will be fascinating to fans. Released on the deluxe reissue of Led Zeppelin II
3: Darlene: Coda (In Through the Out Door sessions)
Why wasn’t this included on In Through the Out Door, instead of Hot Dog? A much more exciting rocker than that god-awful Elvis tribute, Darlene not only contains an amazing rock and roll riff, but a fantastic drum line from Bonzo.
2: 10 Ribs & All/Carrot Pod Pod (Pod): Presence sessions
This beautiful John Paul Jones piano ballad is built around an Elton John-esque chord progression, with John Bonham and Jimmy Page coming in around the 3 minute mark. 10 Ribs is a real surprise, and would have been a nice addition to the original Presence LP, possibly replacing the annoying Candy Store Rock, acting as an antidote to the onslaught of heavy rock that comprises their seventh album. Released on the deluxe edition of Presence.
1: Swan Song: Physical Graffiti Sessions (unreleased)
The amazing acoustic chord sequence of Swan Song (what would become the name of their own label), would later be the basis of Midnight Moonlight by The Firm, Page’s 80s, dinosaur ‘super-group’. This track would be welcome on Led Zeppelin III or IV, despite the fact it was written for Physical Graffiti, and subsequently shelved due to the strength of the other material. John Bonham’s thunderous drums blend perfectly with Page’s guitar and John P. Jones’ bass.