[4] This song was used to open a number of concerts on the band's early 1970 tours and was originally intended to be recorded for inclusion on Led Zeppelin II.

"Poor Tom" is an outtake from Led Zeppelin III, having been recorded at sessions held at Olympic Studios in June, 1970.

[9] "I Can't Quit You Baby" is taken from the same January, 1970 concert as "We're Gonna Groove" but was listed as a taped rehearsal in the original liner notes.

The uptempo "Ozone Baby" and the rock 'n' roll styled "Darlene" were recorded at that album's sessions at Polar Studios, Stockholm in November, 1978.

The track was scheduled to be issued as a promotional single for the audience at the 1979 Knebworth Festival, headlined by Led Zeppelin, but the record was cancelled at the last minute.

The song was first performed live at the 1990 Silver Clef Awards Festival at Knebworth by Plant's band with Page guesting.

[10] Reviewing for Rolling Stone in 1983, Kurt Loder hailed Coda as "a resounding farewell" and a "marvel of compression, deftly tracing the Zeppelin decade with eight powerful, previously unreleased tracks, and no unnecessary elaboration".

[17] Robert Christgau wrote in his "Consumer Guide" column for The Village Voice: They really were pretty great, and these eight outtakes—three from their elephantine blues phase, three from their unintentional swan song—aren't where to start discovering why.

But despite the calculated clumsiness of the beginnings and the incomplete orchestrations of the end, everything here but the John Bonham Drum Orchestra would convince a disinterested party—a Martian, say.

"[20] In a retrospective review for AllMusic, Stephen Thomas Erlewine said while it did not include all of the band's notable non-album recordings, it offered "a good snapshot of much of what made Led Zeppelin a great band" and featured mostly "hard-charging rock & roll", including "Ozone Baby", "Darlene", and "Wearing and Tearing": "rockers that alternately cut loose, groove, and menace".

[11] Led Zeppelin vocalist Robert Plant reflected on the album as follows: "When Coda was discussed, I really had—I don't know, I'd just kind of had enough of the whole thing.

[22] In Rolling Stone, David Fricke said it is "the unlikely closing triumph in Page's series of deluxe Zeppelin reissues: a dynamic pocket history in rarities, across three discs with 15 bonus tracks, of his band's epic-blues achievement".