I love a great coda, listening to the latter
The obvious Layla, and then Teemage Fanclub’s The Concept.
Epic - Faith No More.
“Paper Sun” by Traffic. Notable because in the original US album version, the song ended before the coda. You could hear it playing in the background between songs, until the final song of the album, where the coda was named “We’re a Fade, You Missed This.” Most versions of the song these days includes the coda as part of the song.
“Soon oh soon the light” at the end of “The Gates of Delirium” by Yes. It even has its own coda (well, a few chords). “Soon” is unusual for becoming a hit on its own even though it’s part of a longer song.
Golden Brown by the Stranglers.
Oh, how he must have loved golden brown.
November Rain, Guns N’ Roses. Still cheesy as hell, still awesome.
Desire Lines by Deerhunter. Some hate it, some think it makes the song. I’m in the latter group.
Decide for yourself.If this counts: the reprise of “Broken” that picks up at the end of “Head Over Heels” on Tears For Fears’ Songs from the Big Chair.
Another: David Gilmour’s solo closing out Paul McCartney’s “No More Lonely Nights”.
Would Joe Walsh’s outro on The James Gang’s”Walk Away” count as a coda?
A clearer coda: Neal Schon improvised solo to wrap up Journey’s “Stone in Love”.
Theyre coming tame fast & furious now:
Zebra’s “Who’s Behind the Door?”
And unless this coda is too long — the song is essentially bisected:
Heart’s “Love Alive”
Love listening to Mark Knopfler close out Dire Straits’ “Skateaway”.
They had some good ones. “On Every Street” is another.
“Have A Good Time” - Paul Simon
That jangley bit at the end of “A Hard Day’s Night.” Not to mention the fabulous opening chord(s).
I didn’t know what a coda was till this thread.
Might be a little long to be a “real” coda, but the first one that came to mind is the ending of Old Red Wine by The Who
While not actually a coda, Richard Thompson’s “Dargai” (as a coda to “Dimming of the Day”) is absolutely gorgeous.
Won’t Get Fooled Again (The Whom)
Son Of Mr. Green Genes (Zappa)
Are you sure you’re not thinking of the violin coda on Baba O’Riley? “Won’t Get Fooled Again” ends with a scream, “Meet the new boss. Same as the old boss” and a few windmill chords which fit in with the body of the song.
Meat Loaf’s “Paradise by the Dashboard Light.” It’s a suite of several songs, but the final bit acts as a coda, both musically as as part of the story, with the line “It was long ago and far away and it was so much better than it is today.”