Rock's Big Questions
For Closers only: Great finishing songs that demand rock recognition
Waterloo Sunset is one of the great ballads of the British Invasion.
Conor Oberst knows how to close.
"Fight The Power" is one of the great closing tracks of all time.
Richard and Linda Thompson laid it all out on "Wall of Death."
Editor's note: This is a new feature where Douglas Newman and Jim Beviglia, two of CultureMap's music writers, tackle rock's big questions in a spirited dialogue where no feelings are spared. This edition centers on the best closing tracks of all time.
We encourage you, fair reader, to join the fray by leaving your own arguments and rebuttals in the comments.
All right, so I have to give props where props are due. Douglas, you came up with a great topic for this month’s musical dialogue. So I thought I’d throw you a bone; since I took the mainstream route in last month’s list of great third albums, I’m going to leave the usual suspects to you this time around. That means no Beatles, Bob Dylan, Bruce Springsteen, or Rolling Stones on here, although those four bands could have complete lists of their own for this category.
And while the artists included here are by no means no-names, they’re just a tad further off the beaten path than you might expect. One other similarity: All of these closers finish off truly great albums. I guess it proves that you to have a truly sublime and memorable last song, the ones before it have to hit home as well.
So here we go with 10 tracks that know how to wrap things up and leave you wanting more.
“Caroline, No” by The Beach Boys, from Pet Sounds (1966)
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This one should actually be credited to Brian Wilson rather than the Boys, as Wilson was solely responsible for this amazing track. Still, it’s the perfect closer — a deeply personal masterpiece, all wounded beauty and fragile emotion.
“Waterloo Sunset” by The Kinks, from Something Else By (1967)
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One of the great ballads of the British Invasion era and further proof why Ray Davies is criminally underrated in terms of the best songwriters. I wonder where Terry and Julie are today.
“King Harvest (Has Surely Come)” by The Band, from The Band (1969)
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The perfect marriage of The Band’s marvelous alchemy and Robbie Robertson’s dead-on Americana. Featuring a sizzling guitar solo by Robertson and amazing vocals from Richard Manuel, expertly embodying a down-on-his-luck farmer.
“When The Levee Breaks” by Led Zeppelin, from IV (1971)
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It’s worthy of a spot on this list if only for the spectacular drumming of John Bonham. All of the excess for which the band is noted is pared away here, leaving just the four musicians at the top of their game.
“Before The Deluge” by Jackson Browne, from Late For The Sky (1974)
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The capper to Browne’s finest album is this gorgeously wistful offering which ponders the dire results of misplaced priorities. Great instrumental fadeout too, as David Lindley fiddles while the empire drowns.
“Wall Of Death” by Richard and Linda Thompson, from Shoot Out The Lights (1982)
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On a mostly downbeat album, this song is jubilant in its abandon. The two lovers, who were about to go their separate ways, seem to be saying that they’d do it all over again.
“Fight The Power” by Public Enemy, from Fear Of A Black Planet (1990)
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A bit of a cheat to include this, since the single was out well before the album’s release (and was made famous in Do The Right Thing). But it was the perfect, anthemic way to send off this brilliantly incendiary triumph.
“I Didn’t Understand” by Elliott Smith, from XO (1998)
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The late, great Smith usually surrounded himself with musical accompaniment that played up the heartbreak and disillusionment of his lyrics. Here, he just overdubs his voice umpteen times to produce an a capella song so beautiful it hurts.
“Let’s Not Shit Ourselves (To Love And Be Loved)” by Bright Eyes, from Lifted… (2002)
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The “New Dylan” tags have been hung on Conor Oberst for quite a while. On this gloriously unkempt, mariachi-horn-fueled romp, damn if he doesn’t live up to those lofty accolades.
“The Hazards Of Love 4 (The Drowned)” by The Decemberists, from The Hazards Of Love (2009)
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Somehow relatable to all even though it’s about a doomed shapeshifting forest-creature and his water-nymph love. The concept doesn’t seem farfetched at all once you hear this heart-tugger.
Look for Doug's response and his own list tomorrow.
