Tension drives the best rock ’n’ roll songs, followed by release. Chords that fill layers of frequencies get balanced out by space. Some artists use tried-and-true formats, like verse, chorus, and bridge; others meander in magical ways and somehow still capture our fancy. I’m always pleased to hear a surprise frame tacked onto the melody.
Here are some of my favorite outros, defined by Meriam-Webster’s as a “short, distinct closing section.” I’ve tried to limit this list to instances when there’s an entirely new passage, not just a jam on the same progression.
- The Beatles, “I Am the Walrus”: Books have been written on this topic. This passage snowballs into an overpowering avalanche, with enough effects tossed in to keep listeners debating the meaning for decades. The masterpiece manages to merge into a cohesive whole, even though it’s a collage of fragments. An epic performance of production, composition, and recording. Also, in a similar vein, listen to the Beatles’ “A Day in the Life.” And then there’s “Hey Jude”—and others. Face the facts, folks, the Beatles wrote the book on everything.
- Led Zeppelin, “The Rover”: A searing, sizzling guitar burns with ferocity. It’s the only way to top the edgy riff that carries this tune into the stratosphere, matching the lyrics that trace the itinerant narrator’s journey. Short, but incendiary.
- The Who, “Pure and Easy”: Nothing about this song screams template. It slows down, speeds up, and strikes a spiritual stance, speaking of a higher place. The dazzling guitarwork at the end seals the package like shiny silver Christmas wrapping. I would’ve selected the unstoppable “Baba O’Riley,” but it’s endured more than its fair share of ink.
- Neil Young, “Cinnamon Girl”: There’s nothing too complicated or serious, just prototypical grunge guitar. As usual, Neil keeps it simple but classy, tasteful, and perfectly placed.
- Derek and the Dominos, “Layla”: I have no idea what to make of this coda. The piano has nothing to do anything. It’s like a new song but—in a complete mystery—works anyway.
- Guns n’ Roses, “November Rain”: Slash tactfully blows away the tangible pain of the ballad, storming the melody like a Category 5 hurricane.
- Fleetwood Mac, “The Chain”: This song was cobbled together from leftover snippets from their three songwriters, but it sounds whole, working well as a powerful anthem of resilience and faith. The lyrical bassline at the end pulls its distinct parts together in a whopping frenzy.
There are plenty more great outros. Please post your favorites.