Some songs end on a nice, quiet note. And that can be good. But other songs have huge, powerful finales that leave you gasping for air, and that’s what this thread is about. Name your favorite songs that fit the latter category here.
I’ve been listening to a lot of Radiohead and a lot of McLusky lately, hence some that stick in my head right now are:
Radiohead - Electioneering
Radiohead - The National Anthem
McLusky - Lightsabre Cocksucking Blues
McLusky - Day Of Deadringers
The first two that came to mind:
Manfred Manns Earth Band - Blinded by the light
The The - Uncertain smile
Jungleland Bruce Springsteen
So. Central Rain R.E.M.
Magical Mystery Tour Beatles
The Intro And The Outro Bonzo Dog Band
The Cars - Just what I needed
The Beatles - A Day in the Life
I always liked the drumming goodness of Steely Dan’s “Aja”. “Layla” has a great outro. What about “Freebird”?
The Beatles’ “Drive My Car”. (“Beep-beep, beep-beep, yeah!…”)
Sorry, that isn’t what the OP was requesting.
[…]
Damn, this is tough! It’s like trying to recite the alphabet backwards… I’ve never tried to recall the ends of songs before.
I’ll have to keep this thread in mind and get back to it later.
The piano outro to “Layla.”
The Pixies: lots of their songs end loudly & rudely. “Planet of Sound” and “Tame” both end in a big din that gets cut off abruptly. “Something Against You” ends huge. “River Euphrates,” with a snarl; “Where Is My Mind?” with wailing; “I’m Amazed” with a thundering drum hit…
The Pixies: lots of their songs end loudly & rudely. “Planet of Sound” and “Tame” both end in a big din that gets cut off abruptly. “Something Against You” ends huge. “River Euphrates,” with a snarl; “Where Is My Mind?” with wailing; “I’m Amazed” with a thundering drum hit…
I can think of three that are on the same side of the same album, The Tubes - “Mondo Bondage”, “What Do You Want From Life” and “White Punks On Dope”.
“21st Century Schizoid Man” by King Crimson
“I Want You (She’s So Heavy)” by The Beatles
“Dialogue” by Chicago
“Nineteen Hundred And Eighty Five” by Paul McCartney & Wings
And on “Crystal Ball” by Styx, “Put Me On” has a great ending that has a hard edit into the next song, but it’s a great song and a great choice of followup - “Mademoiselle”.
EEWWW that outro goes on for like a half hour with no discernable musical purpose. To summarize, BOOOOOOOOO.
That’s OK, you don’t have to like it. Millions and millions of other people do. I’m not going to put anything down that you think is cool. Possibly you might take a cue from that
“The Squirming Coil”, by Phish. Hands down. I’m particularly fond of the version on A Live One.
I like the ending of “I Want You (She’s So Heavy)”–the way it goes on forever and then just stops unexpectedly.
Dr. J
I have never liked the outro to “Layla.” It’s pretty cool for the first eight hours, but then it gets boring.
But it’s so neat when it cuts off abruptly and “Here Comes the Sun” comes on… 
I also have to nominate “Baba O’Riley,” by the Who.
Voices Carry by 'Til Tuesday
Listen carefully for the last pleading line (which is usually cut off during radio airplay).
I wish… he would… let me talk.
Sultans of Swing by Dire Straits.
I’m not sure exactly how to describe the guitar in this song. There are short little riffs in between lines and verses. But it’s never uber-technical and show-offish, just nicely measured and just a little bit restrained. But for the outro, he (is it Mark Knopfler on guitar?) starts to cut loose; like he’s just getting warmed up. Makes it feel like that song is just the beginning.
Neil Young’s Cinnmon Girl ends with a signature Neil guitar solo: powerful and majestic, and a little bit dangerous.
And many deejays today cut off the ending, either on purpose or because they are ignorant–not sure which.