As a deejay in my college days, I used to have to count the measures of the guitar riff at the end, and have the next song “cued up” and ready to go when the song ended “cold”.
Quasi
el kabong, thats bobbyy keyes. i vote for ‘strawberry fields forever.’
It’s the opposite of an Intro. I suppose the proper term would be “coda,” which is a final passage that brings a composition to a close. I supposed that, to be considered an “Outro,” the passage really should be distinct from the rest of the song, not just a repetition of a verse or chorus.
Steve Biodrowski
http://www.thescriptanalyst.com
I’m afraid I don’t know that song (Going Home). The outro/2nd song was entirely instrumental, no words. It really sounded to me like just riffing on the “Sultans” chords, but I am not enough of a musician to be sure. I could hum it for you but, well,…I probably have the tape somewhere but I have literally moved about 10 times since then, so laying hands on stuff like that is a project.
For all you old ‘Beaker Street’ fans: In the Court of the Crimson King - King Crimson
Suite: Judy Blue Eyes (from 4-Way Street) - CSN&Y
Broken Arrow - Neil Young
I agree that the Beatles pretty much had this mastered, but Pink Floyd, on Dark Side of the Moon, did a jam-up (no pun intended) job of it also.
Dislike him? I wouldn’t piss down his throat if his heart were on fire!
First post!
Hmmm, so many great ouros to choose from… But if I had to pick just one, it might be the outro to “I Believe (When I Fall In Love With You It Will Be Forever)” by Stevie Wonder.
He caps off maybe the best ballad he ever did by suddenly turning on some hard Clavinet funk. Coincidentally, the song also closes the album “Talking Book,” which I suppose makes it my vote for best album closer as well…