Ticket 2 Ride

It would be easy to just list a few Beatles albums and call it a day. “A Day in the Life” is a perfect example of closure to Sgt. Pepper, or “Her Majesty” following the incredible suite of songs on side two of Abbey Road, or “Tomorrow Never Knows,” the segue from 1960s pop of Revolver to the deep, mystical creative journey of psychedelia of Sgt. Pepper.

So, let’s set The Beatles aside and review some other great albums and their closing musical moments. I’ve selected 15 songs; from albums that are each near perfect as a whole. Each song is brilliant on their own, but also closure and an exclamation mark.

The Moody Blues, “Late Lament,” Days of Future Passed. The real beginning of the Moody’s amazing creative album cycle. “Late Lament” is a spoken-word poem over some melancholy orchestration that is cerebral and deeply philosophical. The song, “Nights in White Satin” segues into “Late Lament.” If it’s late at night and you are looking up at the billions of stars, this song will lift you into the heavens.

The Who, “Won’t Get Fooled Again” from Who’s Next. The Who’s vaulted anthem of angst and activism, an album of declaration and life-affirming celebration. The peak of the band’s creativity and power. Meet the new boss, same as the old boss – powerful words, indeed.

Pink Floyd, “Eclipse” from Dark Side of the Moon. Its really, “Brain Damage” / “Eclipse” as the two songs are essentially joined. They complete the album’s journey.

The Rolling Stones, “You Can’t Always Get What You Want,” from Let it Bleed. Not the Stones’ best album, but a very good one as they close one decade and jump head first into heavy rock and roll. The song is a Stones classic, expertly produced, a slice of early 1970s gossip-R&B flavored rock.

Bruce Springsteen, “Jungleland,” from Born to Run. One of Springsteen’s greatest story songs on his masterpiece, Born to Run. Nearly ten minutes long, this is the kind of symphony that Elton John and Pete Townshend were writing, a three-act urban play of young lives on the tough streets.

Neil Young, “Words,” from Harvest. A jarring, heavy guitar song that abruptly segues from the gentle “The Needle and the Damage Done.” “Words” is a counterpoint song to the brighter, upbeat imagery of other Harvest songs. At almost seven minutes, the song has a long fade out with Young’s blues guitar solo.

The Doors, “The End,” from The Doors. The debut album from the band, some badass L.A. rock, full of dark and foreboding imagery and trippy music. “The End” is your worst nightmare, a bizarre journey into the darkness of your primal soul. A perfect ending to the album and the introduction to the film, Apocalypse Now. You’ve been warned.

Steely Dan, “The Royal Scam,” from The Royal Scam. Funky, jazzy, hard rocking – this album isn’t as great as Aja, just deeper and darker. The title track closes the album, brooding, with repeating melodic riffs, the song continues the loose, outlawish vibe of desperation and adventure. The album has some of the rawest, grittiest guitar work on a Steely Dan album.

Paul McCartney & Wings, “Nineteen Hundred and Eighty-Five,” from Band on the Run. A grand ending to a gigantic album. Thunderous and galloping, this song pounds away, building to climactic orchestration and a short reprise of “Band on the Run.” The album was a massive hit, putting Wings, as a new band, on the map.

Alan Parsons Project, “Shadow of a Lonely Man,” from Pyramid. Another concept album by APP, containing the structure of instrumental pieces and vocal tracks to deliver the theme of man verses a higher power of influence. “Shadow of a Lonely Man” is a great closer; poignant, grand and a bit melancholy.

The Pretenders, “Mystery Achievement,” from The Pretenders. These post-punk rockers offer up a heady album of smart, haunting rock. This song is something you’d expect from the Stones or The Who, heavy, pounding guitar-churning rock. Masterful and played with intensity. When the needle finishes, you want to hear the album again.

Dan Fogelberg, “False Faces,” from Nether Land. The fourth album from Fogelberg is a triumph. Musically diverse, it is expertly played and produced. Very cinematic in scale, the songs are rich in romantic imagery and the songs swell, with sweetness and bite. “False Faces” is a rousing finale, soaring and intense.

Eagles, “The Last Resort,” from Hotel California. What’s not been said about this album? The final song is an opus or a warning about excess and neglect. Enjoy.

Supertramp, “Crime of the Century,” Crime of the Century. Not the greatest of Supertramp albums, but the best overall thematic group of powerful songs. The musical palette is every bit as impressive as Dark Side of the Moon. The music is electrically charged, poignant, pounding and beautiful. The title track pulls it all together in a masterful and haunting piece of art rock.

Carole King, “(You Make Me Feel Like) A Natural Woman,” Tapestry. A landmark album, songs of exhalation and revelation, from a woman’s view. This song was composed for Aretha Franklin, but it also fits King.