Killer Finales: Albums That Finish With Their Strongest Tracks

Whether your album goes on for an hour or ten minutes, the general rule of thumb is to finish things with a bang rather than a fizzle. Sure, there are a handful of albums that could be considered one of the greatest whose best track is somewhere in the middle (hell, maybe all the tracks are so great it’s hard to pick a definitive one) but that’s not what we’re talking about today. So strap yourselves in folks because today, the good folk of blinkclyro are going to go through a host of favourites that made sure to bow out in the best way possible.

The Velvet Underground – Sister Ray
White Light/White Heat

17 and a half minute long epitome of the legendary band’s sophomore avant garde quest to create something new from the thunderous noise rock they hammer out via tribal drums, buzzing organs and melting guitars – so brutal the producer walked out half way through the recording, but so very good.

Josh Adams (@jxshadams)

The National – Mr November
Alligator

The ultimate send-off for the album which represented a turning point in their careers, the twilight zone of a band on the verge of critical and commercial success. An explosive 4-minute distillation of everything they’ve done up to that point, Matt’s voice nears breaking point as he yells “I won’t fuck us over / I’m Mr November” with steely conviction.

Kieran Cannon (@kiercannon)

Carly Rae Jepsen – Roses
EMOTION SIDE B

WILDCARD BITCHES! Nothing omitting a cheeky wee b-side album, not as long as I’m running this site, which means the once meme turned queen of Partrician can make an appearance with this stunning track. If you’re gonna title two of your albums with EMOTION then you gotta show it and Roses just oozes heartbreak, whether it be the flower imagery or Jepsen’s vocals that at times sound like she has a legitimate lump in her throat. 

-Liam Menzies (@blnkclyr)

The Clash – Train In Vain
London Calling

Initially elided from the track listing and kept as a secret cut on the record, The Clash opted to close out their sprawling, genre-swinging double album London Calling with a modest breakup song. Detailing the dissolved relationship between vocalist Mick Jones and Viv Albertine of The Slits, the band turn their politically keen focus inward. Easily the most personal song on the album, Jones reaches an invaluable epiphany in the throes of his heartbreak: “You don’t understand my point of view/ I suppose there’s nothing I can do.”

-Sean Hannah (@shun_handsome)

Fatherson – Foreign Waters
I Am An Island

Just sums up Fatherson and their debut in every way possible. Slow, sad moments mixing with huge chorus and drum – throw in the addition of the wee 2 minute hidden track at the end and you’ve got a superb finale.

– Gregor Farquharson (@grgratlntc)

Radiohead – Motion Picture Soundtrack
Kid A

So much has been said and written about the icy atmosphere of that record and MPS continues this to the n-th degree with the chilling organ backdrop, however the twinkling harp that comes in combines with some of Thom’s best ever vocals to bring a beautiful sense of humanity to the record, and “I will see you in the next life” has to be the best album-closing lyric ever.

-Andrew Barr (@weeandreww)

Gaslight Anthem – National Anthem
Handwritten

An album that shows so much ‘in your face’ guitar angst is closed perfectly with a delicate, emotional ballad. It shows the versatility of their sound & that they have much more to offer than riffs, hooks & drum fills – for me, this is the peak of the most rounded album The Gaslight Anthem have ever put out.

-Callum Thornhill (@cal_thornhill )

Biffy Clyro – Now The Action Is On Fire
Vertigo Of Bliss

It (somehow) manages to condense everything that made very early Biffy so special into one song. It has a bit of everything, a frantic string section, some of the best vocals the trio had ever and will ever put down, some gloriously heavy instrumentation and weird as fuck lyrics that were fast becoming a signature part of the Biff’s repertoire. It’s bombastic, loud and by all accounts it shouldn’t work but THAT’S why it’s so good. In a word, masterful.

-Jake Cordiner (@jjjjaketh)

Arctic Monkeys – 505
Favourite Worst Nightmare

At this point in their career 505 was the most emotionally bare Turner’s lyrics had been and still today remains arguably their best song and suitably ends most of their sets with that unforgettable riff sounding better each time you hear it. On an album where the band improved in every way, 505 embodies that change during its climax.

-Ethian Woodford (@human_dis4ster)

Muse – Knights Of Cydonia
Black Holes & Revelations

The epitome of bombastic rock and roll grandeur, from the giant opening stabs to the infamous “No one’s gonna take me alive” bridge/ending, it could be used as a blueprint to end an album. It’s overblown, in your face and pompous, making it the perfect song for the credits to roll.

– Oliver Butler (@notoliverbutler)

Death Grips – Hacker
The Money Store

Described by cuindependent.com as “the moment when all shit breaks loose and all that’s left to do is riot”, Hacker is the point in Death Grips’ career where they realised that they were the shit and wanted everyone to know about it. They’re in your area, whether you fucking like it or not. 

-Liam Menzies (@blnkclyr)
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blinkclyro

Editor of blinkclyro.com . Wine, meme and vinyl connoisseur who hums Born Slippy far too often. Veggie wank🌱

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