Top 10 Rock Songs With Long Endings

Picture of Elton John for the article Top 10 Rock Songs With Long Endings And Extended Jams

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If there’s one thing AM radio programmers hated in the 1960s and ’70s, it was songs with long endings. For the most part, these songs never made it onto the AM radio dial. If they did, they were often edited. However, with the advent of the album-oriented format on the FM dial—epitomized by stations like New York’s WNEW in the seventies—the length of the songs didn’t matter. People loved album-oriented rock on radio, and many classics received the airplay they deserved. The extended long ending satisfied the audience’s appetite for cinematic, adventurous music in rock and roll. Progressive music started this trend, but it soon found its way into mainstream rock and roll. This list examines ten of the most loved and exciting extended endings in classic rock history. There are hundreds, if not thousands, of examples, but these are ten of our favorites.

# 10 – Hotel California – The Eagles

Opening our list of the top 10 rock songs with long endings is “Hotel California,” a track that remains one of the most iconic pieces in rock history. Recorded in 1976 at the Record Plant in Los Angeles and Criteria Studios in Miami, and released on February 22, 1977, this song is a masterclass in storytelling and atmospheric production, crafted under the guidance of producer Bill Szymczyk.

“Hotel California” spans 6:30 in its album version, and it’s a song woven with vivid imagery and metaphor. The song starts with a soft, haunting guitar that sets a mysterious tone, drawing listeners into its narrative. The intricate guitar work by Don Felder, who also conceived the song’s initial demo, and Joe Walsh, whose solo perfectly complements the song’s thematic depth, creates a layered, melodic foundation that’s both captivating and eerily dissonant. The distinctive voice of Don Henley delivers the narrative with a measured intensity that builds as the song progresses.

The extended ending of “Hotel California” begins at about 4:20 into the song, marked by a dueling guitar section between Felder and Walsh that is as iconic as the song itself. This instrumental outro not only serves as a climactic close to the story but also highlights the exceptional guitar work that has helped define the song as a staple of classic rock. The guitars weave together, then apart, in a complex interplay that mirrors the song’s lyrical themes of entrapment and desire, drawing the listener deeper into the song’s haunting conclusion.

Critically and commercially, “Hotel California” was a monumental success. It reached the top of the Billboard Hot 100 singles chart and became a defining track of the Eagles’ career.

# 9 – Achilles Last Stand – Led Zeppelin

For those who may not know, “Achilles Last Stand” was the opening track on Led Zeppelin’s 1976 album Presence. The track was recorded at Musicland Studios in Munich, Germany, in November 1975. I think most Led Zeppelin fans would pick this as their favorite song on the album. The song stretches over ten minutes, with lyrics that explore themes of determination and mythic struggle, delivered with the characteristic intensity of Robert Plant.

The song concludes not with a traditional solo but with a haunting guitar riff by Jimmy Page that starts around the 9:45 mark and carries the song to its end. This riff is repetitive, creating a hypnotic effect that serves as a stark contrast to the song’s earlier sections. It’s this haunting repetition that effectively underscores the song’s themes of endurance and inevitability, leaving a lasting impression. When I was 15, I thought this was the coolest ending. I still do.

# 8 – Baba O’ Riley – The Who

“Baba O’Riley,” by The Who was released as the opening song on their 1971 album Who’s Next. This piece was recorded in May 1971 at Olympic Studios in London, under the production mastery of Glyn Johns. The song starts with a mesmerizing synthesizer loop, a pattern inspired by the work of minimalist composer Terry Riley, which underpins the entire track. Pete Townshend, inspired by the life of Meher Baba and the musical theories of Riley, crafted the song to reflect the themes of life’s existential journey, which is echoed in the lyrics sung with fervent intensity by Roger Daltrey. The rest of the band, including John Entwistle on bass and Keith Moon on drums, contribute to the song’s driving force, with Townshend’s guitar providing a rock-solid foundation.

The extended ending or jam begins around the 3:35 mark in the song, which runs a total of just over 5 minutes. This section starts when the main lyrical portion ends, leading into a violin solo played by Dave Arbus. The solo is built over the continuation of the song’s prominent synthesizer loop and a repetitive but dynamic drum pattern, which closes the track with a compelling fusion of rock and classical elements, reflecting the innovative spirit of The Who. “Baba O’Riley” was not released as a single in the UK but became enormously popular as an album track and a staple in rock radio rotation in the US, where it has since been celebrated as one of the greatest rock songs of all time.

# 7 – Can’t You Hear Me Knocking – The Rolling Stones

“Can’t You Hear Me Knocking” was released on The Rolling Stones’ 1971 album Sticky Fingers. Recorded in 1970 at Olympic Studios in London and produced by Jimmy Miller, who was instrumental in shaping the Stones’ sound during this period, the track highlights the band’s ability to blend straightforward rock with experimental improvisations.

The song starts with a classic Keith Richards riff, immediately recognizable and endlessly influential. Mick Jagger’s raw vocal delivery perfectly complements the guitar work, setting a defiant, rebellious tone. The band’s lineup for this track features Mick Jagger on lead vocals, Keith Richards on guitar, Charlie Watts on drums, Mick Taylor on guitar, and Bill Wyman on bass. The initial part of “Can’t You Hear Me Knocking” runs as a typical Stones rock track until about the 2:43 mark, where the song transitions into a remarkable extended jam session that lasts for over four minutes.

This extended section is led by Mick Taylor’s dynamic guitar solo, weaving through a landscape painted by Bobby Keys’ potent saxophone and Billy Preston’s mesmerizing organ work. “Can’t You Hear Me Knocking” goes beyond the conventional song structure and ventures into a spontaneous musical expression that was somewhat unprecedented for the band at the time. It was not released as a single but has since become one of the band’s most celebrated deep cuts.

# 6 – Curtains – Elton John

“Curtains,” the final track on Elton John’s critically acclaimed 1975 album Captain Fantastic and the Brown Dirt Cowboy, is celebrated for its poignant lyrics and a compelling extended ending that masterfully concludes the introspective narrative of the album. The album, recorded at Caribou Ranch in Nederland, Colorado, and produced by Gus Dudgeon, is a concept piece that delves into the early struggles and eventual breakthrough of Elton John and his lyricist Bernie Taupin. “Curtains,” like the rest of the album, was crafted with meticulous attention to musical detail and lyrical depth, featuring a lush arrangement typical of John’s mid-1970s work.

The track spans over six minutes, beginning with a soft, reflective melody that gradually builds in intensity. Elton John’s piano, as always, is at the forefront, supported by Davey Johnstone’s guitar, Dee Murray’s bass, and Nigel Olsson’s drums, creating a rich harmonic texture that is both grand and intimate. The song also features orchestral arrangements by Gene Page, which add to the cinematic feel of the track. Lyrically, “Curtains” explores themes of reflection, finality, and continuation, which resonate with the album’s overall examination of the artists’ journey. The lyrics “I used to know this old scarecrow, He was my song, my joy and sorrow” reflect the personal and professional growth chronicled throughout the album.

The extended ending of “Curtains” begins around the 4-minute mark when the initial ballad section concludes. This portion of the song features an expansive orchestral arrangement that enhances the emotional impact of the finale. The repetitive, haunting refrain, layered with choral backing vocals, creates a sense of closure and finality that is both uplifting and melancholic. This extended outro not only serves as a powerful ending to the song but also acts as a fitting epilogue to the entire album, encapsulating the themes of struggle, fame, and artistic integrity that Captain Fantastic and the Brown Dirt Cowboy addresses.

# 5 – Jungleland – Bruce Springsteen

Bruce Springsteen makes this list not because of an extended jam or a long instrumental at the end, but rather for the coda that closes out this breathtaking song. It’s in the last minute of “Jungleland” where Springsteen delivers a vocal performance for the ages, howling at the moon from the streets of the city, closing out his most remarkable album. The band’s performance on this one is marked by Clarence Clemons’ iconic beautiful saxophone solo and Roy Bittan’s dramatic piano playing, both integral to the song’s sweeping dynamics. “Jungleland” moves through various movements, starting with a powerful, poetic exposition of city life, climaxing in a violent and chaotic middle section, and concluding with Springsteen’s passionate vocals. This one leaves you breathless.

# 4 – The Boxer – Simon & Garfunkel

“The Boxer,” recorded by Simon & Garfunkel and featured on their 1970 album Bridge Over Troubled Water, is an enduring masterpiece known for its poignant lyrics and the remarkable extended ending that encapsulates the song’s emotional depth. The track was laid down between 1968 and 1969 at various locations, including Columbia Studios in Nashville and St. Paul’s Chapel at Columbia University in New York City. The production, led by the duo along with engineer and producer Roy Halee, showcases innovative recording techniques and a meticulous attention to detail.

Running just over five minutes, “The Boxer” is a folk rock tour de force characterized by its melodic complexity and narrative lyricism. Paul Simon wrote the song, which tells the story of a downtrodden fighter persevering against adversity. Art Garfunkel’s harmonies blend seamlessly with Simon’s vocals, enhancing the storytelling with aural richness. The song features a distinctive acoustic guitar performance by Simon, underpinned by Larry Knechtel’s bass and the addition of a lush string arrangement. Notably, the song includes a piccolo trumpet solo by John Simon, adding a unique textural element to the arrangement.

The song culminates in an extended outro, beginning around the 4:30 mark, which repeats the refrain “Lie-la-lie” accompanied by a large ensemble of voices and instruments, creating a hauntingly beautiful and layered sound that has become iconic. This outro serves not only as a musical climax but also as a thematic reinforcement, echoing the resilience and unyielded spirit of the song’s protagonist. The chant-like repetition and the crescendo of the backing arrangement evoke a sense of communal solidarity and emotional release.

Upon its release, “The Boxer” was highly successful, reaching number seven on the Billboard Hot 100 chart. Critics and listeners alike praised the song for its lyrical sophistication and innovative production. The final segment of “The Boxer,” with its powerful, echoing fade-out, is particularly celebrated for demonstrating how folk music can incorporate elements of classical and rock to create a profound and resonant ending. Over the years, “The Boxer” has been covered by numerous artists and remains a highlight in Simon & Garfunkel’s oeuvre, a testament to the song’s intricate production, timeless narrative, and universal appeal.

Read More: Top 10 Simon & Garfunkel Songs

# 3 – Comfortably Numb – Pink Floyd

“Comfortably Numb” stands as a seminal piece in Pink Floyd’s discography. Featured on their 1979 album The Wall, it is celebrated not only for its profound lyrical depth but also for its climactic guitar solos that mark one of the most iconic long endings in rock music. The song was primarily recorded in 1979 at Super Bear Studios and Studio Miraval in France, with further sessions at the Producer’s Workshop in Los Angeles. Pink Floyd, alongside co-producer Bob Ezrin, meticulously crafted a track that is a cornerstone of the concept album, which delves into themes of isolation and alienation.

“Comfortably Numb” features a haunting, understated opening with David Gilmour’s clean guitar tone setting a somber mood, complemented by Richard Wright’s subtle keyboard layers. Roger Waters’ lyrics, inspired by his own experience of being medicated during a concert tour, are delivered with chilling detachment by both Waters and Gilmour, who take on different verses reflecting the perspectives of a depressed rock star and an indifferent doctor. The synergy between the vocalists and the instrumental arrangement adds a layer of narrative richness to the song, enhancing its emotional gravity.

The song extends over 6 minutes, with the extended outro beginning around the 5:06 mark, characterized by David Gilmour’s second guitar solo. This part of the song is widely regarded as one of Gilmour’s finest performances, noted for its melodic richness and technical precision. The solo is both a culmination of the song’s narrative and a profound exploration of musical expression, soaring over the backing track with increasing intensity before gradually fading out. This instrumental passage not only serves as a musical climax but also beautifully encapsulates the song’s themes of numbness and despair.

# 2 – Layla – Derek And The Dominoes

“Layla,” the definitive track by Derek and the Dominos from their 1970 album Layla and Other Assorted Love Songs, stands as a monumental achievement in rock music, renowned not only for its emotional depth but also for its groundbreaking long ending. Recorded over several sessions at Criteria Studios in Miami, Florida, between August and October 1970, the song features the impassioned synergy of Eric Clapton on guitar and vocals, Duane Allman also on guitar, Carl Radle on bass, Bobby Whitlock on keyboards and backing vocals, and Jim Gordon on drums. The track was meticulously produced by Tom Dowd, a key figure in shaping its distinctive sound.

“Layla” clocks in at 7:10, with its famous piano-driven ending beginning around the 3:10 mark. This extended outro, marked by its melancholic yet soothing melody, was composed by drummer Jim Gordon, though the piece has a storied connection to Rita Coolidge, who claimed co-authorship. The outro’s contrast to the high-energy, angst-driven first half of the song—written by Clapton and inspired by his unrequited love for Pattie Boyd, then-wife of his friend George Harrison—illustrates a narrative of passionate despair transforming into reflective resignation. This shift is achieved through the seamless integration of Allman’s slide guitar work and Gordon’s plaintive piano sequence, creating a profound emotional arc that has captivated listeners for decades.

Upon its release, “Layla” initially had modest success, peaking at #51 on the Billboard charts in the United States. However, its reputation grew substantially, fueled by the personal mystique of Clapton’s pained love story and the tragic early death of Duane Allman. The song was re-released as a single in 1972, reaching #10 in the US and becoming one of Clapton’s most celebrated tracks. Critically, “Layla” is often cited for its bold artistic vision, with the song’s structure considered revolutionary for its time. The combination of blues-rock fervor and classical-inspired conclusion showcases Clapton’s and Allman’s virtuosic talents, making it a staple of classic rock and an enduring example of the genre’s capacity to convey complex emotional landscapes.

# 1 – Hey Jude – The Beatles

“Hey Jude,” released in 1968, is not just a seminal track by The Beatles; it’s one of the most loved songs of all time. Recorded at Trident Studios in London and masterfully produced by George Martin, the song stands out for its heartfelt simplicity that evolves into a communal sing-along, spanning over seven minutes, making it one of the longest singles at the time to reach commercial success.

The song initiates with Paul McCartney’s gentle yet profound piano chords, setting a nurturing tone as he sings, “Hey Jude, don’t make it bad. Take a sad song and make it better.” These opening lines immediately establish the song’s intent—to uplift and inspire. As McCartney encourages Jude to open his heart and embrace his courage, the song’s narrative moves from personal solace to a universal message of hope and encouragement. This thematic depth is mirrored in the structure of the song which, after the second verse, McCartney sings, “And anytime you feel the pain, hey Jude, refrain, Don’t carry the world upon your shoulders.” Here, McCartney’s soothing advice lays the groundwork for the song’s climactic build.

The most iconic aspect of “Hey Jude” is undoubtedly its extended outro, starting around the three-minute mark, where McCartney leads a four-minute coda, repeating “Na na na nananana, nannana, hey Jude.” This simple lyrical repetition becomes a powerful, collective experience as it is joined by the contributions of fellow Beatles and a 36-piece orchestra. The outro serves not just as a musical climax but as a lyrical affirmation, reinforcing the song’s central message of transformation and comfort through a meditative yet joyous chant that invites listener participation.

“Hey Jude” reached the top of the charts in both the UK and the US and remained a critical favorite, celebrated for its bold structure, lyrical sincerity, and innovative production. The song’s success proved that music could be both introspective and universally accessible, and its extended ending with repetitive lyrics turned simple phrases into a bonding, interactive moment for all who listened.

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