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Album Closure

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"Now it's time to say good night
Good night, sleep tight
Now the sun turns out his light
Good night, sleep tight"
"Good Night", the final track on The Beatles' white album

Even outside of the Rock Opera genre, an album of music can be seen as a story in itself. Consequently, it's extremely common for the last song on an album to try to provide some sort of closure to that story.

This is often accomplished by making the final track a slow, introspective ballad where the rest of the album might have been more upbeat—as though after all they've been through, the singer is slowing down to really reflect on what they've learned. If the album is romance-themed, this might be either a tentatively hopeful love song about finding true connection after all the tumult, or a Downer Ending about break-ups and departures. On other albums, it's common for the last track to discuss death and dying—or, contrastingly, rebirth and renewal.

The song might be longer than the other tracks, transition between different styles, include some Spoken Word in Music, or have a title like "The End" or "The Last [X] ." May call back to an earlier song, either from the same album or a different one.

This is the musical equivalent of Dénouement. Extremely common on Concept Albums. Opposite trope to Album Intro Track, sister-trope to Solemn Ending Theme (which is about credits music). May overlap with Hidden Track or Medley. Might be a Grief Song, Break Up Song, Lonely Piano Piece, or "When I'm Gone" Song, among others.


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    Alternative — Pop 
  • A Different Kind of Human by Aurora ends with "Mothership," a short, slow song with few lyrics that wraps up the album's themes of belonging and deconstructed Alien Abduction.
  • Phoebe Bridgers's album Punisher concludes with the melancholy song "I Know the End." It's the longest song on the album by over a minute and shifts into pseudo-Heavy Metal for the outro, which is about the apocalypse.
  • Kate Bush:
    • The last song on Never for Ever is "Breathing," which is from the perspective of a child in the womb during a nuclear apocalypse.
    • Hounds of Love ends with a song called "The Morning Fog" that wraps up the lost-at-sea subplot of the album's second half and discusses themes of redemption and new beginnings.
  • The Cardigans ended Life with "Closing Time" which includes callbacks to several of the album's previous songs and provides a "Where Are They Now?" Epilogue for some of the characters mentioned therein.
  • Good Kid: Good Kid 2 ends with "Drifting", which is about a the singer anticipating his girlfriend breaking up with him because they don't communicate as well anymore. The last line, "and now I know that you've been gone," confirms that the break-up did eventually happen.
  • Lana Del Rey:
    • Lust for Life finishes with "Get Free," about redemption and finally moving on.
    • The last track on Norman Fucking Rockwell is the heartwrenching, stripped-down piano ballad "hope is a dangerous thing for a woman like me to have - but I have it".
    • Born to Die ends with "This Is What Makes Us Girls", a deeply personal song remembering the fun times she had before her parents sent her off to boarding school for rowdy behavior.
  • "Lumina," the closing track to Joan Osborne's Relish, is its slowest and most introspective.
  • Miracle Musical: The final track, "Dream Sweet in Sea Major", on Hawaii: Part II. It's a calming piece with surreal lyrics about truth, dreams, sailing, and the peaceful end of the universe. Towards the end, it compares the situation to the end of a song.
    The part is wholly ending
    A line in any final song
    So long, so far
  • Most of Skating Polly's albums end with a soft acoustic track that contrasts with the rest of the album. For example, Fuzz Steilacoom, which is otherwise entirely raw, noisy punk, ends with "A Little Late", a soft piano ballad about being nice to people.

    Alternative — Rock 
  • Toni Childs's The Woman's Boat closes with the song "Death," which calls back to the album's first song, "Womb": at the end of her own life, the singer again addresses her mother, this time apologizing for any pain she may have caused her and implying she will see her again soon.
  • Curve's Come Clean, an album with a general theme of addiction, ends with "Recovery", a soft, gentle song about a Recovered Addict.
  • Dessa's album Chime ends with "I Hope I'm Wrong," a sad song about her mother's death.
  • At the end of her Every Where Is Somewhere album, K. Flay addresses the last few months of her life and recovering from a low point in "Slow March."
  • Very common with the Foo Fighters. The last tracks seem to always go for a theme like closure ("Exhausted", "Home"), persistence ("New Way Home", "I Am A River", "Concrete and Gold"), departure ("M.I.A.", "Come Back", "Love Dies Young"), and restarting ("End Over End", "Walk").
  • Jhariah:
    • The Great Tale of How I Ruined It All ends with the Title Track. The album takes place After the End, where the survivors have been taken in by a cult. The protagonist hides away and survives, but is soon inspired to take on the leader himself. In the last track, he admits it's not a really a sad or a happy ending; he defeated the leader and is rebuilding the city, but now he runs the cult himself and feels like he could have stopped it altogether had he acted earlier.
    • A BEGINNER'S GUIDE TO FAKING YOUR DEATH ends with "Flight of the Crows". The album follows the story of a man who fakes his death to avoid his past, and grows to regret it once he fears the consequences will catch up to him. In "Flight of the Crows", he decides to Face Death with Dignity and kill himself (or otherwise disappear again), telling everyone to just forget about him so they aren't hurt. The last 30 seconds are a grand theatrical finish before the album ends (except the bonus track).
      Well, I think that I've gotta go, and I don't know why
      But I need you to promise that you won't cry
      'Cause you'll be fine, and so will I
      So just let me out of your mind
      In the morning you'll learn I disappeared off into the night so quietly
      That your love for me will vanish too
  • The final song on Avril Lavigne's Goodbye Lullaby (before the Hidden Track) is a Break Up Song called "Goodbye."
  • The last official track on My Chemical Romance's The Black Parade is called "Famous Last Words," referencing the Dying Speech trope.
  • Origami Angel:
    • Somewhere City ends with "The Air Up Here", which heavily connects to the first song on the album. It's about the singer reaching out to an old friend after an extended trip to Somewhere City, saying that it has nothing to do with anything bad they did: he just likes Somewhere City more because his life is better and he feels like he belongs there, and he invites them to join him.
    • GAMI GANG ends with "gg", with lyrics that connect to it being the last song ("I've still got lots of things to say / But it looks like we're running out of time / So I'll compile it down the best I can...") The singer acknowledges that he's incapable of changing and won't be able to relate to his girlfriend anymore. However, he still plans to support her.
      And it may not be the you I'm used to
      Some things remain the same
      Like your hair, your touch, your smile, your voice, your eyes
      The way you say goodbye
  • Panic! at the Disco:
    • Too Weird to Live, Too Rare to Die finishes with "The End of All Things," a slow, longing love ballad that contrasts sharply with the rest of the album's heavy, upbeat Synth-Pop.
    • The last song on Death of a Bachelor is its slowest and saddest—"Impossible Year."
      There's no sunshine
      This impossible year
      Only black days and sky grey
      And clouds full of fear
    • Pray for the Wicked, theretofore an upbeat jazz-pop dance record, concludes with "Dying in LA," a heart-wrenching piano/violin ballad about how Celebrity Is Overrated.
  • The closing track of II by The Presidents of the United States of America is "Ladies and Gentlemen Part 2," which thanks the audience for listening says goodbye . . . at least until the Hidden Track. The album opens with "Ladies and Gentlemen Part 1" which serves as an Album Intro Track, so the two songs together act as Book Ends.
  • Qbomb: HYPERPUNK ends with "Overkiller". It concludes the protagonist's arc about his band by saying that he'll never really get over his emotional problems and no matter how realistic he sets his goals, he never feels like they'll be enough.
  • Lou Reed's Transformer ends with "Goodnight Ladies," about leaving a bar late at night.
    Goodnight ladies, ladies goodnight
    It's time to say goodbye
  • Most of The Smashing Pumpkins' studio albums end with some kind of gentle, acoustic track that eases the listener out:
    • Gish ends with "Day Dream", the shortest track on the album that's almost like two songs conjoined, and is an ethereal track predominantly featuring vocals from bassist D'Arcy Wretzky in addition to Billy Corgan's harsher vocals.
    • Mellon Collie and the Infinite Sadness ends with "Farewell and Goodnight", a Surprisingly Gentle Song featuring vocals from the whole band that wishes the listener goodbye. The album is a Concept Album cycling through the day, so ending with a lullaby is fitting. It also Book Ends to the Title Track, a gentle and mellow Album Intro Track.
    • Adore ends with "17", a 17-second acoustic instrumental that according to the liner notes is supposed to provide space for breathing and reflection.
  • The final track on Patti Smith's Horses LP is called "Elegie", as in the closing oration at a funeral. It's particularly slow and somber.
  • Pearl Jam has many of those, including the indicatively titled "Release", "Parting Ways" and "The End". Although the one track that would provide this to Vitalogy, "Immortality", is followed by a creepy sound collage, making all the more reasonable for fans to ignore the last track.
  • Soundgarden's debut album Ultramega OK ends with "One Minute's Silence," a "cover" of John Lennon and Yoko Ono's "Two Minutes' Silence". A more serious case is "Rowing" off their last album King Animal, all about persistance in spite of uncertain times.
  • The Styx album Paradise Theater has an an outro called "A.D. 1958", a counterpart to the intro "A.D. 1928", both based on "The Best of Times" from the same album (with intro being a parody). There is, however, a track after the outro called "State Street Sadie", though it's just a light piano solo lasting less than 30 seconds.
  • Elephant by The White Stripes is mostly loud and emotionally intense. It ends with "It's True That We Love One Another," a light-hearted strum-along, with vocals swapping between Jack, Meg, and guest vocalist Holly Golightly.

  • "Broken Bones," the last track (and closest thing to a Title Track) on the CHVRCHES album The Bones of What You Believe, is an ominous, dystopian-sounding story song distinct from the upbeat Synth-Pop of the rest of the album.
  • Discovery (Daft Punk Album) ends with the aptly-named ten-minute "Too Long", which celebrates finally getting to do whatever you want with your life. It's a nice way to see the listener out the metaphorical door.
  • The Eurythmics' album Savage ends with the song "Brand New Day," about renewal and the future.
  • Alice Glass's eponymous EP is mostly chaotic, high-intensity electropop, but it ends with "The Altar," a short, slow, melancholy track about despondency and capitulation.
  • Gooseworx:
    • The last song on Pir8s is a Medley of various songs from the album.
    • "Supernova Shakedown", the last song in the space girl series, includes bits from the two preceding songs.
  • Machine Girl's album ...BECAUSE IM YOUNG ARROGANT AND HATE EVERYTHING YOU STAND FOR ends with the track "It Takes a Nation of Millennials to Destroy a Nation of Millions". It's a bit slower than the rest of the album, reuses samples and motifs from earlier in the album, and its lyrics are a neat summary of the album's mission statement.
    Fuck everything they held sacred
    All that shit was heinous
    And to think they blamed us for their own failure
    Yeah, sure they never learn
    Even as they burn
    Why this was their own damn fault
  • Radiohead's Kid A ends with a Hidden Track after a minute's silence past "Motion Picture Soundtrack"'s final note, representing the "next life" to which it was referring. Then there is yet more silence.

    Folk & Country 
  • Jade Bird's debut album ends with a song called "If I Die".
    If I die, put me in a song
    Tell everyone how in love I've been
    If I die, put me in a song
    So I'll live on in your melody
  • The Devil Herself by Megan Jean and the KFB ends with the song "Last Days," which is about the Biblical apocalypse.
  • Bob Dylan almost always ends his albums with a song that seems to say "If we don't meet again, remember this...". Some examples:
    So I'll make my stand and remain as I am
    And I'll bid farewell and not give a damn
    Strike another match, go start anew...
    • Highway 61 Revisited (1965) ends with "Desolation Row", which is not only Longest Song Goes Last but also seems to sum up the whole album.
    • Blonde on Blonde (1966) and Desire (1976) both cap eclectic albums with intimate love songs to his (new and soon-to-be-ex, respectively) wife, "Sad-Eyed Lady of the Lowlands" and "Sara."
    • Shot Of Love (1981) caps his trilogy of Christian Rock albums with the calm, accepting "Every Grain of Sand."
    • Time Out of Mind (1997) ends with the "Highlands", a 16-minute stream-of-consciousness song about moving on from all the ruminations on death and loss that make up the album.
    • Rough And Rowdy Ways (2020), his first album of original material in almost a decade, ends with "Murder Most Foul" which is not just the longest song on the album but the longest song of his career, and lyrically goes all the way back to 1963.
  • Joni Mitchell's popular song "Both Sides, Now," which looks back on a life and reflects on the embodiment of multiple perspectives, appears as the last track on Clouds (whose title it drops). The revamped version (the one featured in Love Actually and other movies/TV shows) also provides closure to Both Sides Now, her 2000 release that's otherwise a Cover Album.
  • Kacey Musgraves' Golden Hour ends with "Rainbow", a song about staying hopeful even when times are hard.
  • Brad Paisley's first three albums (Who Needs Pictures, Part II, and Mud on the Tires) all end on covers of gospel songs: "In the Garden", "The Old Rugged Cross", and "Farther Along" respectively. The last of these also has a Hidden Track of outtakes afterward.
  • Carrie Underwood's Blown Away ends with "Who Are You," an epic ballad implicitly about turning to God at the end of an ordeal (the rest of the album is less overtly religious).
  • In a refreshing departure from the usual Album Closure, Watkins Family Hour's Brother Sister closes on its most upbeat song, a cover of Charley Jordan's "Keep It Clean" with guest vocals from several people who'd collaborated with them during live shows.

  • Eminem tends to end his albums on a final note that disclaims whatever horrible things he said on the rest of the record, while simultaneously saying the most horrible things he says on the record. On "Still Don't Give A Fuck", "Criminal" and "Underground", he starts each song with a spoken monologue starting with the Arc Words, "A lot of people ask me..."
    • The Slim Shady LP ends with "Still Don't Give A Fuck", a sequel to his Slim Shady EP and LP song "Just Don't Give A Fuck". "Still Don't Give A Fuck" opens with Marshall in Sincerity Mode admitting he values his life, and is afraid of death, referencing the constant suicide jokes on the rest of the album (as well as his own suicide attempt, which The Slim Shady LP is in part an attempt to process). The hook of the song is him telling everyone who got offended by the album 'fuck you' and 'kiss my ass'.
    • The Marshall Mathers LP closes with "Criminal", an infamously button-pushing song in which he tells us that if we genuinely think he thinks this stuff or does it in real life, then he'll kill us. It opens with a grotesquely homophobic verse consisting of a Rhyming List of slurs for sexual minorities, as a Metaphorgotten about how much his lyrics hurt feelings and make us mad, and the hook reminds us "every time I write a rhyme, people think it is a crime..."
    • The Eminem Show ends with "My Dad's Gone Crazy", in which Slim Shady snorts coke, comes out as gay, tries to remember the advice his mother gave him (it's just an incomprehensible whining noise), says he'd yank his teeth out before he'd bite his tongue... and all this while his little daughter runs around giggling at his antics, telling him off for swearing, and making chainsaw noises (reflecting the subplot in the album about Kim's failed attempt at Taking the Kids after the divorce).
    • Encore ends with a triumphant posse cut with Dr. Dre and 50 Cent in which they brag about their success, serving as a goodbye to the audience and a statement of intent to focus on his career as a record label mogul... before Slim Shady points his gun at the audience and commits the mass shooting that the whole album was leading up to.
    • Relapse ends with "Underground", a bombastic 5/8 time signature gothic-choir-driven rap in which Slim boasts about being back from the dead to go on killing and raping, reflecting Em's Career Resurrection and cutting through the Self-Deprecation content on the rest of the album.
    • Recovery ends with "Untitled", a Hidden Track in which Shady (Put on a Bus for much of the album) comes back to rap, in waltz time, a parodic Misogyny Song about him being a broke Crazy Jealous Guy loser bullying his poor girl, using a sample of Lesley Gore's "You Don't Own Me" (Sampled Up to change it from a song about overcoming an abusive relationship, into being a song about how you will never get to make Slim Shady stop rapping offensive things).
    • The Marshall Mathers LP 2 closes with "Evil Twin", in which Eminem does a Solo Duet with Slim Shady, his evil twin who keeps saying all these awful things!... but who, ultimately, is just him with his hair dyed, and we all know it. And look what colour Eminem's hair is, again...
    • Eminem subsequently broke this pattern on albums following. Revival ends with a pair of concept songs dramatising Eminem's death from an overdose and rewinding of the tape, while Kamikaze and the Music To Be Murdered By double album end with cocky braggadocio cuts.
  • Kendrick Lamar's To Pimp a Butterfly ends with a 6 minute "interview" with Tupac Shakur, constructed from audio clips from an interview Tupac conducted while still alive.
  • Kanye West's albums will usually end with a song summarizing the album's themes:
    • The College Dropout ends with "Last Call", a twelve-minute track where Kanye tells the story of how he rose through the ranks of Roc-a-fella and the hip hop industry to become a star in his own right.
    • Graduation, an album all about Kanye celebrating his fame and success, ends with "Big Brother", where Kanye recounts his relationship with Jay-Z, his longtime collaborator and friend who helped launch Ye's career.
    • My Beautiful Dark Twisted Fantasy closes with "Who Will Survive in America", which samples Gil Scott-Heron's spoken word piece "Comment #1" to question the place of black people in modern America.
    • Yeezus closes with "Bound 2", which contrasts the rest of the album's abrasive sound and angry lyrics with a Silly Love Song paying tribute to his then-wife Kim Kardashian, as well as a throwback to the chipmunk soul Kanye specialized in at the beginning of his career.

  • Acid Bath's Paegan Terrorism Tactics ends with "Dead Girl", a 7 minute acoustic ballad about necrophilia. The CD includes a hidden spoken word track after over 10 minutes of silence.
  • In contrast to the Industrial Metal of the rest of the album, Powerman 5000's Tonight The Stars Revolt! closes with "Watch The Stars For Me", a retraux lounge song featuring Ginger Fish on piano. It does still fit into the album's loose science fiction concept due to its outer-space-themed lyrics, and the fact that it might be an extended homage to Vangelis' "One More Kiss, Dear", a similar unexpectedly retraux song from the Blade Runner soundtrack.

  • Aqua: The last two tracks of the greatest hits album are "Turn Back Time" and "Goodbye to the Circus."
  • Coldplay's Music of the Spheres ends with "Cololarura", an epic, 10-minute prog song. It also contains an interesting set of Book Ends to the opening track "Higher Power" - one of the first lyrics in that song is "I'm not going to make it", where the final lyric of "Coloratura" is "Together, that's how we'll make it through".
  • WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? by Billie Eilish ends with "goodbye," a short, slow song comprising one lyric from each of the album's previous songs.
  • Halsey's MANIC finishes with "929," a simple autobiographical track where Halsey honestly addresses where she is in life and her various feelings about it.
  • The final song on the album Madman Across The Water by Elton John is entitled "Goodbye." It's a slow, quiet, and doleful selection that mourns the loss of a love relationship from the standpoint of the person rejected. Many of the songs on this release deal with personal interactions involving other people ("Tiny Dancer," "Razor Face") or society ("Indian Sunset," "Rotten Peaches"), and this break-up song provides closure to the collection.
  • Jonas Brothers' 2008 album A Little Bit Longer ends with the Title Track, Nick Jonas' reflection on his diagnosis with diabetes.
  • Kesha's Rainbow album ends with "Spaceship," a song about wanting to be carried off by aliens after death. It contains a lengthy, philosophical Spoken Word in Music bridge about how humans are made of star-stuff and connected to all of creation.
  • Katy Perry:
    • After a whole album of uproarious Ode to Youth and teen romance songs, Teenage Dream ends with the somber "Not Like the Movies," which deconstructs such idealistic notions of storybook romance.
    • Prism concludes with "By the Grace of God," Perry's most explicitly religious song since her Christian Rock days. It was clearly inspired by the disintegration of her relationship with Russell Brand.
  • The last song on Lady Gaga's Born This Way is "The Edge of Glory," about being close to finally breaking through to some higher plane. Or maybe it's about sex. According to Gaga herself, it was inspired by her grandfather's passing, so it's closer to the first interpretation than the second.
  • NINA's Synthian ends with "The Distance", a classic Award-Bait Song about a long-distance relationship.
  • The closing track on Taeyeon's INVU is called "Ending Credits."
  • Taylor Swift:
    • Fearless ends with "Change," a song to Swift's band about how they will overcome all the obstacles holding them back and go on to greater things.
    • Her next album, Speak Now, ends with a Sequel Song to "Change": "Long Live," another song to her band about how they did overcome challenges and conquer the world. She expresses the hope that they will remember each other forever, even if they should part ways someday.
    • The last song on Red is "Begin Again," a soft, tentative song about moving on after the kind of tempestuous relationship the greater album is preoccupied with.
    • Similarly, "Clean," the closing track to 1989 is about finally getting "clean" from a toxic relationship—complete with Redemption in the Rain.
    • reputation, a dense electropop record, ends with "New Year's Day," a slow, simple, acoustic piano ballad about the renewal of commitment.
    • The final song on Lover is "Daylight," a slow, introspective song where Swift explicitly addresses all that she's learned. It ends with a monologue that delivers the album's thesis statement: "You are what you love."
    • Out of keeping with her normal pattern, Swift concludes folklore with its saddest song: "hoax," a quiet piano ballad about feeling broken by a lover's betrayal but staying anyway.
    • evermore (2020) ends with the title track, another downer song about struggling with depression, but one with a "Ray of Hope" Ending as the narrator starts to heal and move on to a better mental state.
    • Averted with Midnights, which ends with "Mastermind," an upbeat song about the narrator scheming her way into a relationship with her love interest, only for said love interest to be aware of her scheming the whole time but choosing to be with her anyway.
  • The final song on Allie X's EP ColXtion I is the Love Is Like Religion song "Sanctuary," about finding refuge from life's difficulties with her beloved.
    If they come with torches
    'Cause they don't like the truth
    They can't hurt me when I'm with you
    You're my sanctuary, baby

  • The Beatles:
    • Not counting the Hidden Track "Her Majesty", the final track of Abbey Road is, appropriately enough, "The End"; its final lyrics are "And in the end, the love you take is equal to the love you make." As a matter of fact, the song serves as a closure for the band altogether, seeing as it was the final song recorded before the band's breakup.
    • The White Album ends on "Good Night," a lullaby from Ringo Starr to the listeners, wrapping up the ride the double album has taken them upon.
      Good night, everybody
      Everybody, everywhere
  • The final track on The Doors' Self-Titled Album, appropriately called "The End," discusses endings of all sorts. They frequently used it to close their live concerts as well.
  • Kasabian's Velociraptor! ends with "Neon Noon", the slowest and bleakest song of the album, about dying and leaving no physical trace behind.
  • Halestorm's ''The Strange Case Of..." concludes with "Here's to Us," a song about reflecting on all that you've been through and celebrating life. It's slower and considerably less heavy than the rest of the album.
    Stuck it out this far together
    Put our dreams through the shredder
    Let's toast 'cause things got better
  • Magma's Kohntarkosz ends with "Coltrane Sundia", a Celebrity Elegy to John Coltrane.
  • The Moody Blues' concept album Days of Future Passed charts a day from dawn to nightfall. The last track on the albumnote  is a spoken-word piece on the aimless futility of life and the inevitable demise of any sort of optimism, called "Late Lament."
  • Pink Floyd sometimes close their albums with these.
    • The Dark Side of the Moon closes with "Eclipse", the second half of "Brain Damage," which helps to bring all the themes of the album that it was illustrating together in an epic closer.
    • The Wall ends with "Outside the Wall," a brief track that, while still leaving Pink's fate ambiguous, wraps up the album with a message about how it's not all that great to isolate yourselfnote .
    • The Division Bell, which for over two decades seemed to be their last album, ends with "High Hopes" that sounds like an elegy for the band's whole existence and quotes a line from their second single, 27 years earlier, before ending on funeral bells.
    The endless river
    Forever and ever...
  • "God Save the Queen" is the national anthem of the United Kingdom and British colonies. Queen made an instrumental version of this song as the last track of their Concept Album A Night at the Opera. This version became so popular that Queen also used it as the song they play on tape as they take their bows and their curtain call.
  • Rustic Overtones' third full-length album Rooms by the Hour ends with the aptly titled "Outro." Rather than the rock/funk/ska of the majority of the album, this is a short, calm track that's nothing but a cool sax winding the disc to a close.
  • Wada Takeaki's Vocaloid album Diary of Underage Observation ends on the title song, which is an overview of the subjects of the rest of the album's songs done by an unrelated observer. It also serves as Book Ends, since the last few notes of the song are a Musical Nod to the album's opening track "My R" in reference to the observer stopping the "My R" heroine from committing suicide. There is a bonus track, though.

  • Bright Red by experimental artist Laurie Anderson ends with a long Spoken Word in Music piece called "Same Time Tomorrow" about endings and the cyclical nature of time.
  • The official Diablo II soundtrack closes with two conjoined songs ("Coda" and "Roger and Me") that were composed specifically for the soundtrack and don't appear in the game at all.
  • Disco Inferno's D.I. Go Pop ends with "Footprints in the Snow", a very gentle track that wraps up the album's themes regarding politics and nihilism and instead discusses a better, brighter future.
  • Liza Minnelli's Confessions album ends with a found-love song called "At Last," about finally finding peace in love after looking for years.
  • The final song on Pink Martini's Sympathetique is a slow instrumental track named "Lullaby."
  • Versions of "We'll Meet Again" close such diverse albums as Mr Tambourine Man by The Byrds, Classics by She And Him, and American IV: The Man Comes Around by Johnny Cash.
    • "We'll Meet Again" also sometimes closes compilations by its original artist Vera Lynn, if they don't close with the equally suitable "Auf Wiederseh'n Sweetheart" or "From the Time You Say Goodbye (The Parting Song)". The latter provided Album Closure on We'll Meet Again: The Best Of, the compilation which made her the oldest artist ever to have a UK number-one album.
  • Many Christmas albums end on a New Year's song, since New Year's happens a week after Christmas, usually "Auld Lang Syne", "What Are You Doing New Year's Eve", or (much less commonly) ABBA's "Happy New Year".
  • SiIvaGunner is fond of doing this for their Bandcamp releases, particularly their Highest Quality Rips series (hidden tracks notwithstanding).
    • Volume 1 ends with "The GiIvaSunner Staff Roll", a rip of the credits music from Kirby's Epic Yarn.
    • Volume FOUR HOURS! ends with "A Grand New Era ~Ending~", a medley rip which serves as the first part of the Reboot's ending, where The Voice Inside Your Head and Chad Warden make an arrangement to merge the two universes at the cost of Snow Halation.note 
    • Volume L (Side A) ends with an arrangement of "Cross Your Heart" from Haunted Castle using the soundfont of Castlevania: The Adventure.
    • Volume L (Side B) ends with "King Towa (Lost Rip Recreation)", which remasters a removed rip mashing up "King Tower" from ''The Urbz: Sims in the City" with Kendrick Lamar's "King Kunta". This is followed by another, shorter track: a MIDI arrangement of the Gracie Films jingle called "And Now The Movie's Over".
    • Volume V ends with "When Summer Ends", a.k.a. "Summer (Where Do We Begin?) - Phineas and Ferb The Movie Game: The Dimension of Doooom!", which mashes up the advertised track with Green Day's "Wake Me Up When September Ends", a cheeky nod to how pitched-up Green Day songs make Billie Joe Armstrong sound like Phineas.note 
    • Volume FF ends with a posthumously released rip from contributor R.L.99, who had died in late 2021. The rip, "Dancing Masked" (a.k.a. "Showdown with the Ultimate Chimera - MOTHER 3"), would also fit the Longest Song Goes Last trope if the 26-minute "Character Select (Extended Version) - Super Smash Bros." and the 18-minute "Pokey Means Business!" rip weren't already featured earlier in the album.
    • Volume DQ ends with a true Longest Song Goes Last: "Minecraft Is Restored" (a.k.a. "Alpha - Minecraft"), a 21-minute arrangement of "Balance Is Restored" from Final Fantasy VI In the Style of various songs from Minecraft.
  • Will Wood
    • Everything is a Lot ends with the Title Track note , which starts off as a regular song, then fades into construction noises for about two minutes, and finally ends with a group of people chanting about various Buddhist concepts and drugs.
    • The Normal Album ends with a song constantly telling the viewer that they're going to die someday, likely in some horrible way, and be forgotten.
      You could drown, or choke, or burn, or be hit by a car
      What doesn't kill you makes you stronger, but something will eventually!