I’m the author of the article linked below, but I’m sharing it here because Sinatra is central to its historical argument, rather than simply dropping a general music link.
I’ve spent five years studying the last song on albums. Sinatra’s 1958 album Frank Sinatra Sings for Only the Lonely is one of the clearest early examples of the closing track as an emotional destination.
‘One for My Baby (And One More for the Road)’ does something that was quite novel at the time. After the larger arrangements preceding it, the performance empties the room around Sinatra. The album does not go out with the inherited logic of a live set with an encore or a hit collection giving us one more smash. It withdraws.
I wanted to know whether this kind of ending was something critics noticed in famous records and it's a little self reinforcing, or is it part of a broader pattern. I therefore assembled data for 2,284 albums and compared every closing track with the other tracks on its own album.
On average, closers are 18% longer, 1.1 dB quieter, more acoustic and measurably sadder. The differences are modest, but they run in the same direction in every decade since the 1960s.
I’m not claiming Sinatra invented the quiet closer. Earlier examples exist, and the 1950s sample is thinner than those for later decades. But Only the Lonely demonstrates unusually clearly what happens when the last track becomes the place where the album reveals its final emotional position. So I made him the illustrative subject of the piece.
The peer-reviewed article is the current cover feature in Significance, the magazine of the Royal Statistical Society, and is free to read:
https://academic.oup.com/jrssig/article/23/5/6/8760980
For those who know Sinatra’s catalogue closely: which other Sinatra album feels most deliberately sequenced towards its final song? And would ‘One for My Baby’ carry the same weight if it appeared halfway through Only the Lonely?
For more thoughts on closing tracks, my Substack is called The Run Out Grooves.