While Blondie’s *Rapture* isn’t typically considered a long song, it was lengthy by the band’s punk-infused standards. Released in 1980, it set a record as the longest song to reach number one at the time, with a runtime of 6 minutes and 31 seconds.

When *Hey Jude* was released, it became the longest song to top the charts. Producer George Martin urged Paul McCartney to shorten it, fearing radio stations might avoid playing it due to its length. McCartney confidently replied, “They will if it’s us.”

Before Taylor Swift’s *All Too Well* claimed the record, Don McLean’s 1971 hit *American Pie* held the title as the longest song to reach number one, running nearly nine minutes. McLean wrote the song as a tribute to Buddy Holly, whose tragic death he famously described as “the day that music died.”

The Stone Roses’ 1989 track *Fools Gold* runs for nine minutes and 53 seconds, showcasing John Squire’s masterful guitar work. To appeal to casual listeners, the band also released a shorter, four-minute version, though most fans agree the full-length cut is the best.

Lynyrd Skynyrd’s iconic track *Free Bird* took years to complete. Allen Collins wrote the opening chords two years before Ronnie Van Zant added lyrics, which he later explained reflect a universal desire for freedom and its true meaning.

The title track of David Bowie’s tenth album, *Station to Station*, marked the debut of his dark alter ego, The Thin White Duke. Often regarded as one of Bowie’s most impactful songs, it spans over ten minutes, with lyrics reflecting the supernatural themes that captivated him at the time.

Axl Rose wrote *Coma* after surviving an intentional overdose that nearly left him comatose, awakening his desire to live. Spanning just over ten minutes, the song is unique in structure, with no chorus—just a series of verses and bridges.

Taylor Swift’s *All Too Well*, which delves into her breakup with actor Jake Gyllenhaal, holds the record for the longest song to top the US charts. While the original version was shorter, Swift recorded the new ten-minute version during the process of re-recording her entire catalog following a dispute with her producers.

This cover of Aynsley Dunbar Retaliation’s song *Warning* does more than just reimagine it—it stretches the track threefold. A tribute to Black Sabbath’s blues roots, it also highlights the remarkable talent of each band member.

Led Zeppelin was known for their longer tracks (with *Stairway to Heaven* nearing eight minutes), but *Achilles’ Last Stand* holds the title as the band’s longest song. Mixing stories of the band fleeing the UK to avoid income tax with references to Greek mythology, the track runs just over ten and a half minutes.

Released in 2012, *The OF Tape Vol. 2* showcased a lot of potential, with *Oldie* standing out as one of its most impressive tracks due to its length. On *Oldie*, Tyler, the Creator solidifies his unique style, rapping alongside his crew while capturing the attention of fans.

Released on Primal Scream’s 1991 album *Screamadelica*, *Come Together* is a ten-minute journey through the various genres that influenced the band. Despite its unconventional structure and lengthy runtime, the track still managed to peak at number 26 on the UK Singles Chart.

George Clinton instructed guitarist Eddie Hazel to “play like his mother had died” during the recording of this instrumental. Hazel channeled those intense emotions in a single take—one that lasted ten minutes—and the result is nothing short of beautiful.

Television’s 1977 debut is difficult to categorize—part punk, part ambitious and lofty. The proof lies in *Marquee Moon*, where the guitars shift between jazz influences and pure noise. At 10 minutes long, it’s one of the band’s longest tracks.

Jane’s Addiction aren’t typically known for long, self-indulgent rock, but they explored that territory with *Three Days*. Inspired by a 72-hour bender, the song feels like it’s unfolding in real-time, though it lasts just 10 minutes and 46 seconds.

You can understand why James Brown favored certain substances over others when you consider that *Get Up* runs for 11 minutes. To perform that song, with its intense beat, rhythm, volume, and energy? Coffee alone just wouldn’t have been enough.

*The Camera Eye* marked the end of an era for Rush. After this epic track, they moved away from ultra-long pieces, much to the relief of those who weren’t fans of the band and the dismay of their dedicated followers.

Unlike many of their contemporaries, Creedence Clearwater Revival was known for their short, punchy songs that would later influence punk music. However, their 11-minute cover of the Motown classic *I Heard It Through the Grapevine* proves they had the stamina for longer, more epic tracks as well.

Bob Dylan wrote *Sad Eyed Lady of the Lowlands* in the early hours at his Nashville studio. At 4 a.m., he called his band to record it. The result was nearly 12 minutes of “creative insomniac genius,” so much so that the song fills an entire side of the album.

*Heart of the Sunrise* may draw influence from other songs, but it stands as a true prog rock gem. With some of the band’s heaviest riffs, the track runs for 11 minutes, showcasing their musical depth and innovation.

Closing out The Doors’ self-titled debut album, *The End*—written by Jim Morrison after his breakup with Mary Werbelow—has an impressive runtime of 11 minutes and 43 seconds. While the band was known for lengthy tracks, *The End* remains the longest in their entire discography.

*Papa Was a Rolling Stone* is one of the greatest songs ever re-recorded, showcasing the Temptations’ ability to deliver when they truly wanted to. It’s one of the rare tracks over 10 minutes that leaves listeners wanting more.

Though the single version we know best was trimmed to just 4 minutes, the original track runs closer to 12. But with an infectious beat so catchy, it’s no surprise Pharell Williams borrowed it thirty years later.

Before KISS was pressured by their record label to create more commercial radio rock, they experimented with artistic prog rock. *100,000 Years* is a 12-minute anomaly in their discography, proving that, if they had chosen, the band could have earned more critical respect.

For a time, Meatloaf’s *I Would Do Anything For Love* held the record as the longest song to top the charts. While the radio edit was trimmed to just over 5 minutes, the full album version spans a little over 12 minutes.

Kendrick Lamar, known for his thoughtful lyrics, often explores long-form storytelling—as seen in *To Pimp a Butterfly*. On *Mortal Man*, the 12-minute track that unites the album’s themes, Lamar steps into the role of Nelson Mandela, offering a powerful reflection on resilience and legacy.

No surprises here—King Crimson were pioneers of long-form rock, rarely recording anything under 7 minutes. *Starless* is one of their finest, with Bill Bruford’s drumming standing out as he steers the band through the track’s intense, chaotic journey.

*B-Boy Bouillabaisse* takes listeners on a tour through NYC, from the Beastie Boys’ old Chinatown apartment to the D train, Coney Island, and Brooklyn. The track is packed with their signature style, with a few profound insights sprinkled along the way.

In 1993, jazz rap soared with artists like A Tribe Called Quest, Guru, and Digable Planets leading the way. That year, The Roots also broke onto the scene with great success. *The Session*, one of their most ambitious tracks, spans nearly 13 minutes.

Flowered Up’s 1992 single *Weekender* critiques those who limit their partying to weekends, instead of embracing nonstop revelry. The band clearly felt strongly about the subject, stretching the song to nearly 13 minutes.

*Your Favorite Rap Song* may not be everyone’s favorite, but at 12 minutes and 59 seconds, there’s plenty to take in. Closing out their debut album, *3001: A Laced Odyssey*, this track showcases the full scope of what Flatbush Zombies can deliver.

At nearly 14 minutes, *Rime of the Ancient Mariner* is as close as rock gets to a true symphony. This adaptation of Samuel Taylor Coleridge’s 1798 poem remains just as powerful and astounding as when it was first released.

The iconic talk box solos in *Do You Feel Like We Do* are only a small part of this epic track. At 14 minutes, Peter Frampton reached new heights, crafting a masterpiece that’s best enjoyed down to the last second.

Stretching over 70 miles through Michigan to Detroit, Telegraph Road inspired Mark Knopfler and Dire Straits to create a fittingly lengthy track. *Telegraph Road* spans 14 minutes, capturing the journey and spirit of the road in true Dire Straits style.

At 15 minutes long, *Voodoo Child* is Jimi Hendrix’s longest track by a wide margin. The song is an adaptation of an earlier Hendrix track, *Catfish Blues*, which was inspired by the music of Muddy Waters.

Pink Floyd had no trouble crafting long songs, and *Dogs* from 1977 is one of their finest. At just over 17 minutes, it’s also among their longest. Be sure to catch the Minimoog and synth strings that add depth to this epic track.

*In-A-Gadda-Da-Vida* was originally meant to be called *In The Garden of Eden*, but a transcription error led to the iconic title. The song, which was supposed to be only a few minutes long, ended up running over 17 minutes due to what the band later described as “heavy psychedelic excess.”

The closing track of *The Velvet Underground’s* 1968 album *White Light/White Heat*, *Sister Ray* spans 17 and a half minutes, offering a raw depiction of hedonism. The song follows eight characters, including the titular Sister Ray, with vivid references to bedroom activities, drag queens, and rampant substance abuse.

Composed as an instrumental tribute to Joy Division’s Ian Curtis, New Order’s *Elegia* runs for 17 and a half minutes. The track was originally shortened to fit on their 1985 album *Low-Life*, but the full version was finally released in 2002.

Iron Maiden’s longest song, *”Empire of the Clouds,”* spans 18 minutes and appears on their 2015 album *The Book of Souls.* Written by Bruce Dickinson, it recounts the tragic story of the British R101 airship, which crashed on its first voyage in 1930. Blending orchestral piano and strings with Iron Maiden’s signature metal sound, the song unfolds in multiple sections, capturing the dramatic ascent and disaster of the airship. Celebrated for its intricate storytelling and ambitious composition, it stands as one of the band’s most epic pieces.

Rush’s *”2112″* is a 20-minute epic from their 1976 album of the same name. The song is split into seven sections, telling a dystopian sci-fi story set in the year 2112, where a totalitarian regime controls all aspects of life, banning creativity and individuality. Written by drummer Neil Peart, the lyrics follow a protagonist who discovers a guitar and the power of music, which sparks a conflict with the ruling Priests of the Temples of Syrinx. *”2112″* helped establish Rush’s reputation for complex compositions and thought-provoking themes, and it remains a fan favorite for its ambitious storytelling and musicianship.

Genesis’s *”Supper’s Ready,”* a 23-minute suite from their 1972 album *Foxtrot,* is a seven-part epic exploring themes of good versus evil and spiritual awakening. Inspired by Peter Gabriel’s experiences, the song shifts through varied moods and tempos, blending acoustic and intense passages. It’s a prog rock landmark, showcasing Genesis’s narrative depth and musical ambition.

Pink Floyd’s *”Echoes,”* a 23-minute track from their 1971 album *Meddle,* is a psychedelic journey through themes of human connection and exploration. Built on ambient soundscapes, experimental guitar work, and haunting lyrics, the song evolves through multiple sections, creating an immersive experience.

Greta Van Fleet’s *”Lover, Leaver, Taker, Believer”* (Live Version) is an extended, high-energy rendition of the original track from their 2018 album *Anthem of the Peaceful Army.* The live version showcases the band’s rock roots, with extended guitar solos, powerful vocals, and dynamic jam sections that highlight their musical chemistry and improvisational skills.

Neal Morse’s *”World Without End”* is a 33-minute progressive rock epic from his 2012 album *Momentum.* The song weaves through multiple sections, combining complex instrumental passages, intricate melodies, and spiritually reflective lyrics. Known for its ambitious structure and blend of rock, jazz, and classical influences, *”World Without End”* shows listeners Morse’s storytelling and musicianship.

The Orb’s *”The Blue Room”* is a groundbreaking 39-minute ambient house track from their 1992 album *U.F.Orb.* Known for its experimental structure and soothing, spacey soundscapes, the track incorporates samples, dub influences, and looping effects, creating a hypnotic, atmospheric experience. It was famously edited down to 40 minutes for its single release to make it the longest single to ever chart in the UK.

The Flower Kings’ *”Garden of Dreams”* is a 32-minute progressive rock epic from their 1997 album *Stardust We Are.* The track is a multi-part suite that blends complex melodies, intricate instrumentation, and lyrical themes of personal reflection and spiritual exploration.

Transatlantic’s *”The Whirlwind”* is a 77-minute progressive rock epic from their 2009 album of the same name. The song is divided into 12 sections, blending intricate instrumentation, powerful melodies, and thematic storytelling. It explores themes of change, personal growth, and unity.

The Flaming Lips’ *”7 Skies H3″* is a 24-hour-long experimental rock track released in 2011. The song was originally presented as an ultra-long continuous piece, with its title referencing a 7-hour performance from the band’s previous album. *”7 Skies H3″* blends ambient, psychedelic, and experimental elements, offering a surreal, looping soundscape meant to be experienced as a whole.