Grayson West
Not every track wants to be short and sweet. These are big and full of life. You’ll get everything—guitar solos and weird little moments that only happen when a song has space. So press play and lean in, because these 20 rock tracks take the long way around, and every moment is worth the ride.
“Do You Feel Like We Do” By Peter Frampton (14:15)
Recorded live during a marathon set at Winterland Ballroom, this song became famous for Frampton’s now‑signature talk box effect by shaping the guitar sound with his mouth. It features a playful call‑and‑response between guitar and audience. The live version grew more popular than the studio cut as it soared onto the Billboard charts.
“Celebration Of The Lizard King” By The Doors (17:10)
The full version wasn’t officially released until 2003, though parts of it appeared live earlier. Jim Morrison wrote the lyrics based on his interest in reptiles and myths. Blending poetry and performance art, the piece was originally planned to fill an entire side of a record album.
“Babe I’m On Fire” By Nick Cave And The Bad Seeds (14:46)
In one surreal rush, the song lists more than forty characters in a repetitive and dream‑like narrative. It was laid down in a single session with minimal overdubs and closes Nocturama by offering a wild contrast to the rest of the album. The video shows Cave dressed as each character.
“Voodoo Chile” By Jimi Hendrix (15:00)
This track grew out of a one‑take, live studio jam with Steve Winwood on organ and Jack Casady on bass, and that spontaneous session set the tone. Hendrix used a Uni‑Vibe with his Fender Stratocaster to create a swirling sound. Moreover, lyrics drew from the deep Delta blues tradition.
“Angola Anthem” By Dr. John (17:36)
Dr. John combines New Orleans funk with spoken‑word storytelling that reflects his time in Angola Prison. The song weaves in traditional Mardi Gras Indian chants, while vintage Wurlitzer and Hammond organs color the mood. Written as part of a concept album about incarceration and redemption, it stands as a soulful reflection.
“Sister Ray” By The Velvet Underground (17:31)
Laid down in one raw take, without any overdubs, the chaotic track leaned on distorted amps and a broken-key Vox organ to create its raw, droning sound. Lou Reed called it a portrait of chaos and vice. Its lyrics touch on drag queens and drugs. Many stations banned it outright.
“In Held Twas In I” By Procol Harum (17:31)
As one of the earliest rock suites, this piece helped shape prog rock and set the stage for future experimentation. The title, a nonsense phrase, comes from the first words of each section. With orchestral interludes and spoken word, the suite influenced bands like Genesis and Yes.
“The Decline” By NOFX (18:21)
This punk rock suite tackled apathy and American politics head-on. Since the lyrics were a group effort, the band released them on a standalone EP with no B-side. In 2016, they performed it live with orchestral backing and merged chaos with structure to amplify its bold message.
“Alice’s Restaurant” By Arlo Guthrie (18:37)
Arlo Guthrie recorded this anti-draft anthem in one take using minimal instrumentation. Based on a true story about illegal garbage dumping, the song’s protest vibe resonated during the Vietnam War. His monologue style shaped future spoken-word folk, and the track later became a Thanksgiving tradition on American radio.
“Adventures Of Greggery Peccary” By Frank Zappa (20:55)
Greggery is a talking wild pig who invents the calendar in this wild rock opera. Frank Zappa uses silly storytelling to mock corporate trends with jazz fusion and big orchestral sounds. The song appeared on Studio Tan and became part of Zappa’s legal fight with Warner Bros.
“2112” By Rush (20:33)
Rush’s seven-part suite begins with eerie synthesizer sounds and ends in a bleak future. Since Ayn Rand’s novel Anthem inspired it, the song follows one person’s fight against strict rulers. Drummer Neil Peart wrote the lyrics, and that powerful message saved their record deal and built their reputation.
“Get Ready” By Rare Earth (21:30)
Motown signed Rare Earth as its first white band, and the group quickly made its mark. When they recorded a live version in their Detroit warehouse, it allowed space for extended solos on drums and saxophone. Because Smokey Robinson wrote the track, dance floors across the country embraced it.
“Gates Of Delirium” By Yes (21:50)
Set in a barn-turned-studio, this prog epic stages a musical battle inspired by “War and Peace.” Homemade percussion drives the clash, and abstract lyrics by Jon Anderson explore inner change and renewal. As the storm fades, the “Soon” section offers soft relief and wraps the chaos in calm.
“Autobahn” By Kraftwerk (22:43)
“Autobahn” mimics a drive down Germany’s highway using synths and rhythm. Kraftwerk leaned on the motorik beat and layered in a Minimoog and a vocoder to create car sounds. It became the first German-language song to chart in the U.S. Its cover even shows a stylized autobahn sign.
“Lizard” By King Crimson (23:15)
Divided into movements like “Prince Rupert Awakes” and “Bolero,” this jazz-influenced track weaves through surreal lyrics and layered soundscapes. Jon Anderson from Yes guests on vocals. Featuring two British free jazz musicians, the song matches its abstract themes with a hand-painted, medieval-styled album cover that feels just as unusual.
“Echoes” By Pink Floyd (23:30)
Echoes opens with a distinct “ping” created by Richard Wright’s piano running through a Leslie speaker. In the middle, whale-like guitar effects stretch across eerie textures. Originally titled “Return of the Son of Nothing,” the song marked Pink Floyd’s shift from psychedelia to album-length storytelling.
“Atom Heart Mother” By Pink Floyd (23:44)
Pink Floyd teamed up with avant-garde composer Ron Geesin to build this epic suite. Featuring a full choir and brass section, it broke rock norms. The odd title came from a news story about a woman with a nuclear pacemaker. They rarely performed it live due to the massive setup.
“Thick As A Brick” By Jethro Tull (43:46)
A fictional boy named Gerald Bostock supposedly wrote the lyrics, and that’s where the clever satire begins. Ian Anderson performed on multiple instruments, which added to the joke. While it mocked concept albums, the entire release—packaged as a fake newspaper—accidentally became one of the most memorable examples.
“Light Of Day, Day Of Darkness” By Green Carnation (60:06)
After losing his daughter, the composer wrote this hour-long single-track album as a way to process grief. The music combines English and Norwegian lyrics with timpani and layered guitars. As a result, it became a landmark in progressive doom metal known for its emotional weight.
“The Whirlwind” By Transatlantic (77:46)
Members of Transatlantic came from bands like Dream Theater and Marillion, and together they recorded this twelve-part suite in just two weeks. The music explores themes like apocalypse and renewal. Although the track runs long, they still performed every part live during their 2010 tour with full energy.