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When Music Becomes a Marathon
Most songs clock in at around three minutes, but some artists have dared to push boundaries into uncharted territory. These musical marathons don’t just test your patience—they reward it with experiences that unfold like novels, painting soundscapes that couldn’t exist in any other format. The idea of the three-minute pop song is one that has been around for a long time—generally having to do with the 78 rpm-speed phonograph records that could only hold 3-5 minutes per side. But we don’t doubt the perceptions of the general public’s attention spans also had something to do with this—or even the ability for radio stations to play more songs if they aren’t too long. Well, regardless of why, 3-5 minutes has ruled the pop music landscape, and probably always will. Yet some artists have thrown caution to the wind, creating epic compositions that demand your full attention. For this list, we’ve set the bar at 10 minutes or longer (and no, not just because that allows us to talk about Taylor Swift’s “All Too Well (10 Minute Version)”). These songs aren’t just long for the sake of being long—they’re architectural marvels that use every minute to build something extraordinary.
The Rise and Fall of Bossanova – PC III (13:23:32)
The Rise and Fall of Bossanova (A 13:23:32 Song) is the fifth album by Michael J Bostwick for his musical project Pipe Choir Three (abbreviated P C III). It was released on November 1, 2016, through the Creative Commons independent label Pipe Choir. This isn’t just the longest song on our list—it’s the longest officially released song in history. A 13-hour long background music for studying or working! The track is an ambient masterpiece that evolves slowly over its massive runtime, creating what feels like a musical ecosystem rather than a traditional song. Primarily, it features lyrics – most long albums have no vocals at all since it’s generative music, typically. Secondly, it features a variety of genres – post-rock, drone, new age, ambient. While all of these genres are common within the extensive length category of music, the variety creates a unique soundscape to help justify the length. Think of it as the musical equivalent of watching a sunset in slow motion—every moment brings subtle changes that reward patient listeners. Brian Eno once said ambient music should be as interesting as it is ignorable, and unfortunately, this album really leans into the ignorable aspect for most parts.
The Whirlwind – Transatlantic (77:54)
Progressive rock supergroup Transatlantic, featuring Neal Morse, Pete Trewavas, Mike Portnoy and Roine Stolt, are pleased to reissue their third album, the much-loved concept record ‘The Whirlwind’. Their first album after a 7-year hiatus, The Whirlwind comprises of a single 77-minute long track divided into 12 parts, and is an album beloved by fans. This prog-rock behemoth represents everything that’s magnificent about the genre—virtuosic musicianship, complex arrangements, and emotional storytelling that unfolds like an epic novel. Songs like All of The Above, Duel With The Devil, and Stranger in Your Soul are some of the best 20+ minute songs I’ve ever heard, so a 77 minute epic works absolutely perfectly for them. The band doesn’t waste a single minute of their canvas, painting with melodies that soar and plummet with equal grace. While previous albums were no stranger to half-hour epics and recursive segments appearing in modulated form over the course of the entire record, this new album was to be a single song clocking in at just under 80 minutes (a fact made possible by editing a brief passage known as “Boba Fett,” which would have nudged it just north of a CD’s storage capacity). It’s like watching a master painter work on a canvas for over an hour—every brushstroke has purpose, every color choice deliberate.
Six Degrees of Inner Turbulence – Dream Theater (42:04)
Dream Theater’s 42-minute exploration of mental health is progressive metal at its most ambitious and compassionate. “Six Degrees of Inner Turbulence” (That latter piece contained a portion that was particularly affecting to me, seemingly describing the whole of the shape of my life in miniature; I would learn later it was deliberately written about life on the autism spectrum.) The suite tackles subjects that most bands wouldn’t dare approach in a three-minute single, using shifting time signatures and dynamic changes to mirror the chaos and beauty of the human mind. Each movement represents a different aspect of mental illness, from manic episodes to quiet moments of reflection. The band’s technical prowess isn’t just showing off—it serves the emotional narrative, creating musical representations of psychological states that words alone couldn’t capture. This isn’t just a long song; it’s a musical documentary about the human condition. The way they weave classical influences with crushing metal riffs creates a sonic landscape that feels both ancient and futuristic. You don’t just listen to this song—you experience it, like being guided through a complex emotional journey by the world’s most talented tour guides.
Dopesmoker – Sleep (63:31)
Jerusalem and Dopesmoker are two versions of the third studio album by the American stoner doom band Sleep. The former title was released in 1999 by The Music Cartel and the latter was released by Tee Pee Records in 2003. The music for these albums comprises an extended hour-length piece (either split into multiple shorter tracks or presented as a single track), developed over four years and recorded in 1996 under the auspices of Sleep’s label at the time, London Records. This is the ultimate stoner metal epic—a 63-minute journey through desert landscapes that feels like traveling with ancient cannabis priests. Throughout the 63 minutes, the lyrics tell the tale of a religious caravan of marijuana-smoking “weedians” traveling through the ancient desert of Israel towards Jerusalem. The hypnotic, repetitive riffs don’t just accompany the story—they become the rhythm of the caravan’s journey, the steady beat of feet on sand. For the band and the questing protagonists of “Dopesmoker,” the weed experience is spiritual, religious, deeply meaningful on an existential level. We wanted to do a symphony of complete stoner riffs. What makes this masterpiece even more legendary is its troubled birth—the record label initially refused to release it, calling it “unmarketable.” Decades later, it’s considered one of the most influential albums in metal history. All versions of the album received very positive reception from music critics, who described it as a high-water mark in both the stoner metal and doom metal genres.
Thick as a Brick – Jethro Tull (43:46)
Jethro Tull’s “Thick as a Brick” is perhaps the most ambitious joke in rock history—a 43-minute satire of concept albums that ended up becoming one of the greatest concept albums ever made. The band created an elaborate backstory about a fictional boy poet named Gerald Bostock, complete with fake newspaper clippings and interviews. What started as a parody of pretentious prog rock became something far more profound. Ian Anderson’s lyrics weave together social commentary, coming-of-age themes, and philosophical musings that feel both timeless and completely contemporary. The musical arrangements shift from pastoral folk to thunderous rock, with Anderson’s flute work threading through it all like a melodic narrator. The irony is delicious—by mocking the concept album format, they perfected it. Each section flows naturally into the next, creating a continuous narrative that rewards multiple listens. You might go in expecting a laugh, but you’ll leave with a masterpiece that challenges everything you thought you knew about rock music. The song’s complexity isn’t just in its length—it’s in how it manages to be both intellectually challenging and emotionally accessible.
Echoes – Pink Floyd (23:31)
Side 2 of Pink Floyd’s 1971 album Meddle features 23 minutes and 30 seconds of music—and just one song: “Echoes”. This track represents Pink Floyd at their most adventurous, before they became the stadium-filling machine of “The Wall” era. The song starts with a simple piano melody that gradually builds into something cosmic and otherworldly. The famous middle section features whale-like sounds and abstract soundscapes that feel like floating through space. Roger Waters’ bass work provides an anchor while David Gilmour’s guitar soars into the stratosphere. The lyrics are cryptic and poetic, dealing with themes of communication and connection across vast distances. What makes “Echoes” special isn’t just its length—it’s how it uses that time to create a complete emotional arc. The song breathes, giving you space to absorb each musical idea before moving to the next. It’s like a musical meditation that transports you to another dimension entirely. This isn’t background music—it demands your full attention and rewards it with one of the most transcendent experiences in rock music.
Shine On You Crazy Diamond – Pink Floyd (26:01)
Pink Floyd’s tribute to their former bandmate Syd Barrett is perhaps the most emotionally devastating song in their catalog. Split across two sides of the “Wish You Were Here” album, the complete 26-minute suite tells the story of artistic brilliance lost to mental illness and drug abuse. The opening guitar notes are among the most recognizable in rock history—Gilmour’s tone is so perfect it seems to echo from another dimension. The lyrics directly address Barrett, remembering his creativity while mourning what was lost. The middle section features some of the band’s most experimental work, with layers of synthesizers creating an atmosphere of confusion and sadness. When the lyrics return in the final section, they hit with the weight of years of regret and remembrance. The song’s structure mirrors the emotional journey—starting with nostalgia, descending into chaos, and ending with acceptance. It’s a musical biography that captures both the glory and tragedy of creative genius. Barrett himself reportedly showed up at the recording sessions, so changed by his experiences that his former bandmates barely recognized him. That encounter adds another layer of poignancy to a song that already operates on multiple emotional levels.
Autobahn – Kraftwerk (22:43)
German electronic music group Kraftwerk were OGs of the electronica genre—and their biggest hit in North America was the 22-minute-and-43-second long track “Autobahn”, which they released in the mid-1970s. Well, actually, their biggest hit was an edited down three-minute long single version of “Autobahn”. This pioneering electronic masterpiece literally takes you on a journey down Germany’s famous highway system. The repetitive, hypnotic rhythms mirror the experience of long-distance driving—sometimes monotonous, sometimes exhilarating, always meditative. Kraftwerk didn’t just create a song; they created a sonic landscape that would influence everyone from Daft Punk to Radiohead. The vocoder vocals add an otherworldly quality that makes the whole experience feel like driving through the future. What’s remarkable is how the band creates drama and interest using relatively simple electronic elements. The track builds and releases tension just like a real car trip—moments of acceleration, periods of cruise control, and the constant hum of the engine. This isn’t just music; it’s audio architecture that builds a complete environment around the listener. The influence of this track on electronic music cannot be overstated—it basically created the template for electronic music as we know it today.
2112 – Rush (20:33)
Rush kept everything between 3-4 minutes on side 2 of their 1976 album 2112. However, on side 1, they continued to develop their progressive rock style with a sci-fi story in the form of the 20-and-a-half- minute long title track. This science fiction epic literally saved Rush’s career—their record label was pressuring them to write shorter, more commercial songs, but the band decided to bet everything on this ambitious concept piece. The story follows a young man in a dystopian future who discovers an acoustic guitar and learns to play it, only to be crushed by the authoritarian government. Neil Peart’s drumming is nothing short of phenomenal, creating different rhythmic landscapes for each section of the story. Geddy Lee’s vocals soar from intimate whispers to powerful anthems, while Alex Lifeson’s guitar work ranges from delicate fingerpicking to crushing power chords. The song’s structure follows a classic hero’s journey—discovery, conflict, and resolution (albeit a tragic one). What makes “2112” special is how it balances complex musicianship with accessible storytelling. You don’t need to be a prog rock expert to follow the narrative, but the musical sophistication rewards deeper listening. This track proved that ambitious, lengthy compositions could find a mainstream audience if they served the story rather than just showing off technical skills.
Close to the Edge – Yes (18:41)
Yes’s “Close to the Edge” is often cited as the pinnacle of progressive rock achievement—a perfect balance of complexity and accessibility that few bands have ever matched. The song’s structure is incredibly sophisticated, with multiple sections that weave together like movements in a classical symphony. Jon Anderson’s vocals float above the complex instrumentation like a spiritual guide, while Chris Squire’s bass work provides both rhythm and melody. Rick Wakeman’s keyboards create orchestral textures that make the song feel much larger than its five-piece arrangement would suggest. The lyrics deal with themes of spiritual awakening and personal transformation, perfectly matching the music’s journey from chaos to clarity. What’s remarkable is how the band makes 18 minutes feel like the perfect length—not a second feels wasted or indulgent. The song builds to multiple climaxes, each one more powerful than the last, creating an emotional arc that mirrors the spiritual journey described in the lyrics. Steve Howe’s guitar work ranges from delicate classical passages to thunderous rock riffs, often within the same section. This isn’t just prog rock—it’s a master class in how to create epic compositions that serve both the music and the message.
In-A-Gadda-Da-Vida – Iron Butterfly (17:05)
Iron Butterfly’s “In-A-Gadda-Da-Vida” is perhaps the most famous accidentally extended song in rock history. Originally written as a much shorter piece, the band stretched it out during live performances, and the 17-minute studio version captures that improvisational energy. The song’s title is allegedly a slurred version of “In the Garden of Eden,” supposedly the result of intoxication affecting the vocalist’s pronunciation. The famous drum solo section has become legendary, with Ron Bushy’s thunderous performance inspiring countless air drummers. The guitar work is surprisingly heavy for 1968, predicting the harder rock sounds that would dominate the following decade. What makes this track special is its raw, unpolished energy—it feels like you’re listening to a band discovering their sound in real time. The organ work creates a church-like atmosphere that contrasts beautifully with the heavy guitar riffs. The song’s structure is loose and flowing, allowing each instrument to shine without overwhelming the others. This track proved that extended compositions didn’t have to be complex to be compelling—sometimes raw power and groove are enough. The influence on later metal and hard rock bands is immeasurable, showing that sometimes the most important musical innovations come from happy accidents.
Supper’s Ready – Genesis (23:06)
Genesis’s “Supper’s Ready” is a 23-minute biblical epic that showcases the band at their most ambitious and theatrical. The song tells the story of the apocalypse through seven distinct sections, each with its own musical character and lyrical theme. Peter Gabriel’s vocals are incredibly expressive, ranging from intimate whispers to dramatic proclamations, while his stage performances of this song became legendary for their theatrical costumes and storytelling. The musical arrangements are incredibly sophisticated, with each section flowing naturally into the next despite dramatic changes in tempo and mood. Tony Banks’ keyboard work creates everything from delicate classical passages to thunderous organ climaxes, while Mike Rutherford’s guitar provides both rhythmic drive and melodic beauty. Phil Collins’ drumming is precise and powerful, providing the backbone for the song’s many dramatic shifts. The lyrics blend biblical imagery with personal relationships, creating a narrative that works on multiple levels. What’s remarkable is how the band maintains musical coherence across such a long composition—each section feels essential to the overall story. The song builds to an incredibly powerful climax that feels both musically and emotionally satisfying. This track demonstrates how progressive rock could tackle serious themes while still being incredibly entertaining.
Mirrors – BT (12:20)
BT’s “Mirrors” represents electronic music’s answer to the symphonic tradition, layering dozens of tracks to create a sonic tapestry that reveals new details with each listen. The track builds from minimal beginnings into a massive wall of sound that incorporates elements of trance, classical, and ambient music. BT’s production techniques were revolutionary for their time, using stutter edits and granular synthesis to create textures that had never been heard before. The song’s structure follows classical sonata form, with exposition, development, and recapitulation sections that create a satisfying musical arc. The orchestral elements aren’t just decoration—they’re integral to the composition, creating emotional peaks and valleys that give the track its dramatic power. What makes “Mirrors” special is how it uses electronic tools to create genuinely moving music rather than just showing off technical prowess. The track’s 12-minute length allows ideas to develop organically rather than being forced into radio-friendly formats. Each section transitions smoothly into the next, creating a continuous flow that makes the length feel necessary rather than indulgent. This track proved that electronic music could be as emotionally powerful and structurally sophisticated as any classical composition. The influence on later electronic producers has been
Christian Wiedeck, all the way from Germany, loves music festivals, especially in the USA. His articles bring the excitement of these events to readers worldwide.
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