The Lost Art of the Epic Song: Why We Need More 8-Minute Journeys (and maybe even 33-Minute Ones). It’s probably just me.
I’m driving in my car (and I turn on my iPhone). "Chloe Dancer/Crown of Thorns" by Mother Love Bone came on - that gorgeous 8-minute and 22 second, two-part bloody masterpiece. As it unfolded - I caught myself thinking: I wish this was 33 minutes long. Not because it needed more (well yes I did) and really it was because I wanted to live in its world longer.
This got me thinking about a chart I'd seen recently showing how song lengths have been shrinking dramatically over the past decade. The average hit now hovers around 3 minutes - down nearly a full minute from 10 years ago. Blame TikTok, streaming algorithms, or our fried attention spans - something’s being lost.
Where are the songs that take their time? The 7-minute rock operas, the 12-minute jazz odysseys, the hip-hop suites that sprawl like short films? The tracks that earn their runtime, not just fill it?
This isn’t just nostalgia. There’s magic in a song that builds, breathes, and transports you - one that can’t be clipped into a 15-second viral snippet. So let’s talk:
- What’s your favorite "long" song (let’s say 6+ minutes)?
- Do we still have room for epics or is the algorithm killing them?
- And I’m definitely doing another post about long songs. Maybe 2 more. There’s so many. Today I wouldn't be covering The Stones, The Beatles, or Led Zeppelin.
Drop your picks below. Let’s make a playlist for the drive home. Or don’t.
When a Song Becomes a Journey
After getting lost in "Chloe Dancer/Crown of Thorns"—that perfect 8:22 storm of beauty and chaos—I started thinking about other long songs that don’t just play, they UNFOLD. The usual suspects popped up immediately: "Shine On You Crazy Diamond" (Pink Floyd’s 20+ minute galaxy of grief) and "Low Spark of High Heeled Boys" (Traffic’s hypnotic 11+ minute groove). Those are easy. Let’s get a wee bit deeper shall we? Who’s with me?
Drop your favorite long-haul masterpiece below - the one that makes you "just one more minute" your entire commute.
Mother Love Bone - Chloe Dancer/Crown of Thorns 8:22
Haunting Masterpiece
Few songs capture both the glory and tragedy of rock 'n' roll quite like "Chloe Dancer/Crown of Thorns" by Mother Love Bone. A two-part epic from their 1990 album “Apple”. It begins with “Chloe Dancer.” A delicate, piano-driven ballad that blooms into "Crown of Thorns". It ends with a soaring, Zeppelin-esque rock anthem. The contrast mirrors Wood himself—equal parts poetic dreamer and rock god.
"Andrew was this beautiful, fragile soul who could turn into a fucking rock star the second he stepped onstage." — Jeff Ament (Pearl Jam, ex-Mother Love Bone)
The song was cut as Mother Love Bone prepared for stardom. Wood’s heroin addiction worsened and he died just days before Apple’s release. The track became a eulogy and launched Temple Of The Dog.
The song’s influence echoes through grunge history. Pearl Jam formed by MLB members Ament and Stone Gossard. "Chloe Dancer/Crown of Thorns" is more than a song—it’s a moment frozen in time. A glimpse of what might have been. Wood’s voice, dripping with ache and grandeur, ensures it remains one of rock’s most heartbreakingly beautiful works.
"It’s the sound of a star burning out too soon. But goddamn, how it shined." — Chris Cornell (Soundgarden, Temple of the Dog)
Decades later, it still stops me in my tracks. If you find me still in my car as I can’t leave until a song ends. It's probably this one…
Justin Currie’s "The Fight to Be Human" 8:17
There’s a particular kind of genius in Justin Currie’s songwriting. The kind that wraps existential dread in melodies so effortless, you almost miss the knife twisting in your ribs. "The Fight to Be Human” is a masterclass in this balancing act. A song that’s both a sigh and a rallying cry, a lament for our times dressed up as a bittersweet folk-rock gem with the added bonus of old man yelling at the clouds.
Currie has always been a poet of disillusionment, and here, his wit is sharper, his weariness more pointed. Yet Currie - the sly optimist - frames it as a fight worth having. Musically - it’s deceptively simple with the slowest of builds and even slower adding of instruments/elements. A gently propulsive groove that ends with a chaotic guitar.
As Currie told Uncut: The song’s about how exhausting it is to pretend you’re not complicit in all this shit. But you keep going, because what’s the alternative? Surrender?
An underrated songwriter. One of my all time favorites. Del Amitri and his solo work deserves a wider audience. He/They give us songs that prick our conscience while patting our shoulder - like a pub philosopher who’s seen it all but hasn’t given up. Grab a beer or bourbon and join us. Listen with a smile. And a frown. Shaking our heads as we laugh/cry about how we are just silly little monkeys thinking this life is a zero sum game.
For fans of: Elvis Costello’s wit. Richard Thompson’s grit. And The National’s existential barstool musings.
Enuff Z'Nuff' "In the Groove" 6:48
A Thank You Note to Unrequited Love (And The Cult "She Sells Sanctuary")
Let’s be honest - we all owe at least one great music obsession to a crush who barely knew we existed. Is it just me? It’s probably just me.
Case in point: There was this girl. She had zero interest in me and she LOVED The Cult. So that summer - "She Sells Sanctuary" (and the whole album LOVE - apropos, no?) became the soundtrack to my doomed campaign to be cool. Picture it: 17 years old. Blasting it from my parents’ station wagon (the antithesis of rock ‘n’ roll). Windows down like I thought it mattered. Spoiler: It did not. Would it have gone differently if I’d rolled up in a T-top Camaro instead of a maroon colored wagon? Doubtful. Some of us are just born to be the guy air-guitaring in the backseat of someone’s life. I’m quite sure if you asked her today about Chris Bro she’d say: Who?
Holy balls I love that The Cult song. Now the twist! She invited me (well it was a whole group of us) to see Enuff Z’Nuff live. I said yes. And just like that - my heart traded one fixation for another. The Cult girl faded into the background and those power-pop hooks? That was forever love. Don't ask me her name. Although I can still picture her.
Unrequited love. You gave me a temporary obsession, and the universe paid me back with a lifelong musical one. I’d call that an upgrade.
A Power-Pop Masterclass in Underrated Glam Glory
If ever a band embodied the phrase “criminally overlooked” - it's Enuff Z'Nuff. The Chicago power-pop maestros - lazily lumped into the late-'80s glam metal scene, were always something far more interesting. They were Beatles obsessives in spandex. They were purveyors of razor-sharp hooks drenched in psychedelic sunshine. And "In the Groove" might be their most irresistible hidden gem. Pure, unapologetic ear candy.
The opening riff—a jangly, fuzzed-out guitar lick that sounds like Cheap Trick covering “Revolver”. "In the Groove" announces itself as something special. Chip Z'Nuff's bass bounces like a rubber ball, Donnie Vie's vocals ooze raspy charm.
"In the Groove" landed in the worst possible moment. Grunge was about to bulldoze hair metal. And Enuff Z'Nuff - too "soft" for headbangers. Too "glam" for critics - got lost in the shuffle. Even their record label didn’t know how to market them. See Jellyfish too.
"We were playing Beatles-meet-Slade, and the suits wanted us to be Mötley Crüe. By the time they figured us out, the world had moved on." - Chip Z'Nuff
This band/song is for fans of: Cheap Trick’s crunch, Big Star’s melancholy, and the part of the ’80s that smelled like hairspray and potential. Too weird for the mainstream, too brilliant to ignore. Thanks for listening.
Johnny Blue Skies' "One for the Road” 8:55
A Cosmic Honky-Tonk Farewell. Let’s get a bit more current. See there is hope!
There’s something quietly devastating about a song that sounds like a last call—both for the night and for life itself. Johnny Blue Skies (the alter ego of Sturgill Simpson) (PS I just found out the reasoning for this moniker and it’s brilliant see below) delivers exactly that with "One for the Road.” It’s a song that feels like a dusty jukebox confessional. It blends Simpson’s signature cosmic country with the weary wisdom of a man who’s seen too much but still believes in the magic of a well-turned phrase.
A Barroom Lullaby. A swaying waltz-time groove. A pedal steel sigh. A weathered voice. Simpson’s never been one to wallow without a wink—but the ache is real. This isn’t just a drinking song; it’s a meditation on what we carry and what we leave behind.
As Simpson himself put it: Johnny’s the guy who stays at the bar till the lights come on. He’s seen some things, but he’s still smiling.
In an era of bite-sized streaming hits "One for the Road" dares to unspool slowly. A late-night conversation you don’t want to end. It’s a reminder that the best country music isn’t just about twang and trucks—it’s about the tiny tragedies and triumphs of being alive.
I guess I should cover an obvious one. Nah I’m going deeper. First the obvious one: The Ultimate Rock Star Anthem And My Night as a Citizen of Walshlandia (I just want to share this story - think of it as another look in My Life With Music)
Joe Walsh’s "The Confessor": 7:07
Some songs don’t just describe a lifestyle—they become the lifestyle. Joe Walsh’s classic "Life’s Been Good" (comes in at 8:56) isn’t just a song - it’s a satirical self-portrait of rock excess. Wrapped in one of the catchiest riffs ever written. I love its lazy, loping groove, sarcastic lyrics ("I have a mansion, forget the price / Ain’t never been there, they tell me it’s nice"). Haha. And that iconic talk-box solo. It’s an “ode to absurd success" - delivered by a guy who sounds like he’s laughing at the whole ride.
Years ago. I was in HS, I saw Walsh live. After a set - he ambled back onstage for the encore. Grinning like a man with a secret: Ladies and gentlemen. I’ve decided to run for president. And if elected, I hereby declare this will be the new national anthem.
The drummer kicked into the song instantly. And for the next eight odd minutes, we were all “citizens of Walshlandia”. A nation where the GDP is measured in guitar solos.
And now my long Joe Walsh pick.
Few songs in Joe Walsh’s catalog cut as deep—or as mysteriously—as "The Confessor.” Stripping away the humor of "Life’s Been Good.” Walsh delivers a gritty, spiritual reckoning. It’s wrapped in atmospheric production and one of his most searing guitar performances. It’s the shadow to his usual sunshine.
The Sound: A Dark Night of the Soul. Made to be played loud. A slow-burn blues groove with ghostly synths, and Walsh’s weathered voice, dripping with regret. The song builds like a storm with Walsh’s guitar howling in the distance. At 4:01 there’s a change. The chord slowly fades - AND the drum kicks in along with a monster riff too. Finally it erupts into a solo that feels less like a showoff moment and more like a cry for help. Walsh’s guitar screaming like a man fighting for his soul.
Lyric: In the eyes of the confessor/ You can't tell a lie/ You cannot tell a lie (to the confessor)/ Strip you down to size/ Naked as the day that you were born
Is it God? A reckoning with fame? Walsh himself? He’s never fully explained it. Mystery’s are ok. Leaving it open as a mirror for the listener’s own guilt. In interviews, Walsh has called it “a prayer, not a party”. A stark contrast to his usual irreverence.
If "Life’s Been Good" is the party - "The Confessor" is the 3 AM walk home. Wondering if it was worth it. It’s the song you play when the last call’s over and all that’s left is the mirror and the moment the buzz wears off.
Let’s end with a party.
Def Leppard “Rocket” 6:33.
A Cosmic Ode to Rock Excess and Studio Wizardry. Few songs capture the larger-than-life spirit of 1980s rock like this one. An electrifying tune off their blockbuster “Hysteria”. Part tribute to rock’s pioneers, part celebration of the band’s own meteoric rise, and a full-throttle showcase of producer Mutt Lange’s studio genius.
Built on a sleek, synth-tinged riff - "Rocket" launches with the energy of a stadium crowd igniting. The lyrics name-check rock legends (Bowie, T. Rex, The Beatles, Thin Lizzy etc) while reveling in Def Leppard’s own hedonistic ride: I’ll be your Satellite of Love. The chorus is pure anthemic fire but the real magic lies in the production: layered harmonies, laser-beam guitar effects, and a drum sound so massive it feels like it is orbiting Saturn.
In interviews, the band has called "Rocket" their "thank you letter to rock ‘n’ roll." As Joe Elliott explained: It’s about the bands that inspired us, but also about us—this kid from Sheffield suddenly playing to 50,000 people. We wanted it to sound like a fucking rocket taking off.
Guitarist Phil Collen added: Mutt [Lange] went nuts on this one. We’d do 50 takes of a handclap just to get it “perfect”. It’s not just a song; it’s a production.
A glitter-bombed, hyper-polished joyride through rock’s past and future. Play this at max volume when you need to remember why guitars and glory will never go out of style.
Stopping for now thanks for reading.
Hey there, music lovers! We bring you the best tracks to soundtrack your day every week. Whether you're cruising down the highway or just hanging at home, we've got the perfect mix of indie gems, rock anthems, and soulful vibes to keep you company. From dreamy shoegaze to foot-stomping blues, we’ve covered it all. Keep exploring, keep listening, and remember—music is a great and trusty companion.
Sunflower Bean – "There’s A Part I Can’t Get Back". Kicking things off with Sunflower Bean and their dreamy, introspective track, ‘There’s A Part I Can’t Get Back.’ If you’ve ever stared at the ceiling wondering where the time went, this one’s for you. Psychedelic guitars, haunting vocals—pure magic.
Throwing Muses – "Drugstore Drastic". The legendary Throwing Muses with ‘Drugstore Drastic.’ Raw, unfiltered, and dripping with that signature ‘90s alt-rock edge. Kristin Hersh’s voice cuts right through you—this is the sound of rebellion and regret.
Grace Potter – "Before the Sky Falls". Grace Potter is back, and she’s bringing the heat with ‘Before the Sky Falls.’ Soulful, powerful, and packed with that rock ‘n’ roll swagger we love her for. Turn it up and let Grace’s voice shake the walls!
Slow Joy – "Here For You". A slow-burning, grunge-tinged ballad that’s equal parts tender and intense. Perfect for those late-night drives when you’re feeling everything all at once.
NewDad – "Safe". Dreamy, melancholic, and utterly hypnotic—NewDad’s ‘Safe’ is shoegaze at its finest. Close your eyes and let this one wash over you like a wave of reverb and nostalgia.
The Beths – "Metal". The Beths are here to remind us why we fell in love with indie rock. ‘Metal’ is catchy, clever, and packed with those razor-sharp lyrics we can’t get enough of. Play it loud and sing along!
Lilly Hiatt – "Thoughts". A rootsy, heartfelt tune that feels like a conversation with an old friend. Honest lyrics, warm guitars—this is country-rock done right.
The Convenience – "I Got Exactly What I Wanted". The Convenience brings the energy with ‘I Got Exactly What I Wanted’—a punchy, post-punk banger that’s all sharp edges and sly humor. Dance like nobody’s watching!
The Happy Fits – "Everything You Do". Pure indie-pop joy, and ‘Everything You Do’ is no exception. Upbeat, infectious, and impossible not to smile at. Your new feel-good anthem!
The Bones of JR Jones – "Car Crash". A bluesy, foot-stomping track that’s equal parts gritty and soulful. If you need a song to soundtrack your next road trip, here it is.
Adrianne Lenker – "Not A Lot Just Forever" (Live at Revolution Hall). Adrianne Lenker’s live rendition of ‘Not A Lot Just Forever’ is breathtaking. Just her voice, a guitar, and a room full of silence. If this doesn’t give you chills, check your pulse.
Lucius – "Gold Rush". A shimmering, harmony-rich gem. Ethereal vocals, lush production—this is the sound of sunlight breaking through the clouds."
Briston Maroney – "Tomatoes". Briston Maroney’s ‘Tomatoes’ is indie-rock with heart. Catchy, earnest, and full of youthful energy. Perfect for those ‘windows down, volume up’ moments.
Cowboy Mouth – "Fat Bottomed Girls" (Cover). Cowboy Mouth takes on Queen’s classic ‘Fat Bottomed Girls’ and makes it their own. Raucous, fun, and guaranteed to get you moving. Rock ‘n’ roll at its most joyful!
Southern Avenue – "Back To What Feels Right". Closing out with Southern Avenue’s ‘Back To What Feels Right’—a soulful, bluesy anthem that’s all about coming home to yourself. Smooth vocals, killer guitar—pure vibes.
Ireland’s Bold Bet: Basic Income for the Arts (BIA)
In 2022, Ireland launched a revolutionary experiment: Basic Income for the Arts (BIA). Paying artists €325/week for three years—no conditions. This pilot tackles the brutal reality that creative work is vital yet undervalued. Offering a lifeline to musicians, writers, and visual artists drowning in gig economy.
Unlike project-based grants, the BIA’s no-strings approach lets artists create. One filmmaker called it "oxygen for risk-taking." Critics dismiss it as unsustainable, but Ireland’s arts minister counters: "Culture isn’t decoration—it’s how we understand ourselves."
Full results in 2025 (soon?). I couldn’t find any. Anecdotes already reveal mental health boosts and a "multiplier effect" as funded artists hire collaborators.
The Big Question
If the BIA succeeds, could it inspire similar programs worldwide? In an era of AI and automation, Ireland’s bet on creativity as a public good feels both radical and necessary.
Your Take: Should governments treat artists like essential workers? Or is unconditional funding a pipe dream?
P.S. For context: The BIA’s budget (€105 million over three years) equals roughly 0.1% of Ireland’s annual GDP—about the cost of one mediocre Netflix movie.
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Thank you for reading/listening.
Music is Life. Music is Magic. Live Music Is Good For Your Soul.
And remember if you love someone hug them right now.
And today's title comes from: Uncle Tupelo's “Long Cut” because well - we ain’t taking the shortcut (quick song) approach this week. And almost went this this lyric: If you wanna take the long cut/We'll get there eventually. Still don’t know which is best.
Said before. Will say it again: As much as I love UT, I think we all won when we got 2 wildly different bands out of the smoldering wreckage.
Enjoy it all and Embrace The Suck
My two favorite "long" songs:
Paradise By the Dashboard Lights - Meat Loaf https://www.youtube.com/watch?v=C11MzbEcHlw
Scenes from an Italian Restaurant - Billy Joel https://www.youtube.com/watch?v=izzM9LXqP-U
I didn't know Mother Love Bone or Enuff Z'Nuff and both of those songs are great, especially the guitar work. Def Leppard is one of my favorite bands, and Joe Walsh is always good.
About song length, if you go back in time most songs were three minutes or so in the early 60s and that changed with the arrival of FM radio willing to play longer tracks. Looks like we've circled back to the beginning!
That Ireland experiment is interesting. Had no idea.