Songs that go the distance: These are the arguments for long tracks

“I mean, you only want two and a half minutes when you get it, you know, three minutes maximum.”

I regularly think about this amusing sentiment that Kanye West sampled in his track “4th Dimension,” as it often seems that this is the formula for a “good song.” The traditional verse/chorus/verse/chorus/bridge/chorus format has stood the test of time for years, and there’s no doubt that it can lead to some truly amazing and (sometimes annoyingly) catchy melodies. But sometimes “three minutes or less” just isn’t enough. Sometimes artists have to distance themselves and perhaps reject virality for the sake of art – and the results are truly “epic” long-distance tracks.

But why are such titles necessary and (spoiler alert) why do I love them? Well, for one thing, long titles can obviously provide a compelling depth of storytelling that regular length titles simply can’t. Aside from the lyrics, it can also allow for a far deeper exploration of more complex sounds, fleshing out the relationship between different components/instruments within a track, allowing for satisfying transitions between them while maintaining tonal similarity. When you combine these benefits, I love the increased replay value that can be conveyed to a title, with more intricacies and subtle novelties to discover with further listening. Finally, as is often the case, long tracks can be an incredible way to round out an album – capturing its themes in a final and cohesive piece.

Dogs – Pink Floyd

Pink Floyd is certainly no stranger to “epic” tracks. Their 1971 album Meddle ended with the stunning 23-minute track “Echos,” and much of the running time of their 1975 album Wish You Were Here is taken up by a handful of longer tracks. However, it appears that their interest in long titles peaked in 1977 with the release of Animals. Loosely based on George Orwell’s work Animal farmThis concept album consists of just three actual tracks (along with a short acoustic intro/outro), each of which corresponds to a division of humanity in a capitalist society – dogs, pigs and sheep. “Dogs” is definitely my favorite. I love the cautionary tale this track tells – a cunning and ruthless businessman who eventually finds himself “just another sad old man”, and the instrumentation carries so much of the emotional power here. The first half of this track features some amazing guitar solos from David Gilmour, followed by a lengthy but mesmerizing synthesizer section that is amazingly hypnotic thanks to its allotted running time. Before another great guitar solo, the track ends with a somewhat tragic lament for the dog, with the instrumentation conveying a feeling of pensive sadness.

Basketball Shoes – Black Country, New Road / The Wizard – Geordie Greep

I will group these two tracks under the same point as both artists come from the ‘Windmill’ scene (a venue in Brixton) and both tracks have different sections full of rich instrumentation and cryptic lyrics that I find incredibly moving and satisfying to deconstruct. “Basketball Shoes,” backed by the amazing 7-piece band, might be my favorite song of all time. Its long running time allows a gentle guitar and woodwind section to gradually morph into a more melodic and upbeat section before we are finally blessed with a cathartic unity of sound, with Isaac screaming the final, powerful vocal. “The Magician,” originally performed with his band Black Midi, is similarly captivating – full of uplifting strings, absurd lyrics and chaotic but coherent instrumentals, and a track I’m still digesting now. Please listen to both!

All Too Well (10 Minute Version) – Taylor Swift

Released in 2021 as part of their “Taylor’s Version” project, this lengthy title builds on the original title released nine years previously, nearly doubling its running time. Swift guides listeners through loosely chronological memories of a crumbling relationship with a captivating autumnal mood that perfectly complements the delicate and gradual denouement of a short-lived romance. While the original track is great in its own right, the extended running time really allows the power of Swift’s vocals and lyrical potency to swell until she reaches a satisfying surge of vulnerability and melancholy.

Last Call – Kanye West

In recent years, Kanye West has become known for his controversial actions – and his recent musical output has been plagued by AI-generated verses and tasteless/nonsensical lyrics. But once upon a time, Kanye was a largely unknown and underpaid producer from Chicago who made beats for Jay-Z and DMX – hungry to pursue his true passion: rap. When he finally managed to release his first studio album (“The College Dropout”) in 2004, Kanye took the opportunity to end the album with “Last Call” – an incredible track in which he carefully documents his struggles and subsequent success establish yourself as a rapper.

The first four minutes of the track form a more traditional song structure, with Kanye’s bars flowing over a lush and punchy soul-infused beat that’s full of hilarious and clever one-liners. But it’s in the remaining eight minutes or so that Kanye’s strength as a storyteller comes to the fore. The beat is somewhat stripped back to set the stage for an unusually intimate and honest Kanye, in which we are graced with a detailed and incredibly interesting story about Kanye’s thoughts and actions before being given a record deal for the very album we are watching listen – packed with references to various other hip-hop legends.

Mortal Man – Kendrick Lamar

Similar to “Last Call,” “Mortal Man” is the outro to Kendrick Lamar’s critically acclaimed 2015 album “To Pimp A Butterfly,” consisting partly of a more traditional track and partly of a spoken word/interview segment . In the first part, solemn horns, a moody baseline and anxious strings accompany Kendrick’s passionate and vulnerable lyrics about his sense of morality and, crucially, how this is redefined and assimilated by others in relation to his fame/influence. The second half represents a monumental achievement: it recontextualizes the album as Kendrick completes the poem built throughout, and then “interviews” Tupac Shakur with excerpts from an earlier interview.

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