It was 44 years ago that...

Ozzy--My memory is fading, but I think the record that started the longer versions of songs was probably Bob Dylan's "Like a Rolling Stone". When it first was played on AM radio they only would play the first two verses (fitting barely into the usual 3 minute maximum), even though the single went for the full four verses/6 minutes. I remember one Saturday afternoon listening to Dan Ingram on WABC in NY (who was also an FM jock, with a jazz show), and in the last hour he was on he played the entire record. Shortly after that I started to hear the whole record played, though I think it may have been because about then I started listening to FM.

There were other long songs around that era--Cream's "Toad", the Doors' "Light My Fire" (FM version), "The End", "Soft Parade", etc., Serpent Power's "Endless Tunnel" (any of you actually remember that one?), and a lot more--as well as Iron Butterfly, so I guess I don't really think of them as starting the genre.

Sorry Ozzy, I originally missed your real point. I responded because quite recently, actually the first time in years, maybe 30 or more, I heard this piece, owned the album at one time, long since gone and forgotten.

As far as long play it seems to me the Doors 6 minute version of "Light My Fire", the FM version that you mention Rcprince, is the earliest tune beyond the 2-3 minute standard of the era that was actually mixed in with the standard version on AM. Most of the others you mention were limited to WMMR, Philadelphia, the FM rock station at that time.

I agree that there were many other artist that released long versions of there hit songs.
I guess I used the Iron Butterfly tune because it took up one entire side of the LP. And that drum solo played with headphones on along with some extra smokin spirts made that song one that was quite unique.
It also seemed that after that record, alot of the bands were adding drum solos to there live concerts.
Oh, to be young again.

For me, Beatles music has no meaning other than to sing along in the car because the radio played them so often. Though I always thought their covers were interesting. I guess it was in 1968? or 1969? that the story that Paul was dead circulated and we combed the covers for hints about his death. The radio played alot of Beatles, but for the Battle of the Bands or the Friday or the Saturday night dances at the local fire halls or high schools, it was garage band fever. Louie,Louie, Gloria, I Can Give You Everything, Just Like Me, Satisfaction, Evil hearted You, I'm a Man, House of the Rising Sun. Lead singer had a tambourine, every band virtually had a Hammond B3 or Conn organ. And somebody played a mean harmonica on I'm a Man. Danced and partied all night long. The only time we heard Beatles music was usually a slow number for the girls. Of course we did not mind that much, we got to grope a little and get a little giggle out of the girls. ( Or if someone got a little too frisky a slap in the face. Are you reading this Charlie? You got us kicked out of sooooo many dances!!)

So what does this mean? The Great Divide. Music as Art or Music as Self-Identification. If I wanted Music as Self-Identification I always came down on the side of the Rolling Stones. Let's party all day and all night. If I wanted Music as Art I always sided with my Dad's music of Coltrane and Davis. But later I found the passion of Schubert as my artistic muse. So the Beatles where on neither side of the Divide. Not as self identification and not nearly as a fulfilling aesthetic experience as Music as Art than even a minor composer like Spohr.

I still collect 45s from the 60s of obscure garage bands with fervor and listen to Schubert when I want music as art as an aesthetic experience.

Nirvana album Nevermind - hugely influential