What are the great Instrumentals of the Classic Rock Era?

That’s easy…

Wipe Out -Surfaris

Here’s a cover by the Ventures.

Beck’s Bolero: Jeff Beck, Jimmy Page, John Paul Jones (hmm, says Wiki - I thought it was Entwistle, but apparently JPJ subbed for him), ad Keith Moon.

Interesting: I have searched this thread, and, inconceivably, can’t find that anyone has stated Van Halen’s Eruption.

That really is fascinating, given it’s utterly seismic impact on the world of rock and rock guitar, which was never the same in terms of how guitars were played, designed and built, DIY modified, let alone incorporated into commercial rock and pop for the next 15 years.

I don’t expect folks to reply stating that Eruption’s stock has taken a nosedive and folks don’t respect it now or something. It’s fuckin’ Eruption. But it is curious - almost like people mentally group it with You Really Got Me or something.

And while I am at it, the previous generation’s version of Eruption was Eric Clapton’s cover of Freddie King’s Hideaway, of the John Mayall “Beano” album. Let to the Clapton is God graffiti, etc.

No mention of “Hocus Pocus” by Focus yet? Inconceivable!

Post #19, although I appreciate your further discussion of it.

Toad by Cream
Motorboat to Mars by Chicago

:slight_smile:

Music to Watch Girls By by The Bob Crewe Generation is one of my all-time favorite instrumentals. It was later retrofitted with vocals and sung by Andy Williams. Bob Crewe had a bunch of other great instrumentals as well.

*Apache *by The Shadows (who also have a metric ton of other guitar-driven instrumentals) has already been mentioned; the version by The Incredible Bongo Band is a ton o’ fun and has been sampled by many, many rap artists.

Love Is All Right by Cliff Nobles had on its B side The Horse, which is an instrumental of the song on the A side.

Speaking of instrumental versions of songs with lyrics, there are a lot of different artists who have recorded Am I the Same Girl but Young-Holt Unlimited had a huge hit with the instrumental version called Soulful Strut.
TSOP (The Sound of Philadelphia) by MFSB is undeniably disco rather than classic rock, but it’s also undeniably great (it has some lyrics near the end, but who can argue with their sentiment?)

Well fuckity fuck fuck :smack: :smack: I swear I searched the damn thread for “eruption” - twice.

I think my favorite is Cliffs of Dover by Eric Johnson.

No mention of the Alan Parsons Project? They had one or two instrumentals on every album. (Example: Sirius)

Pet Sounds” (the title track of the highly-regarded Beach Boys album) is an instrumental.

FWIW these are both studio creations, as opposed to a band rocking out.

What about the last two-thirds of the Rolling Stone’s “Can’t You Hear Me Knocking”, or last half of “Layla”, both of which are long enough to be pop songs by themselves?

The “Overture” and “Underture” to The Who’s *Tommy * are technically instrumentals (but in practice really long instrumental sections of songs with vocals).
(Is Ray Charles’ “One Mint Julep” too old for classic rock? Probably.)

Funkadelic’s “Maggot Brain”

Anything from Procol Harum

Good song, but a bit outside the classic rock era (at least as defined by the OP). The glaring omission to the OPs list, Frankenstein, was immediately added, so I’ll add one of my personal favorites from the era, “The Streetbeater” aka the Sanford and Son theme by Quincy Jones.

Quadraphenia” (the musical piece, not the album) 6 minutes of rock perfection.

Nitpick: it has one line of lyrics.

Apostrophe’ by Frank Zappa. It’s on the album Apostrophe (’). Great tune.

Earworm Time: The theme from the movie The Sting, anyone? (Scott Joplin’s The Entertainer).

“Quadrophenia” is great, but “The Rock” from the same album is even better.

Also:
“Los Endos” by Genesis
“Peaches En Regalia” by Frank Zappa
“Orion” by Metallica (a few years past the OP’s dates, but it’s over 30 years old so screw it)

Well we can certainly quibble over which is better whilst still agreeing that both are great.

To be honest, there is a case to made to treat them together as a matching pair of instrumental book-ends.