As passionate music fans, we eagerly listen to the artist’s final product, a culmination of their dedicated efforts in the studio. However, the time it takes to perfect a song can vary significantly based on numerous factors. Like any creative endeavor, the process of composing and recording music involves several logistical challenges that can complicate the task. It’s crucial to recognize that crafting and recording music requires both artistic vision and meticulous planning.

In the following list, we present 20 Iconic Rock Songs and the number of takes it took to bring them to life. You will notice that some tracks were completed in a matter of minutes, while others required far more time and effort.

For those unfamiliar with the intricacies of the recording process, it’s important to note that a song is often divided into distinct segments, which are recorded separately. As studio technology advanced throughout the 1960s, 1970s, and 1980s, artists gained the ability to refine their recordings with greater precision. While a lead vocal might be captured in a single take, a guitar solo could demand several attempts, with all parts eventually spliced together to create a polished recording that we, the listeners, can enjoy.

1. “Refugee,” Tom Petty and the Heartbreakers
From: Damn the Torpedos (1979)
Number of Takes: Approximately 100

Tom Petty faced no difficulties writing the lyrics inspired by the four-track tape provided by guitarist Mike Campbell, which ultimately became the classic “Refugee.” The real challenge arose in the studio, as Campbell recounted to Songfacts in 2003: “We must have recorded that 100 times.” His frustration led him to leave the studio for two days, unable to handle the pressure. However, upon returning, the band managed to capture the essence of the song and finally get it down on tape.

2. “Atlantic City,” Bruce Springsteen
From: Nebraska (1982)
Number of Takes: 3-5

The exact number of takes Bruce Springsteen recorded for “Atlantic City” remains somewhat unclear, but it is estimated to be between three and five. Initially, he recorded two takes under the working title “Fistful of Dollars,” followed by a third take that officially bore the name “Atlantic City.” The tape he submitted to his manager contained three versions, each featuring slightly different lyrics, showcasing the evolution of the song during the recording process.

3. “Like a Rolling Stone,” Bob Dylan
From: Highway 61 Revisited (1965)
Number of Takes: 20

On June 16, 1965, Bob Dylan embarked on a marathon recording session for “Like a Rolling Stone,” laying down 15 takes. Producer Tom Wilson believed they had captured the perfect version after the fourth take, but Dylan insisted on perfecting it and recorded an additional 11 attempts. Ultimately, the fourth take was chosen as the master. Decades later, all 20 takes were made available on The Bootleg Series Vol. 12: The Cutting Edge 1965–1966, allowing fans to appreciate the song’s development.

4. “Help!,” The Beatles
From: Help! (1965)
Number of Takes: 12

During the recording of Help! in 1965, The Beatles utilized a four-track machine for their sessions. They completed a total of 12 takes for this iconic title track, with nine of those focusing primarily on the instrumental elements. Notably, George Harrison’s descending lead guitar part was added later through overdubbing, showcasing the band’s innovative approach to recording.

5. “Creep,” Radiohead
From: Pablo Honey (1993)
Number of Takes: 1

Ironically, Radiohead’s “Creep” emerged almost by chance, as it was not initially intended for recording that day. The band was in the studio to work on two other songs when they spontaneously decided to record “Creep” in a single take. Jonny Greenwood explained to the St. Louis Post-Dispatch in October 1993 that they played it to check the tape levels and ended up capturing a raw and unfiltered version, which they had only just rehearsed the week before.

6. “Smells Like Teen Spirit,” Nirvana
From: Nevermind (1991)
Number of Takes: 3

Kurt Cobain was not known for multiple takes in the studio, a fact that producer Butch Vig learned during the recording of “Smells Like Teen Spirit.” Vig noted in an interview with Mojo in 1998 that he quickly realized Cobain preferred to keep his recordings concise. “I would record him warming up, and if I was lucky, I could get three more takes out of him.” Cobain’s unique style often involved slurring his words, making it challenging for Vig to capture his vocals. Ultimately, they recorded just three takes, demonstrating Cobain’s remarkable talent and authenticity.

7. “Champagne Supernova,” Oasis
From: (What’s the Story) Morning Glory? (1996)
Number of Takes: At Least 6

Initially, Oasis and their producer Owen Morris attempted to record “Champagne Supernova” as a complete song in one go. However, Morris explained in a 2012 interview with Sound on Sound that after about six attempts, they realized that the high note at the end of the line, “The world’s still spinning around, we don’t know why,” was causing vocal strain. Consequently, they decided to record the vocals in sections, resulting in approximately six takes for each segment, including verses and choruses, until they finally captured the soaring high note.

8. “‘Heroes,'” David Bowie
From: ‘Heroes’ (1977)
Number of Takes: 3

The creation of “‘Heroes'” involved the collaboration of three incredibly talented individuals: David Bowie, Brian Eno, and Tony Visconti. Visconti shared in a 2004 interview with Sound on Sound that they completed the song in just three takes. Each take had a unique quality, with varying filter changes and feedback that blended into the haunting melody we know today. Few artists possess the ability to write lyrics on the spot and deliver a memorable vocal performance in just a few takes, but Bowie was undoubtedly one of them.

9. “A Whiter Shade of Pale,” Procol Harum
From: 1967 Single
Number of Takes: 2

Procol Harum’s “A Whiter Shade of Pale” is a timeless classic that has been covered by countless artists, yet the original was recorded in just two takes. Interestingly, the band did not have a regular drummer, so session musician Bill Eyden stepped in and flawlessly executed the part, contributing to the song’s iconic sound.

10. “Start Me Up,” The Rolling Stones
From: Tattoo You (1981)
Number of Takes: 38

Keith Richards initially believed he had “Start Me Up” all figured out. He recounted in a 1981 interview with Guitar Player that he and Mick Jagger were convinced it was meant to be a reggae song. Ultimately, the band recorded a staggering 38 takes before discovering that the track worked far better with a different arrangement, showcasing the importance of experimentation in the recording process.

11. “Eruption,” Van Halen
From: Van Halen (1978)
Number of Takes: 2, Possibly 3

Eddie Van Halen was simply improvising in the studio when he recorded “Eruption,” the legendary instrumental track from Van Halen’s self-titled debut album in 1978. In a 1996 interview with Guitar World, he recalled that their producer, Ted Templeman, happened to walk by and suggested they capture it on tape. Van Halen played it two or three times, and they selected the best take, showcasing the spontaneity that often leads to great art.

12. "Run to You," Bryan Adams
From: Reckless (1984)
Number of Takes: 1 or Approximately 6, Depending on Who You Ask

Memories can often differ regarding the recording of “Run to You.” Bryan Adams insists that it was recorded in a single take, stating, “The first take of the song is the one you hear on the album,” as shared in a 2024 interview with Classic Rock. However, producer Bob Clearmountain claims that it took around six takes, with a few of the best performances spliced together. This discrepancy highlights the varying perspectives often present in the music industry.

13. “All Along the Watchtower,” The Jimi Hendrix Experience
From: Electric Ladyland (1968)
Number of Takes: 27

Originally penned by Bob Dylan, “All Along the Watchtower” underwent extensive recording sessions when covered by The Jimi Hendrix Experience. According to engineer Eddie Kramer, it took about 27 takes to get the track just right, as musician Dave Mason struggled initially. Nevertheless, Hendrix’s incredible talent and ability to reinterpret songs ultimately transformed the track into a masterpiece that continues to resonate.

14. “La Grange,” ZZ Top
From: Tres Hombres (1973)
Number of Takes: 3

ZZ Top managed to record “La Grange” in the time it took for a lunch break, completing the session in just three takes. Billy Gibbons reminisced in a 2021 interview with Guitar Player about having a fantastic time overdubbing and experimenting with dual guitar parts. By the time their manager returned from lunch, they had everything in place, showcasing the band’s efficiency and chemistry in the studio.

15. “Living After Midnight,” Judas Priest
From: British Steel (1980)
Number of Takes: 2 or 3

When it came time to record “Living After Midnight,” Judas Priest approached the session without any prior preparation. Glenn Tipton shared in a 2023 interview with Guitar Player that they walked into the studio and nailed the entire song in just two or three takes. Tipton played the solo, and even after four decades, he can’t quite recall how that decision was made, reflecting the spontaneity that often characterizes their music.

16. “Riders on the Storm,” The Doors
From: L.A. Woman (1971)
Number of Takes: 2 or 3

The Doors’ “Riders on the Storm,” known for its cinematic soundscape, was surprisingly straightforward to record. Producer Bruce Botnick recalled in 2013 that the song required only two or three takes, similar to everything else on L.A. Woman. The idea to incorporate sound effects like rain and thunder emerged during the session when Jim Morrison suggested it, demonstrating the collaborative creativity that fueled their work.

17. “Every Breath You Take,” The Police
From: Synchronicity (1983)
Number of Takes: 1

While much of the recording for The Police’s “Every Breath You Take” involved extensive overdubbing, Andy Summers recorded his guitar part in just one take. He recounted in a 2022 interview with Guitar World that tensions existed between Sting and Stewart Copeland regarding the bass and drums. Amidst this creative tension, Summers was encouraged to make the guitar part his own, resulting in a performance that resonated with audiences worldwide and cemented its status as an enduring classic.

18. “Not Guilty,” George Harrison
From: George Harrison (1979)
Number of Takes: 102

George Harrison’s “Not Guilty” became infamous for the number of takes it required, totaling 102. The Beatles struggled to capture the essence of Harrison’s song, leading to an extensive recording process that ultimately proved unsuccessful. This track later appeared on Harrison’s self-titled solo album released in 1979, illustrating the creative challenges artists often face in the pursuit of their sound.

19. "Working Class Hero," John Lennon
From: John Lennon/Plastic Ono Band (1970)
Number of Takes: 120-130

John Lennon’s “Working Class Hero” is another example of a solo Beatles song that took an exceptionally long time to perfect. According to tape operator Andy Stephens, Lennon recorded an estimated 120 to 130 takes. If the mix in his headphones didn’t meet his expectations, he would express his frustration by slamming them against the wall, a testament to the passion and intensity he brought to his craft, as revealed in a 2010 interview with Uncut.

20. “Tangled Up in Blue,” Bob Dylan
From: Blood on the Tracks (1975)
Number of Takes: At Least 8

Bob Dylan famously remarked that his song “Tangled Up in Blue” was a decade in the making and took two years to write. The recording process was no less involved, with Dylan capturing eight takes in New York City, followed by additional takes in a studio in Minneapolis. Some of these recordings were later featured on 2018’s The Bootleg Series Vol. 14: More Blood, More Tracks, highlighting the song’s intricate development.