It's an arguable point with no definitive answer, but it may be that "Walk Don't Run," as recorded by the Ventures, is the most popular instrumental rock'n'roll recording of all time. Aside from it having made #2 in 1960, it's been covered by innumerable bands live and on record. And when you throw in how gigantically popular the Ventures are in Japan, it must be one of the most widely heard instrumental rock hits on an international level. "Walk Don't Run" is everything a moody rock'n'roll instrumental should be: taut, propulsive, with sinister, yet attractive, snaky guitar lines and hard power chords. The song starts off with an instantly gripping long snare drum roll, then settling into the two-beats-to-a-measure/one-beat-to-a-measure rhythm that grounds the song. That's followed by the arresting minor-keyed downwards guitar chords that supply the rhythm guitar throughout must of the tune, almost immediately overlaid with by the fluid mysterioso reverbed guitar lead. Occasionally the song pauses on a minor chord and the rhythm becomes more jittery, before smoothing out and leading back into the verse. The "walk don't run" title is mirrored in the way the bridge breaks into a more even and slightly slower gait, as if to mimic a runner slowing to a walk, the guitar becoming especially twangy at this point. Midway through the guitars take a breather for a brief, crisp drum solo, which restates the rhythm before breaking into the same drum roll that started the track. The performance ends with a glorious upbeat burst of chords, ascending at the very end in a pseudo-Hawaiian style. There's not a wasted note or second in "Walk Don't Run"'s two minutes, and it established the format the Ventures milked for their entire career, though they never again approached the greatness of this song. It's also a somewhat overlooked prototype for the sound of instrumental surf rock, particularly in its snare drum patterns and the reverb splayed over the guitars. The Ventures' recording, incidentally, is not the original version. They learned it from a considerably different version on a Chet Atkins album, and the song was composed by jazz guitarist Johnny Smith, who got the title from a New York subway sign.