Question: For how long does "Free Bird"'s triple guitar solo last?
About the article "Free Bird", section "Reception".

Candidate passages:
"Free Bird" is included in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and at number 193 in Rolling Stone's 500 Greatest Songs of All Time.
In 2009 it was named the 26th best hard rock song of all time by VH1.
The song—half ballad, half up-tempo guitar solo—quickly became a staple for Lynyrd Skynyrd at their live performances.
Many recognize its 5:12 triple guitar solo section that closes it out.
It often turned into an extended jam session at concerts.
The band would consistently play it as the last song of every show, as it was their biggest crowd pleaser.
Overall the song proved to be a huge hit for Lynyrd Skynyrd and it remains a fan favorite to this day.
It is also a classic rock radio staple.
Following the plane crash in 1977 in which several band members were killed, all of the songs played by surviving members were performed as instrumentals beginning with the Charlie Daniels Volunteer Jam V in 1979.
When "Free Bird" came up, a solitary microphone with a single spotlight would be at center stage while the band played the instrumental version.
This tradition lasted until 1989, when an almost-rioting audience coerced Rossington to urge Johnny Van Zant to sing the song for the first time – something he had vowed never to do on stage during the Tribute Tour.
The current version has a shortened solo similar to the original studio version.
"Blue Bird" is the 40th single released by Ayumi Hamasaki.
It was released on June 21, 2006.
"Blue Bird" was Hamasaki's 15th consecutive single to top the Oricon and 27th #1 single in total.
Initially planned to be a triple A-side single, it features two new songs, "Blue Bird" and "Beautiful Fighters".
"Blue Bird" was the CM song for Zespri Gold Kiwifruit while "Beautiful Fighters" is featured on a Panasonic D-snap and D-dock commercial.
A rearrangement of "Ladies Night", featured in her "(Miss)understood" album, called "Ladies Night (Another Night)" (which was featured in an earlier Panasonic Lumix commercial) is also featured on this single.
A trance remix to "Blue Bird" is also on the single.
On her official website, she describes "Blue Bird" as being a summer song, and "Beautiful Fighters" as being a song praising women.
"Blue Bird" also reunited Hamasaki with the composer Dai.
"Blue Bird" was the first time he composed a song for Hamasaki since "Will" (2005), which she co-composed under the name Crea.
"Blue Bird" was Hamasaki's first single to be certified platinum since 2005's "Heaven" and was her last single to achieve platinum status until Mirrorcle World (2008).
The sales of "Blue Bird" made Hamasaki the first solo artist in Japan to sell over 20 million singles. 
 Whereas Anthony Head does not actually play guitar for "Behind Blue Eyes" in the episode "Where the Wild Things Are" (music supervisor John King did), this time he both sings and plays "Free Bird".  
In the decades since its release, "Living in the Material World" has continued to divide album reviewers and music commentators.
Writing in 2002, Greg Kot of "Rolling Stone" found the album "drearily monochromatic" compared to its predecessor, and to PopMatters' Zeth Lundy, it suffers from "a more anonymous tract" next to the "cathedral-grade significance" of "All Things Must Pass".
John Metzger of "Music Box", refers to Harrison's "Living in the Material World" as "the most underrated and overlooked album of his career"; it "coalesces around its songs", Metzger writes, "and the Zen-like beauty that emanates from Harrison's hymns to a higher power inevitably becomes subtly affecting.
"Among Harrison's biographers, the 1973 album is consistently viewed in a favourable light.
Unimpressed with the "aimless jamming" and "looser abundance" of "All Things Must Pass", Alan Clayson approves of "Material World"'s "self-production criterion closer to the style of George Martin".
Within the more restrained surroundings, Clayson continues, Harrison was able to lay a claim to the title "king of rock 'n' roll slide guitar" as well as display perhaps his "most magnificent performance on record" on the Roy Orbison-style "Who Can See It".
Robert Rodriguez also approves of a production aesthetic that frees Harrison's songs from the "tyranny" of Spector's Wall of Sound, allowing instruments to "sparkle" and "breathing space" for his melodies.
Another biographer, Gary Tillery, considers "Material World" a "fine companion piece" to the 1970 triple album.
Simon Leng has named "Living in the Material World" as his personal favourite of all of Harrison's solo albums.
In his musical biography "While My Guitar Gently Weeps", Leng refers to the album as a "forgotten blockbuster" due to its standing having been somewhat lost amid rock-music revisionism since the early 1970s.
To Leng, with its combination of a defiant "protest" song in "The Day the World Gets 'Round", the anti-stardom "The Lord Loves the One" and "perfect pop confections" in "Give Me Love" and "Don't Let Me Wait Too Long", "Material World" was the last album to capture the same clear-sighted, utopian spirit that characterised the 1960s.
On a solo set that he identifies as representing Harrison's guitar playing and songwriting "at something of a peak", Allmusic's Bruce Eder likewise welcomes "Material World"'s bold idealism.
"Even in the summer of 1973, after years of war and strife and disillusionment," Eder writes, "some of us were still sort of looking – to borrow a phrase from a Lennon–McCartney song – or hoping to get from them something like 'the word' that would make us free.
And George, God love him, had the temerity to actually oblige ..." 
 "Five Bucks Ain't Shit" (2003) Believe (Guitar Solo), How Many Times (Guitar Solo) and Abuse (Guitar Solo) "Just A Taste E.P" (2005) Abuse (Guitar Solo)