It is Beck's first solo recording and has been described as "one of the great rock instrumentals, epic in scope, harmonically and rhythmically ambitious yet infused with primal energy".

[1] "Beck's Bolero" features a prominent melody with multiple guitar parts propelled by a rhythm inspired by Maurice Ravel's Boléro.

The recording session brought together a group of musicians, including Jimmy Page, Keith Moon, John Paul Jones, and Nicky Hopkins, who later agreed that the line up was a first attempt at what became Led Zeppelin.

[3] "It was decided that it would be a good idea for me to record some of my own stuff ... partly to stop me moaning about the Yardbirds", Beck recalled.

[4] Boléro is a one-movement orchestral piece composed by Maurice Ravel in 1928 and is "built on a persistent, repeating motif supported by a snare drum ... re-creating the Spanish 'bolero' dance pattern for full orchestra", according to Beck biographer Martin Power.

[3] A melody line for guitar was developed along with a middle section to break up the rhythm, reminiscent of the Yardbirds' arrangements for "For Your Love" and "Shapes of Things".

[4] With at least the outline of one song and Page on board to play guitar, Beck approached Keith Moon of the Who, whom he considered one of his favourite drummers.

"[10] When Entwistle did not show, studio musicians John Paul Jones and Nicky Hopkins were brought in at the last minute to provide bass and piano.

[6] Power points out that by using a 12-string guitar, Page is able to take advantage of the instrument's "rich chiming quality to emulate the distinct, orchestral 'bolero' sound".

[6] Beck then introduces the melody line on electric guitar with a fuzz-tone effect producing indefinite sustain; alternating between major and minor modes, it is described as "haunting" by Power[15] and as a "distinctive piercing, sinister tone" by critic Richie Unterberger.

[9] "It was my idea to cut off in the middle, Yardbirds-style", Beck commented, "Keith upped the tempo and gave it an extra kick.

[9] He also describes the break, inspired by the Yardbirds' rave-up technique, as "eerily presag[ing] the coming era of hard rock and heavy metal".

[2] The melody line is abandoned in the second section and replaced with multiple interwoven takes of guitar effects, including phasing, echo, and controlled feedback.

It appeared as the B-side of his first single, "Hi Ho Silver Lining", which was released on 10 March 1967 in the UK (Columbia DB 8151) and 3 April 1967 in the US (Epic 5–10157).

This version is included as a bonus track on the 2006 remastered Truth CD and on the Sundazed Music reissue of the original mono vinyl album.

[6] In an interview before its release and his involvement with Most, Beck commented, "I've got an example of my production together with Jimmy Page and it's an instrumental", but does not mention Napier-Bell.

[28] The initial Columbia Records pressing of the single listed the title as "Bolero" and "Jeff Beck" as the composer.

[37] Page incorporated some of the melody line[38] and bolero rhythm[39] into the medley portion of "How Many More Times" for the Led Zeppelin debut album.

"Beck's Bolero" appears on various "best of" lists[40] and in Guitar Masters: Intimate Portraits, Alan di Perna describes it as "one of the great rock instrumentals, epic in scope, harmonically and rhythmically ambitious yet infused with primal energy".

[1] The May 1966 recording pre-dated other mid-1960s hard rock/psychedelic rock milestones, such as the formation of Cream, Jimi Hendrix's arrival in England,[41] the Beatles' Revolver album, and the rise of the San Francisco Sound.

Guitarist Mike Bloomfield recalled that "Beck's Bolero" had a "significant impact on Jimi Hendrix, who named it among his favorite tracks".

After hearing Beck's record, Allman "loved that slide part and told me he was going to learn to play it", Hornsby recalled.

Titled "The Bomber", the multi-part suite also includes a rendition of Ravel's Boléro and appears on the James Gang Rides Again album.