Top 10 Album Opening Tracks Vol. 1

            The first song on an album is incredibly important. First impressions matter, and an album opener is where themes are introduced, narratives begin, and the tone is set. Truly great album openers carry real weight and leave a lasting impression. I picked 10 songs that I feel like are good representations of these qualities.

A Quick One Before the Eternal Worm Devours Connecticut

            “A Quick One Before the Eternal Worm Devours Connecticut” by Have a Nice Life makes for a powerful start to an emotionally charged record. A wordless instrumental, the song remains so gripping that you’re forced to listen to the auditory manifestation of a depressive episode. There is no explanation needed as the song presents itself and its meaning directly through sound. From the very first listen, “A Quick One” was a piece that moved me. The ability to invoke such powerful feelings and the intrigue caused by its somewhat cryptic nature makes this a song to remember.

Wesley's Theory

            “Wesley's Theory” by Kendrick Lamar showcases two important qualities of To Pimp a Butterfly: Lamar’s ability to juggle multiple topics seamlessly and the representation of African-American culture through production. To Pimp a Butterfly tackles multiple themes and beautifully develops them over its slightly over an hour long runtime. “Wesley’s Theory” introduces themes of institutional racism, financial corruption, and exploits cohesively, and Lamar is able to expand on these issues beautifully. The narrative of To Pimp a Butterfly is set immediately and directly, which makes for a really profound first listen. Additionally, the artists Lamar brings onto the track help with expanding the scope of the album, which is done consistently all over the record. Funk legend George Clinton, bass virtuoso Thundercat, and others work together to create a sound that respects the cultures of hip-hop, jazz, soul, and others, while pushing the boundaries for modern music. The concept of African-American creation that is displayed through the instrumentation alone is just remarkable.

2 + 2 = 5

            “2+ 2 = 5” is a standout cut by Radiohead. This is an impressive feat as the band has been unbelievably consistent throughout the years. Even so, “2 + 2 = 5” sets itself apart from other Radiohead songs with a truly wild vocal performance by Thom Yorke. Yorke manipulates his voice in several ways on the track, never letting a moment become dull. At times becoming subdued, and at other times becoming intense, his performance is entrancing from beginning to end. The fantastic work by Phillip Selway on drums, Colin Greenwood on bass, and Ed O’Brien joining Yorke on guitar help make the erratic nature of the song flow well. The buildup to the song’s climax also works to really sell the ferocity that gets added to the song. Having such a dynamic song right at the beginning of the album makes for a memorable experience.

Speed Trials

            “Speed Trials'' by Elliott Smith is the perfect introduction for his magnum opus, Either/Or. There is an interesting quality about the lo-fi sound of the song, which is in part caused by the recording process. The song starts with a click from the 4-track cassette before heading into the first verse. It’s a small moment of vulnerability that is created on the song, and I think that showcases how Smith subtly creates these atmospheres in which his songs are able to take life. Matched with the quiet recording and heartfelt yet dispassionate lyrics, he is able to create a real connection with the listener. From this song to the rest on Either/Or, and even across his discography, there is never a sense that these intimate moments are manufactured artificially. Repeated listens to “Speed Trials” continue to shock me with how much emotional weight is created from the start that carry on over to the rest of the album.

BUSY/SIRENS

            “BUSY/SIRENS” by Saba is an introspective track that previews the exploration of his inner world throughout CARE FOR ME. This song feels like a conversation with Saba, where he’s just able to unload all of his emotional baggage and talk about what’s on his mind. The conversational nature of “BUSY” lends itself to empathy from the listener, as a personal connection is established. There are years of stress that Saba starts to unwind, which creates this naturally dark atmosphere. The topics cycled through include loneliness, artificiality, broken relationships, and more, that are all tied to Saba’s state of mind and his emotions. We get a nice perspective of how he feels about each of these different events, and how they have affected him. “SIRENS”, the second half of the song, is introduced by a beat switch, in which the tempo of the song is changed. This section focuses less on Saba as an individual, and more on Saba as a member of the black community. The intensity is ramped up, as he speaks about his pains as an African-American, having to deal with discrimination. Another important aspect of this section is the further introduction of his cousin, John Walt. Although done implicitly, it is such an important moment in the song, as Walter’s death and its impact is the narrative center of the album. Saba’s ability to express his frustrations, guilt, and general hurt is incredible, and the listener has no choice but to share Saba’s emotions as well.

I Want Wind to Blow

            “I Want Wind to Blow by The Microphones'' perfectly encapsulates the essence of Phil Elvreum’s work: a quiet intensity that calls out the fundamentals of human nature. Through the use of personification and describing the natural elements, Elvreum expertly showcases the depths of humanity. This track paints a grand portrait of feeling (and being) nothing. Elvreum portrays his state of being as one of near nonexistence, which really highlights the gravity of his words. This is a great song to serve as an introduction to The Glow Pt.2, and Phil Elvreum’s music in general.

Ladies and gentlemen we are floating in space

            “Ladies and gentlemen we are floating in space'' by Spiritualized can be summarized by its opening line, “Ladies and gentlemen we are floating in space”. This song makes you feel as if you are being lifted up into space, being introduced into an entirely foreign realm. As the song progresses, there is a beautiful mix of concurrent verses, and developing vocals and instrumentation. The beauty lies in how the pure amount of sound to keep track of and focus on never becomes too overwhelming. Instead, there is just a sense of weight to the song, with the listener being able to understand the rawness of the concept being communicated: love. This is a powerful song that immediately made me open to the idea of a psychedelic space-rock album about love.

A Lot’s Gonna Change

            “A Lot’s Gonna Change” by Weyes Blood is a powerful statement to kick off an album. The beginning piano matches perfectly with Natalie Mering’s majestic vocals. The addition of percussion and orchestral elements further creates this grandiosity that is explored on other tracks off of Titanic Rising. The magnificent instrumentation does not take away from Mering’s lyrics, with there being such a beautiful level of sincerity and warmth expressed. This start makes the listener understand the type of experience that they’re in for, and I think it’s just lovely that a powerful atmosphere is created right from the beginning.

Christmas Lights

            “Christmas Lights” by Paul Baribeau is an acoustic piece that goes all in from the start, with a fast paced guitar riff. There is a constant sense of drifting in the song, with there being prevalent themes of wondering and wandering. The speed of the riff works surprisingly well with Baribeau’s comparisons of his past to his present, which ends up being quite the forlorn topic. “Christmas Lights” treads many lines: not an upbeat song but not a bleak one, never being overly loud but never being overly quiet, and too smooth to be aggressive but too forceful to be passive. All of this isn’t due to being unassertive, but made out of a conscious decision. Baribeau is able to represent his journey of learning how to live life, through all its ups and downs, through the careful balance he creates. The direct nature of “Christmas Lights “does not equate to pure simplicity, instead showing the path of Baribeau’s personal growth.

The Sun

            “The Sun” by Tigers Jaw is an energetic emo track featuring the classic emo themes of loneliness, love, and love lost. What I love about this song in particular is how catchy it is, while at the same time being unafraid of change. The energetic and upbeat intro makes for an odd segue into the more mellow heart of the song. The song slows down in tempo, but the energy is kept all throughout, with the guitars and drums being stressed on the chorus. This same intensity is finally carried over to the outro, wrapping up the song nicely. Each phase of the song is interconnected through the use of instrumental highs and lows to transmit information. Tigers Jaw put rage, aggression, and pure emotion into the highs of “The Sun”, serving as a great sample for the rest of the album.


With Love and Gratitude,

Peach Fuzz