When making an album that’s not only enjoyable, but a comprehensive art piece, no song matters as much as the first. While the other tracks ensure the themes, tone, and sound are all well-rounded, the opening song has a much greater onus. It must simultaneously set a strong precedent and also invite the listener into the specific sound that the artist arranged for their album.
Sometimes this can happen with a high tempo bang, instantly demanding your attention. Other times, the opening song takes a slower approach by meditating on the concepts and themes of the whole album. Either way, the opener is integral to an album’s success, which is why so many classic songs have been track number one.
As such, here are twenty album openers that are absolutely fantastic. I must admit, that this is not a comprehensive or definitive list that surveys the greatest album openers from every corner of every genre. Instead, these are simply the album openers that resonated with me most based exclusively off my tastes.
Thus, these are the twenty album opening songs that I love the most (ranked, of course).
20. "Wouldn't It Be Nice"- The Beach Boys
When trying to redefine their surf pop sound with Pet Sounds, Brian Wilson and The Beach Boys had to choose a song to officially introduce their new style, and "Wouldn't It Be Nice" ultimately ended as the victor. Although it only peaked at number eight on the charts in 1966, it’s since be reevaluated, as evidenced by its status as the band’s most streamed song on Spotify.
While it’s made many compilations, “Wouldn’t It Be Nice” works phenomenally as an opening track too. The song exhibits the experimental sound that Wilson had been developing without forgoing the band’s signature vocal harmonies. The lyrics fit into the classic love song archetype but have strands of melancholy that would be explored in the album’s later tracks.
Also, the song maintains the band’s energetic fun, offering more dance worthy beats without stooping to the shallowness of other pop songs. By showcasing Pet Sounds’ innovativeness while still maintaining the Beach Boys’ classic style, “Wouldn’t It Be Nice” heralds the rest of the album in a fun, romantic way.
19. "Death on Two Legs (Dedicated to...)"- Queen
Another rock band’s magnum opus, Queen’s A Night at the Opera begins with over-the-top revenge song, “Death on Two Legs.” This opulently self-indulgence track was penned by Freddie Mercury after the band’s tense falling out with their manager, Norman Sheffield.
The song stung proudly with the accompaniment of Brian May's roaring guitar and Mercury's spiteful lyrics. In fact, it cut so deeply that Sheffield sued the band leading to a settlement out of court and official confirming who the song is about.
As biting as a revenge song can be, “Death on Two Legs” is a feisty opener for Queen’s rock opera. The piano intro and siren like guitars frame the rest of the album as a theatrical show.
From there, the song relentlessly attacks Sheffield, as Mercury bids goodbye to the “leach” that had been ruining their livelihood. With that relationship finally ending, a new journey can begin, one that explores Queen’s fully unleashed potential. A bombastic launch, “Death on Two Legs” is nothing short of an explosive introduction to the spectacle that is A Night at the Opera.
18. "Good Times Roll"- The Cars
For their self-titled debut, The Cars not only had to craft a song that would introduce their album, but their whole career as well. This introduction evolved into “Good Times Roll” and what a fun introduction it remains.
Although singer Ric Ocasek originally intended to ridicule other party songs, “Good Times Roll” perfectly captures the jovial feeling that rock and roll can bring into the world. It charted modestly at 41 but remains a staple of radio stations and party playlists.
An exuberant proclamation of partying, “Good Times Roll” fittingly begins an album rife with fun tunes. Following tracks like “Just What I Needed” and “You’re All I’ve Got Tonight” show just how correct the opening song is in its eagerness to rock. The layered vocals and relatable lyrics also exude The Cars’ New Wave sound.
More refined than other rock songs, “Good Times Roll” assures the listener that this album is as enjoyable as it is cutting edge. With a multitude of hits soon to follow, “Good Times Roll” signals the start of both the Cars’ debut and their influential career as well.
17. "The Calculation"- Regina Spektor
Diverting a bit from the classic rock legends, our next album opener comes courtesy of Russian born alternative singer Regina Spektor. Often experimental and always poetic, Spektor has created many masterpieces and her fifth album, Far, is no exception.
An introspective piece, Far is packed with pleasantly abstract takes on both love and life. Fittingly, Spektor’s album begins with one of the most striking love songs of her career, “The Calculation.”
Telling the story of two lovers trying to mathematically “calculate” their love, “The Calculation” playfully introduces Far’s unique style. While the song’s upbeat sound is akin to typical pop, its lyrics are far more thought provoking. Taking a metaphysical approach to romance, Spektor combines a plethora of random images in ways that shouldn’t make sense, such as grabbing half an hour from the pantry to gift to a lover.
However, because of the couple’s analytic approach, they fail to realize how powerful the romance they have truly is. It's only when they fire engulfs the lovers in the chorus that the couple display any great emotion that romance typically requires.
A whimsically thoughtful love song, “The Calculation” sums up why Spektor is such a talented songwriter, which Far explores with a plethora of other weird tracks.
16. "Hotel California"- The Eagles
Another seminal starter from 70’s rock, “Hotel California” might just be the most famous song on this list. A number one hit for The Eagles, “Hotel California” has instigated numerous debates and analyses in the decades since it was released.
Both lyrically and musically, it’s a tremendously well written song that routinely appears on all-time greats list. However, its appearance on this list all comes down to how well it starts The Eagles’ greatest album.
From the album of the same name, “Hotel California” acts much like an opening scene for an unfamiliar film. Don Henley’s lyrics are stacked with sensory descriptions that transport the listener to the desolate and eerie desert. From the “warm smell of colitas” to the “sweet summer sweat,” every line develops a visceral rendition of the sweltering California that the singer has entered.
The song explores the opulent riches and laidback mysticism that seem to adorn California, something later tracks focus on as well. Add in over two minutes of pure guitar bliss and “Hotel California” is a perfect way to teleport the listener into The Eagles’ version of sunny California life.
15. "The Song Remains the Same"- Led Zeppelin
With eight great albums and at least five great openers, it’s no wonder Led Zeppelin appears here. This spot could’ve easily gone to “Immigrant Song” or “Black Dog,” yet the band’s most striking opener, in my opinion, is “The Song Remains the Same.”
As hard rock pioneers, Led Zeppelin was known for starting fast and heavy. But for Houses of the Holy, Led Zeppelin forgoes this cannon fire style in lieu of a restrained exploration of their talents.
For the first minute and a half, “The Song Remains the Same” exhibits why Page, Bonham, and Jones are uncontested masters. The song’s intro acts as a high tempo whirlwind, bouncing each member’s instrument off one another’s in frantic perfection. Suddenly, the song slows down, while Plant serenades the listener with meandering ramblings about a psychedelic dream.
Although never fully introspective, the song sets the pace for an album featuring both thought provoking and thrilling tracks. A restrained but still energetic opener, “The Song Remains the Same” offers a dual summation of what Houses of the Holy adds to Led Zeppelin’s already stacked discography.
14. "willow"- Taylor Swift
After several successful pop albums, there didn’t seem to be much musical landscape left for Taylor Swift to conquer. But in 2020, she made the galvanizing choice to return to her acoustic roots and exhibit her much matured songwriting skills.
The result was folklore and evermore, a pair of folk albums more poetically engaging than anything she had crafted before. While these albums are linked by their months apart release dates, it’s the latter that features her best opener, “willow.”
Nearly every aspect of “willow” captures what makes Swift’s folk era so special. The careful arrangement of picked guitar, strings, flute, and glockenspiel lend an antiquated quality that feels both personal and mystic.
Lyrically, the song utilizes natural metaphors to paint a complex romance. The main image of a willow tree evokes growth and eternal love, but the somber tone and conflicting recounts imply that this romance is doomed. Applying a poetic approach to the scorned lover song’s Swift’s known for, “willow” enchants the listener into evermore, a world of thrashing romance, folk antiheroes, and faulted love.
13. "Lucky Star"- Madonna
The first Queen of pop music, Madonna never missed an opportunity to craft a killer album opener. “Material Girl,” “Papa Don’t Preach,” and “Like A Prayer” were all instantly iconic starts to equally iconic albums.
However, Madonna never gave herself a grander entrance than with her debut opener, “Lucky Star." Paired with a fun dance video, “Lucky Star” heralded Madonna’s extravagant career by highlighting how well she could dominate contemporary pop.
For an album opener, “Lucky Star” hits every note it should. It’s an energetic tune that’s easy to sing along and dance to. The opening synthesizer perfectly blends that early 80’s sound with relatable lyrics about aspiring to find true love. Madonna’s own vocals lead well too with a youthful yearning for fame that every teenager understands.
Ultimately, "Lucky Star" is a tremendously fun dance song that opens an album packed full of them. For someone who would redefine what it means to be a star, this track encapsulates Madonna’s career just as it was ready to explode.
12. "All I Really Want"- Alanis Morissette
It might be surprising to learn that “All I Really Want” was actually the last song Morissette wrote for her landmark album, Jagged Little Pill. But that’s exactly what happened, as the Canadian singer supposedly splintered it from another song entirely.
Despite being a last minute addition, there’s nothing lesser about “All I Really Want.” It wasn’t a mega hit, but Morissette’s song remains a remarkable introduction for Jagged Little Pill.
Charging out with Morisette’s signature rage, “All I Really Want” amplifies her heartfelt intensity with powerful backing sounds. By lacing the alternative rock sound with harmonica, Morisette creates an audible swarm that engulfs the listener. This surrounding frenzy is then joined by her warbling vocals, encircling the listener with vengeful joy as she pushes the song forward.
For someone who had been known for pop, the harder sound perfectly fits the emotional singer. Morissette supplements herself lyrically with sarcastic jabs at her lover, suggesting that she’s surpassed him in every way. On an album exemplifying scorn, “What I Really Want” introduces an enraged and empowered Morissette who is nowhere near done delivering her retaliation.
11. "Dancing in the Street"- Martha and the Vandellas
Truth be told, there’s only one way to start an album called Dance Party: with an undeniably great dance song. Luckily, for Martha and the Vandellas, dance songs were their specialty. They probably could’ve selected any of their tracks and had a great opener, but they just so happened to choose one of the best dance anthems ever, “Dancing in the Street.”
Covered repeatedly and played frequently, “Dancing in the Street” has the capability to make just about any listener want to dance. The lyrics are simple, but in an excitable way that easily draws you in. Equally enticing is the well-orchestrated music, which excels beyond catchiness and genuinely urges the listener to dance along.
Everything about the song epitomizes a dance party, but it’s since gained another association. As the Motown group sings, they also evoke the image of people marching in the streets during the Civil Rights movement of the sixties. For a band that broke barriers by proving black women could compete with anyone else, “Dancing in the Street” is a multilayered hit that begins a dance party for everyone.
10. "Come Together"- The Beatles
Opening the top ten is none other than the greatest band of all time, The Beatles. With so many iconic albums, the Fab Four have certainly amassed their share of great openers. Their final effort, Abbey Road, was no exception, even though it was made as the band fell apart. However, this final hurrah saw strong collaborations from each Beatle, as evidenced by the opening song, “Come Together.”
Apart from being one of the band’s best songs, “Come Together” epitomizes the valiant swan song that is Abbey Road. The album’s second half medley shows their innovative collaborations, while hits like “Something” prove that every member was contributing their best work.
There were still fights aplenty, but the final effort is earnestly felt as soon as “Come Together” starts. The smooth beat steadily pulls the listener through Lennon’s catchy, nonsensical lyrics. McCartney’s vocals power the song into the chorus, where Harrison’s guitar and Starr’s drums complete the ensemble. Nothing short of a well-rounded effort, “Come Together” perfectly begins a musical finale for the ages.
9. "What You Waiting For?"- Gwen Stefani
While it’s difficult to introduce yourself to the world, it’s arguably more strenuous to reintroduce yourself. Yet, that’s just what Gwen Stefani had to do in 2004 when she left No Doubt to pursue a solo career.
She needed to enhance her sound, while also proving that her talent as a frontwoman could translate into a pop singer. To remove all doubt, Stefani released her first solo hit, “What You Waiting For?”
The opening track for Love. Angel. Music. Baby., “What You Waiting For?” acknowledges the difficult task Stefani has before her. Lofty expectations, by both critics and herself, loom over the entire song. Her self-doubt is only furthered by the lyrics constantly swinging between ambition and hesitancy.
But these contradictions falter with the chorus, as Stefani commands herself to go out and do this. The pristine product is a confident and stylish song that proves Stefani is ready for pop music. Later tacks would confirm that Stefani’s solo stardom had arrived, but it’s “What You Waiting For?” that asks why it ever took so long to happen.
8. "Mushroom Punch"- Zella Day
While Zella Day is nowhere near a household name, she’s currently one of the most talented songwriters on the indie scene. To augment her young career, Day released her second album (and first in five years), Sunday in Heaven.
Overall, it’s a great record with both thought provoking ruminations on love and groovy dance songs in pure 70’s style. However, the album never gets better than its booming opener, “Mushroom Punch.”
A satisfying single, “Mushroom Punch” does everything correctly that an opener needs to. The soft strumming intro creates a mysterious feeling that reflects Day’s psychedelic sound. From there, her hushed vocals smoothly flow along in an enchanting and alluring way.
Finally, the chorus explodes, showing Day’s impressive vocal range and furious anger. In fact, each successive chorus lands with more intensity than the last, as if Day is inching closer to finally losing it. A strong balance of undeniable energy and mature song writing, “Mushroom Punch” is Day’s high-powered opener for an album full of passionate tracks.
7. "We've Only Just Begun"- The Carpenters
Several album opening songs on this list have also had the luxury of beginning entire musical careers. While “We’ve Only Just Begun” wasn’t The Carpenters’ first single, the song is so tremendously focused that it could’ve easily passed as their debut.
Following a failed first album, the brother sister duo decided to give it another try with Close to You. After “(They Long To Be) Close To You” was a hit, The Carpenters released “We’ve Only Just Begun” and realized there wasn’t a better song to revitalize their career.
Tenderly sung, “We’ve Only Just Begun” is nothing but easygoing bliss. The vocal harmony between Karen and Richard Carpenter offers a heartfelt message that’s mesmerizingly earnest.
But it’s the duo’s eager anticipation, their joyful optimism that makes the opener compelling. The rest of the album would confirm their talent, but the keen opener shows that they just want to please the world. Few songs have ever been so honest as “We’ve Only Just Begun,” the album opener that gleefully showed what two great voices could do.
6. "Beauty and the Beast"- David Bowie
As an immense Bowie fanatic, I knew this would be one of the hardest openers to choose. With such a strong career, Bowie’s opening tracks have included everything from radio staples to epic arrangements.
However, Bowie’s best opener not only captures the album’s experimental sound but does so with an instant eruption of energy. That song is the catchy, hard rocker, “Beauty and the Beast.”
Kicking off “Heroes,” the second album of Bowie’s Berlin trilogy, “Beauty and the Beast” is a frantically charged dose of fun. Its collective rhythm of guitars and electronic sound feels disconnected in a distinctly machinelike manner. The lyrics amplify the surreal sound by exploring a warped, dualistic version of the classic fairy tale. The Beauty and the Beast story also alludes to the rich German culture that influenced the album.
Its heavy, electronic sound works effectively as a rock song, but also foreshadows more experimental later tracks like “Neukoln” and “Moss Garden.” A fun but focused techno hit, “Beauty and the Beast” introduces one of Bowie’s well-wrought masterpieces in eclectically effective style.
5. "Funeral for a Friend/Love Lies Bleeding"- Elton John
While “Tiny Dancer” was a tempting choice for Elton John’s best opener, it’s simply outmatched by the complex epic that begins Goodbye Yellow Brick Road.
On an album that includes four top 20 hits, John audaciously begins with an eleven-minute concoction of piano rock. Despite the length, “Funeral For A Friend/Love Lies Bleeding” brings the listener through the whimsical production of Sir Elton.
As the title implies, John’s opener is really a combination of two different songs. For the first five minutes, John serenades the listener with an instrumental rendition of a somber funeral. Winding slowly but escalating often, the funeral whirls like a portal to some grand afterlife or fantasy world.
John’s keys then carry into the next half, a near piano duelesque take on heartbreak. Every bit as driving as his usual hits, “Love Lies Bleeding” thrives off the expert skill and showmanship John always brings. A bold opener, “Funeral For A Friend/Love Lies Bleeding” is nothing short of a well structured descent into the fantasy of one fantastic performer.
4. "God Bless This Mess"- Sheryl Crow
Although Sheryl Crow has dabbled in pop and country, her songs were never more effective than when they were unabashedly folk. In 2008, Crow released her sixth studio album Detours, a fully-fledged folk piece with thoughtful lyrics and acoustic sound.
Much like the sixties folk that inspired it, Crow’s album comments on the flawed world around her. As such, no song could better begin her introspective piece than the reserved “God Bless This Mess.”
At first glance, “God Bless This Mess” couldn’t seem simpler. For barely two minutes, verses alternate with the chorus, which itself is just the title. Yet, by choosing simplicity, Crow embodies a humble folk singer from decades ago. Like them, she backs herself powerfully with just her voice and guitar.
Similarly, her simple lyrics offer a slice of life look at the Americana being threatened in the tumultuous 2000's. The song’s crowning touch is a muffled sound that dates the recording back to the 40’s. Capturing the folk spirit of Detours, “God Bless This Mess” ventures into the past to contemplate the present.
3. "Hanging on the Telephone"- Blondie
Despite a groundbreaking sound, which garnered several hits in the UK, Blondie initially struggled to break out in America. Yet, their third album, Parallel Lines, changed everything. By augmenting their New Wave influences with a fine sheen of pop, Parallel Lines introduced a matured Blondie to the American limelight. While “Heart of Glass” was the album’s standout hit, the opening song, “Hanging on the Telephone,” was an introduction of pure brilliance.
Just a few seconds in, “Hanging on the Telephone” makes a memorable impact. It begins with a telephone ringing, playing into the song’s premise and adding a tantalizing dose of anticipation. Answering that call, Debbie Harry belts out verses with a ferocious yearning, building to the drawn-out plea that is the chorus.
The adjoining pop-oriented sound is more radio friendly, but never forsakes Blondie’s roots. In fact, the song was originally sung by The Nerves, but Blondie transforms the underground song into a fun hit. Establishing the pop laden sound of Parallel Lines, “Hanging on the Telephone” launched Blondie into the States in dominant fashion.
2. "Scarborough Fair/Canticle"- Simon and Garfunkel
While fast paced openers are great kickstarts, there’s a lot to be said for the lull of a slow opener. It’s a transformative way to approach the listener, and it’s one Simon and Garfunkel often took.
“The Sound of Silence” and “Bridge Over Troubled Water” are both examples of Paul Simon’s engulfing songwriting taking the lead on an album. However, Simon and Garfunkel best utilized this method with a reworking of an old English ballad, “Scarborough Fair/Canticle.”
Beginning Parsley, Sage, Rosemary, and Thyme, “Scarborough Fair/Canticle” steadily envelops the listener with guitar picking and haunting melodies. It begins with an arrangement of strings that could perfectly score any medieval fair. Garfunkel’s vocals then add a mystic essence, as if there are otherworldly elements conspiring against him. The lyrics confirm this, describing a beautiful love that’s been lost.
The juxtaposition of a century old sound with the melancholy of romance creates a deeply moving piece. Beginning an album stuffed with poetry, “Scarbrough Fair/Canticle” shows the cerebral and emotional power that Simon and Garfunkel would become known for.
1. "Where the Streets Have No Name"- U2
At number one, this opening track does what many of the best openers do. It eases into the song slowly, examines what the album values, and garners a strong momentum before hitting familiar strides.
This opener comes from the creative minds of U2 and even reflects the band’s spirituality. The opening track on The Joshua Tree, “Where The Streets Have No Name” is my all-time favorite opener.
While “Where The Streets Have No Name” shares similarities with other opening tracks, no song introduces an album quite like it. Starting with a steady guitar riff, the song has an eerily inspirational quality that’s almost Churchlike.
Bono’s vocals then kick in, adding a strong yearning and sense of restlessness. He elevates the song into a relatable search for something greater than us. The Joshua Tree often explores this spiritual anxiety, and “Where The Streets Have No Name” invites us to join Bono on this journey of self-discovery.
Even if you’re not religious, U2’s song is a beckoning to walk where we’ve never been and see what awaits us. As an album opener, “Where The Streets Have No Name” is perfect, daring to pursue the spiritual heights that music can bring us.
