The opening track is pivotal to any album, it’s the song that needs to grab your attention and can make or break any album. Hence us here at The Indiependent have decided to compile a list of what we believe to be the best album openers in the whole of music. So, go and make yourself a cup of tea and put your feet up for the next 10 minutes as you enjoy our picks.
Rock ‘N’ Roll Star // Oasis
It was the song that started it all. ‘Rock ‘N’ Roll Star’ is opening track to ‘Definitely Maybe’, arguably one of the greatest Rock albums of all time and definitely one of the best debut albums of all time. Noel Gallagher stated in interviews that, when writing the song, he wanted to create the feeling of being a kid and running around your living room playing air guitar while jumping over all of the furniture, and boy did he succeed. Rock ‘N’ Roll star’s unmistakable riff and iconic lyrics make this tune an outstanding opener. “You’re not down with who I am / Look at you now, you’re all in my hands tonight” signify that Oasis knew they were onto to something big, but I don’t think even they knew just how big.
Words by Alex Leadbitter
Neighbourhood #1 (Tunnels) // Arcade Fire
Autumn 2004 saw the arrival of Arcade Fire’s stunning debut, Funeral. Grand in sound, yet sombre in theme- as its namesake suggests- the opening track, often simply dubbed Tunnels, proves to truly encapsulate the entire feel of the record. This wonderfully ethereal anthem builds a harrowing picture of youth romance and vivid escapism, ideas that perhaps lie close to home for the band’s husband-and-wife duo Win Butler and Regine Chassange. The track is utterly flawless; filled with everything from infectious vocal hooks to sweepingly profound guitar riffs, it radiates a sense of poignantly passionate sadness whilst still provoking some faint glimmers of hope with the enchanting lyrics. Essentially, this song set the bar incredibly high for the remainder of the group’s highly anticipated debut, as well as giving a clear insight to the prominent success of the following albums. After witnessing a touching performance of ‘Tunnels’ last year at one of Arcade Fire’s tumultuous Earls Court dates, I can confidently confirm from the hordes of fans chanting along to the lulling vocals (myself included) that it remains a firm fan favourite.
Words by Emily Ingram
One of his earliest and most popular tracks, this track opens Bowie’s second album with a punch. Instantly recognisable from its first guitar-strumming notes, “Space Oddity” is a largely acoustic number intensified by the eerie tones of a Stylophone, a pocket electronic organ. This unique blend of styles builds to a crescendo to open the album – of the same title – perfectly. It introduces not only Bowie’s unique combination of genres, but his characteristically bizarre lyrical choices and his ability to produce wonderfully storytelling tracks. Widely regarded as one of the best songs of the 20th century, “Space Oddity” is desperately sad but wonderfully vibrant, and definitely stakes its claim to being one of the best album openers of all time.
Words by Amie Bailey
In The Presence Of Enemies Pt.1 // Dream Theater 
When you’re talking about opening songs you won’t find much better in terms of musicality, theme setting and overall introduction for an album than In the Presence of Enemies Part 1. The opens up Dream Theater’s Systematic Chaos and oh boy, does it work absolute wonders. It goes straight into this sublime instrumental piece where the band displays their renowned synergy. It also introduces musical themes and foreshadows points in the rest of the album, something which Dream Theater is also famous for. As the more attentive of you may have noticed it is the first half of a twenty five minute epic detailing the story of a, presumably, religious man who seeks revenge and redemption, something which often crops up in Dream Theater songs. Even if you were to sever the connection this song has to the rest of the album the music technicality and talent displayed from start to finish are enough to make it, in my opinion, one of the best album openers.
Words by Josh
I admit: technically I am writing about two tracks here, but I make no apologies. The London-born quartet produced a sublime debut album back in 2009, full of raw Indie-rock sounds blended with clean production, and at no point is this better presented than with the opening two tracks. ‘Emergency Contraception Blues’ does this well and consequently creates a strange sense of calm amongst the chaotic and energetic tones, before fading seamlessly into ‘Lamplight’. The tones of Jack Steadman’s vocals, along with the two intertwining guitars, create such a laid-back mood that putting them side by side with the edgier and more rock-oriented parts of the album show the remarkable diversity of the band. It is true that you won’t get much more from the album, but what these tracks give to you means that you’ll only ever want more of the same.
Words by Ashley Moss
Seaside // The Kooks
The Kooks start their classic debut ‘Inside In/Inside Out’ with the humblest of beginnings. The beautifully bare ‘Seaside’ sees front man Luke Pritchard in his rawest form. His distinguished voice murmurs softly over the dreamy guitar. It’s made for listening to on headphones during waves of chaos; it restores balance. The song is honest and simple; it has a natural transparency embedded into its musical core. Although a contrast to the tracks that proceed it, it serves a vital purpose on the album. Its simplistic format is The Kooks’ way of stating their purpose with the album: no nonsense, good-old-fashioned indie pop in all of its beaming colours.
Words by Frances Murray
No other track captured the uniquely destructive relationship of Carl Barat and Pete Doherty quite like the opening of The Libertines eponymous second album. The cutting lyrics such as “An ending fitting for the start / You twist and tore our love apart” laid their rocky relationship out in the open for the world to see and foreshadowed the bands explosive, drug addled break up that came not long after. Yet, the bittersweet nature of the song doesn’t detract from the its quality as the band’s trademarks are littered throughout; the chaotic but coherent guitars, the joint vocals of Pete and Carl and the jubilant mood that’s created despite the subject matter of the lyrics. It may be a snapshot of a band in catastrophe but Can’t Stand Me Now is one hell of a way to kick off an album.
[Feature compiled by Joe Cadman]