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"text": "#286--Best Opening Tracks\n--\nWhen it was released, Rolling Stone described the track as:\n…a portrayal of one man’s reflexive drinking done with a steady sway of drumming, interlocking guitars and Smith’s all-out singing, which grows wilder and “sicker” as he “clutches another glass.” The chord changes in the chorus accentuate the state of mind of the protagonist, who keeps “pouring it down.” Here are the powerful lyrics: https://genius.com/The-cure-open-lyrics\n--\nWatch a riveting live performance in France in 2012: https://www.youtube.com/watch?v=9TYxnlgN1Yg"
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"text": "No. 287 in the list of your selection of best opening tracks of all time..\n--\nThis is the first track from The New Pornographer’s debut album “Mass Romantic.”\n\nIt’s got that shuffle beat, that ka-chunka-ka-chunka guitar, the weird little synth lines, the run-on sentence melody. Coming out of the gate, first song, first album, it felt like a declaration of intent, and it was exactly that. Only now, over 20 years later, do I realize that we had something kind of special there.\n—Carl Newman \n--\nSpeaking of something special, when you donate $20 a month or more, you can go record talking and shopping with Larry, Troy, and Sharlese (in addition to your regular thank-you gifts): https://www.kexp.org/donate/"
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"text": "#288--Best Opening Tracks\n--\nWe were delighted to have El-P and Killer Mike in our studio for a live performance in 2017: https://www.youtube.com/watch?v=C8zQHaIPzVw\n--\nYou may have discovered KEXP through our YouTube channel. If you've seen a live performance that knocked you out, show your appreciation and support by donating today: https://www.kexp.org/donate/"
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"text": "#289 --Best Opening Tracks\n--\nI remember telling them, “Well, if you wanted a record that sounded like Dan Steely, then maybe you should have signed someone in their thirties, rather than me, a 19-year-old.” This was met with silence, in typical form. My friend quickly leaned over and said, “It’s ‘Steely Dan,’ Alanis.” Oh, jeez. I said, “Well, regardless, this record represents me, and anything other than this is not a record I am interested in being a part of.” \n\n Here's a great essay from Alanis Morissette about \"Jagged Little Pill\": https://alanis.com/news/jagged-little-pill-an-essay"
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"text": "No. 290 of your pick of best opening tracks!\n--\nWatch the great artist Carole King performing this classic on the BBC in 1971: https://www.youtube.com/watch?v=xgbvVpLBrOA"
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"text": "#291--Best Opening Tracks\n--\nDon't you like this melancholy song? Beck wrote this song near the end of the Midnite Vultures tour (in 2000), and performed it at many of the lowkey, radio, and acoustic benefit gigs during the following year. Originally known as \"These Days I Barely Get By,\" Beck carried it with him (calling it \"a loose song\") for a few years. He finally recorded it on March 6, 2002 for Sea Change. He flirted with calling it \"These Days\" or even \"Barely Get By,\" but ended up settling on \"The Golden Age.\"\n--\nHe's quoting a a 1982 George Jones song, \"These Days (I Hardly Get By).\" It was written by George Jones and Tammy Wynette."
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"text": "#292--Best Opening Tracks\n--\nThis song tells the story of Dorian Gray, the title character of Irish playwright and wit Oscar Wilde's only novel, The Picture of Dorian Gray. Bauhaus frontman Peter Murphy explained why it's his favorite novel: \"It was the first book with real substance that I chose for myself. It's a story of great narcissism and esoteric interior, and brilliantly written. It's a window into this personality, this Oscar Wilde chap I'd heard about. The language is so opulent. It's a rock star's story, really.\"\n--\n\"He's soliciting on his tan brown brogues (dark entries, dark entries)\nGyrating through some lonesome devils row (dark entries, dark entries)...\" Want to be able to recite these lyrics?: https://www.songfacts.com/lyrics/bauhaus/dark-entries"
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"text": "This in number 293 of our KEXP listeners' selection of the best opening tracks of all time.\n--\nSongwriter Martin Gore said, \"The whole 'Songs Of Faith And Devotion' project started off with the basic principle that we wanted to become more live, spontaneous and have a lot more performances involved. So that whole album turned out to be the rockiest that we've ever wanted to achieve. 'I Feel You' is probably the pinnacle of that and it's about the closest we're going to come to sounding like a real authentic rock band.\"\n--\nYou're probably saying \"I Feel You\" when you hear Larry talk about the importance of human-powered radio: https://www.kexp.org/donate/"
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"text": "#294--Best Opening Tracks\n--\nThis great album \"forever skewed the landscape of subversive pop\": https://crackmagazine.net/article/long-reads/the-knife-silent-shout/\n--\nKarin Dreijer: \"One of the ideas that I wanted to play with was to be a character that you can't place. What happens when a listener can’t place a vocal? What is it? Now, we’re much more open to not having to decide what gender a vocal belongs to. But at the time for me, it was a very important experiment. In a way, it was very free.\": https://www.thefader.com/2016/02/12/the-knife-silent-shout-anniversary-interview\n--\nWatch The Knife perform \"Silent Shout\" live from New York's Terminal 5 in 2014: https://youtu.be/G55IGKG-BGU"
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"text": "#295--Best Opening Tracks (Thanks, Walnut!!)\n--\n\"We were living in New York at a time when people stood there with their arms crossed in the audience, and just felt really indifferent or ambivalent about music,\" KAREN o SAID. \"You wanted to just smack them, you know? Break a beer bottle over their head, to wake 'em up and make them feel something, and that's still what we want to do now. We want to shake the unshakable, to stir things up, and that's a lot of the spirit of 'Zero.' It's like, Come on man! Come on! Just feel something, escape, whatever, whatever the emotion is just feel it!\"\n--i\nIf you've felt something while listening to KEXP, acknowledge it by donating right now!: https://www.kexp.org/donate/"
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"name": "In Color",
"largeimageuri": "https://ia601207.us.archive.org/21/items/mbid-3d2e90a3-c2ee-4b70-9f5a-cf56cbdd77db/mbid-3d2e90a3-c2ee-4b70-9f5a-cf56cbdd77db-12188350587_thumb500.jpg",
"smallimageuri": "https://ia601207.us.archive.org/21/items/mbid-3d2e90a3-c2ee-4b70-9f5a-cf56cbdd77db/mbid-3d2e90a3-c2ee-4b70-9f5a-cf56cbdd77db-12188350587_thumb250.jpg"
},
"releaseevent": {
"releaseeventid": 473017107,
"year": 1990
},
"track": {
"trackid": 896499689,
"name": "Hello There"
},
"label": {
"labelid": 2097627989,
"name": "Epic"
},
"comments": [
{
"commentid": 28991895,
"text": "#296--Best Opening Tracks\n--\nRick Nielsen wrote this one, the opening track of 1877's \"In Color.\" Cheap Trick often opened their concerts with the song and it was the opening track for the classic \"Live at Budokan!\" \n\nHere's that live opening at Budokan: https://www.youtube.com/watch?v=QK72bHiqM-Q"
}
],
"showid": 61406
},
{
"playid": 3404693,
"playtype": {
"playtypeid": 1,
"name": "Media play"
},
"airdate": "2024-09-25T21:09:00Z",
"epoch_airdate": 1727298540000,
"epoch_airdate_v2": "/Date(1727298540000)/",
"archive_urls": {
"32": null,
"64": null,
"128": null,
"256": null
},
"artist": {
"artistid": 20390579,
"name": "Radiohead",
"islocal": false
},
"release": {
"releaseid": 1916148480,
"name": "Amnesiac",
"largeimageuri": "https://ia601607.us.archive.org/9/items/mbid-910c1006-887c-3044-b13c-34f906f15ea7/mbid-910c1006-887c-3044-b13c-34f906f15ea7-2336491200_thumb500.jpg",
"smallimageuri": "https://ia801607.us.archive.org/9/items/mbid-910c1006-887c-3044-b13c-34f906f15ea7/mbid-910c1006-887c-3044-b13c-34f906f15ea7-2336491200_thumb250.jpg"
},
"releaseevent": {
"releaseeventid": 1691117909,
"year": 2001
},
"track": {
"trackid": 1074052116,
"name": "Packt Like Sardines in a Crushd Tin Box"
},
"label": {
"labelid": 893554776,
"name": "Capitol Records"
},
"comments": [
{
"commentid": 2082953147,
"text": "#297 of the best opening tracks of all time, as voted on by you, KEXP listeners!\n--\n\"I'm a reasonable man\nGet off, get off, get off my case...\" That what you're hearing auto-tuned Thom Yorke saying. Radiohead drummer Phil Selway played kitchen pots in the intro to this song."
}
],
"showid": 61406
},
{
"playid": 3404692,
"playtype": {
"playtypeid": 4,
"name": "Air break"
},
"airdate": "2024-09-25T21:01:20Z",
"epoch_airdate": 1727298080000,
"epoch_airdate_v2": "/Date(1727298080000)/",
"archive_urls": {
"32": null,
"64": null,
"128": null,
"256": null
},
"artist": null,
"release": null,
"releaseevent": null,
"track": null,
"label": null,
"comments": [],
"showid": 61406
},
{
"playid": 3404691,
"playtype": {
"playtypeid": 1,
"name": "Media play"
},
"airdate": "2024-09-25T20:58:30Z",
"epoch_airdate": 1727297910000,
"epoch_airdate_v2": "/Date(1727297910000)/",
"archive_urls": {
"32": null,
"64": null,
"128": null,
"256": null
},
"artist": {
"artistid": 924062562,
"name": "Tyler, the Creator",
"islocal": false
},
"release": {
"releaseid": 81260531,
"name": "IGOR",
"largeimageuri": "https://ia803006.us.archive.org/24/items/mbid-4603cee3-ece6-435c-b0b7-7d9eb1842d36/mbid-4603cee3-ece6-435c-b0b7-7d9eb1842d36-23182237048_thumb500.jpg",
"smallimageuri": "https://ia803006.us.archive.org/24/items/mbid-4603cee3-ece6-435c-b0b7-7d9eb1842d36/mbid-4603cee3-ece6-435c-b0b7-7d9eb1842d36-23182237048_thumb250.jpg"
},
"releaseevent": {
"releaseeventid": 2025227313,
"year": 2019
},
"track": {
"trackid": 954865797,
"name": "IGOR’S THEME"
},
"label": {
"labelid": 157175815,
"name": "Columbia"
},
"comments": [
{
"commentid": 2102439729,
"text": "#298--Best Opening Tracks\n--\n\"What? What? What? What? What? What? What? What? What? What?...\" This track opens with a distorted bass playing one note for 24 seconds. This same bass sound reappears in some shape or form on every song on the album.\n--\nHere's a breakdown of each synth sound on this song: https://reverbmachine.com/blog/tyler-the-creator-igors-theme-breakdown/"
}
],
"showid": 61406
},
{
"playid": 3404690,
"playtype": {
"playtypeid": 1,
"name": "Media play"
},
"airdate": "2024-09-25T20:55:40Z",
"epoch_airdate": 1727297740000,
"epoch_airdate_v2": "/Date(1727297740000)/",
"archive_urls": {
"32": null,
"64": null,
"128": null,
"256": null
},
"artist": {
"artistid": 699244158,
"name": "Wolf Parade",
"islocal": false
},
"release": {
"releaseid": 439125663,
"name": "Apologies to the Queen Mary",
"largeimageuri": "https://ia601900.us.archive.org/22/items/mbid-4b002b0e-3d58-4fea-a980-4b0577b32508/mbid-4b002b0e-3d58-4fea-a980-4b0577b32508-15696520432_thumb500.jpg",
"smallimageuri": "https://ia601900.us.archive.org/22/items/mbid-4b002b0e-3d58-4fea-a980-4b0577b32508/mbid-4b002b0e-3d58-4fea-a980-4b0577b32508-15696520432_thumb250.jpg"
},
"releaseevent": {
"releaseeventid": 352673871,
"year": 2005
},
"track": {
"trackid": 1737286987,
"name": "You Are a Runner and I Am My Father's Son"
},
"label": {
"labelid": 917015473,
"name": "Sub Pop Records"
},
"comments": [
{
"commentid": 410873879,
"text": "#299---the opening track to Wolf Parade's 2005 debut, \"Apologies to the Queen Mary.\"\n--\nModest Mouse's Isaac Brock produced this track, written by Spencer Krug.\nKrug said, \"Krug said the following in a 2008 interview with cokemachineglow:\n\n“You Are a Runner” is more about who I am in relation to my family, my father. That song is just about, well, I’m not going to get into great detail, but my father is a certain way, and there are days when it’s obvious to me that I could turn out that way, and that’s not a way I want to be, and it has a certain effect on the people who are close to him, and then I see the people that are close to me getting affected in the same way. That’s it on a basic level, I sort of… I don’t want to get into it beyond those vague terms.\""
}
],
"showid": 61406
}
]
}
