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"text": "#185 - counting down the Best Opening Songs, as voted by YOU!\n \n“Suite: Judy Blue Eyes” is a song by Crosby, Stills & Nash, written by Stephen Stills. The title refers to Judy Collins, a folk singer and Stills' former girlfriend. The song is structured as a suite, with multiple sections that shift in tempo and mood, reflecting the complexity of the emotions involved in a romantic relationship. The last part of the song is in Spanish according to Stills, he purposely obscured the lyrics, between syllables so no one could really tell what he is singing."
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"text": "#186 - counting down the Best Opening Songs, as voted by YOU!\n\n“Blackened” is the opening track from Metallica’s 1991 masterpiece, ‘...and Justice For All'. The song talks about nuclear war, eradication of humanity, and complete destruction of the earth, as well as the loss of natural life. It deals with topics such as the world being plunged into frozen darkness. Fun stuff!!\n\nhttps://metallica.fandom.com/wiki/Blackened_(song)"
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"text": "#187 - counting down the Best Opening Songs, as voted by YOU!\n\n“Mr. Self Destruct” begins with a restructured sample from the film THX 1138, and immediately picks up with very fast and aggressive verses and choruses, Reznor's casual vocal delivery contrasting with the noisy cacophony around it. The bridge is in stark contrast: quiet, subdued and atmospheric, it is the only section of the song to feature bass. A return to cacophony for the final verse and choruses gives way to manipulated and looped guitar noises made by Adrian Belew, which cuts off suddenly and leads into the next track “Piggy\". \n\nhttps://www.nin.wiki/Mr._Self_Destruct"
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"text": "#188 - counting down the Best Opening Songs, as voted by YOU!\n\n“I Will Follow” is the opening track from their debut album, ‘Boy’, and it was released as the album's second single in October 1980. Bono wrote the lyrics to it in tribute to his mother, who died when he was 14 years old. \n\nFun fact - I Will Follow\" is the only song that U2 have performed on every tour since they released their first album!"
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"text": "#189 - counting down the Best Opening Songs, as voted by YOU! Back-to-back R.E.M. songs on the countdown! \n\n\"Finest Worksong\" is the third and final single released from R.E.M.'s 1998 fifth studio album 'Document'."
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"text": "#190 - counting down the Best Opening Songs, as voted by YOU!\n\n“What’s the Frequency, Kenneth?” is the opening track on R.E.M’s 1994 album 'Monster'. Enveloped in a murky sludge of distortion, Monster found singer Michael Stipe writing about characters who were menacing, obsessive and desperate. Recording sessions were overshadowed by inter-band bickering that left the frontman feeling withdrawn and distant, while the deaths of his friends River Phoenix and Kurt Cobain inevitably cast a pall over the music. \n\nThe BBC sat down with Michael Stipe and Mike Mills in 2019 in anticipation of the deluxe edition of the album and recalled the making of ‘Monster’. Read it here: https://www.bbc.com/news/entertainment-arts-50206491"
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"text": "#191 - counting down the Best Opening Songs, as voted by YOU!\n\n“Talking About a Revolution” was in Chapman's repertoire while she was studying at Tufts University, before the start of her professional music career, and was among several demos of her songs she had recorded for her college radio station WMFO for copyright purposes, in exchange for the station's right to play her songs. Fellow Tufts student Brian Koppelman showed his father Charles Koppelman, who ran SBK Publishing, a tape of this song that he had smuggled from the station, leading Chapman to sign with the record company.\n\nhttps://en.wikipedia.org/wiki/Talkin%27_%27bout_a_Revolution"
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"text": "#192 - counting down the Best Opening Songs, as voted by YOU!\n\nZooropa came out of some restless recording sessions U2 pulled together in a break between legs of its massive Zoo TV world tour. It was the band’s even more European sequel to its most concertedly European album, but where ‘Achtung Baby’ had been tense and guilty, ‘Zooropa’ was unabashedly consumerist: infatuated with the possibilities of pleasure. Insistently artificial and deliberately irreverent, it was an uncharacteristically disposable work — just ten tracks long, from a band keenly aware of their importance, as well as their self-importance. Perhaps incongruously, it would also end up as arguably their last great album.\n\n“What do you want?” was the ethereal, beguiling question bubbling over the synth swell of Zooropa’s opening and title track. Over burbling ambiance — which might as well have been manufactured in parody of the Brian Eno–produced slow-build guitar lattices that the Edge used for signature U2 singles of the previous decade — Bono mouthed koans of tech Utopianism. “Vorsprung durch Technik,” he offered, swiping a slogan from the German car company Audi. The song ended in open embrace of the future: “She’s gonna dream up the world she’s gonna live in/ She’s gonna dream out loud.”\n\nhttps://www.billboard.com/music/rock/u2-zooropa-future-wrong-8464111/"
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"text": "#193 - counting down the Best Opening Songs, as voted by YOU!\n\nPitchfork sat down with Fiona to discuss her 2020 ‘Fetch The Bolt Cutters’ album and asked this about “I Want You To Love Me”:\n\nWhat inspired that visceral, unexpected shape you contort your voice into at the end of “I Want You to Love Me”?\n\n“It was probably a reaction to a mistake. I knew I wanted to start speeding up at the end of the song, but my fingers started to slip, and it was falling apart. I make very, very strange sounds without meaning to if I think about things that embarrass me, which is very often. They’re not pretty sounds. So I think that was sort of a musical extension of “I fucked up.”\n\nBut the other day I was thinking about my sister’s dead dog, Ada, and I realized I am absolutely doing an impression of Ada at the end of that song. Whenever my sister was away and then she’d come back, Ada would get so excited that she would go [high-pitched yelp]. And I used to do that all the time when I’d see my sister, as in, “I’m excited to see you.” So maybe it was subconscious: “You’re back. I love you.” Because I never made that sound other than imitating Ada.”\n\nhttps://pitchfork.com/features/cover-story/fiona-apple-interview/"
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"text": "#194 - counting down the Best Opening Songs, as voted by YOU!\n\n“Drive” is the opening track from R.E.M.’s eighth studio album, ‘Automatic for the People’. Mike Mills, the band’s bassist and multi-instrumentalist, told Melody Maker the song “is just telling kids to take charge of their own lives.” It’s a political song urging kids to get involved, though, and like many R.E.M. lyrics, the words are abstract and left wide open for interpretation. \n\nhttps://shorturl.at/XCaCG"
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"text": "#195 - counting down the Best Opening Songs, as voted by YOU!\n \n“Crazy in Love” was written by producer Rich Harrison and Beyoncé. The bridge was written by Beyoncé, who was inspired by looking at herself in the mirror, as she was not wearing matching clothes and her hair was untidy, she kept saying, \"I'm looking so crazy right now.\" Harrison sang back to her and said, \"That's the hook.\" It also inspired the title of the song. After that Beyoncé had filled up the middle eight, she came up with the catchphrase – \"Uh-oh, uh-oh, you know\" – alongside Harrison."
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"name": "Air break"
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"airdate": "2024-09-26T18:13:54Z",
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"name": "Tattoo You",
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"year": 2013
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"track": {
"trackid": 208035974,
"name": "Start Me Up"
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"comments": [
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"commentid": 1002422553,
"text": "#196 - counting down the Best Opening Songs, as voted by YOU!\n\nChris Kimsey, who engineered the song, recalled in the book \"Classic Tracks: The Real Stories Behind 68 Seminal Recordings\" by Richard Buskin: \"After they cut it, I said, 'That's bloody great! Come and listen.' However, when I played it back Keith said, 'Nah, it sounds like something I've heard on the radio. Wipe it.' Of course, I didn't, but he really did not like it and I'm not sure whether he likes it to this day. I don't think it's one of his favorite songs, although it's obviously everyone's favorite guitar riff; his guitar riff. Maybe because Keith loves reggae so much, he wanted it to be a reggae song, but that wasn't to be.\""
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"name": "Diamond Life",
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"year": 1984
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"name": "Smooth Operator"
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"name": "Epic"
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"text": "#197 - counting down the Best Opening Songs, as voted by YOU!\n\nAccording to Discogs: \"Two different recordings exist of \"Smooth Operator\". The first was released on the 12\" of Sade's first single \"Your Love Is King\" in Feb 1984, as a medley with the instrumental Snake Bite. Six months later (August 1984), \"Smooth Operator\" was released as an A-side but the recording is all new. The two versions can be told apart by saxophone appearing right before the first verse (\"Diamond life, lover boy...\") on the second version, whereas the first version has no saxophone there.\""
}
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"name": "The National",
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"name": "High Violet",
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"year": 2010
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"name": "Terrible Love"
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"label": {
"labelid": 1620767689,
"name": "4AD"
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{
"commentid": 1976041256,
"text": "#198 - counting down the Best Opening Songs, as voted by YOU!\n\nHere’s The National performing “Terrible Love” on Jimmy Fallon in 2010, two months before the ‘High Violet’ album release.\n\nhttps://youtu.be/gPi-4DSgNtY?si=c8IuH7q2V95GR3QI"
}
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"name": "Air break"
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