There’s nothing like a good intro which grabs you by the scruff of the neck and gets your heart-a-tingling with the its awesomeness. Vast vistas can be summoned, entire moods established; the whole song summarised in essence. Here’s a fandabydozy selection.
Oh god, that tremolo, that unsettling “Oooooh”… and the way Charlie Watts kicks in with the drums as the harmonica wails. Spine-tingling.
Out Ta Get Me
Guns at their best, with two fucking incredible guitarists. It’s interesting how though Izzy and Slash have pretty similar guitar sounds (not sure what guitars they used to record the album), they don’t really get in each other’s way, there’s a degree of space between them that lets the sound breathe. And goddamn, the tension they raise, over the straight beats by Steven Adler… fuck yeah!
She Loves You
The tom-tom roll sets it careening, but the first two declarations of “She loves you, yeah, yeah, yeah!” are jerked back, heightening to an impossible tension (right from the very start!!), while the third iteration releases it into the first verse with superb momentum. The verses, sung jointly by Lennon and McCartney, just sizzles with their harmonised vocals, and in the chorus, the “Yeah! Yeah! Yeah!” absolutely soars.
Incident after incident after incident, all getting you to prick up your ears right from the off. The Fabs knew every trick in the damn book.
Another intro rich with drama and anticipation – you just have to listen on. It’s just so dramatic, the guitar drenching electricity over the bass’s rhythmic figure. Superb. (The verses don’t maintain this level, but the chorus is outstanding).
Nothing, but NOTHING, has a more dramatic, danger-filled intro.
Face The Slayer
I love the way that the tension rises and rise, the feeling of rising tide of evil just ready to burst loose. Slayer were the masters at that (see also: “Evil Has no Boundaries”, “Angel Of Death” and “South of Heaven”). The twin guitars are straight out of Iron Maiden/Judas Priest, but Slayer make them their own.
What the fuck is that insanely funky thing at the very start? Whatever it is, its inflexions just get your hips grooving. (“Permit me to demonstrate”).
If you want some out-there distortion or weirdness, you need a steady figure to play off of, and to centre the listener. Thurston Moore’s overcharged distorted geetar, an almost melodic otherworldly yowling, plays over a simple figure by Lee Ronaldo, then… BAM!