In yesterday’s Pretty Little Liars recap Tim called the opening line of The Outfield’s “Your Love” his favorite opening line to any song ever. He even dared me to come up with a list of songs topping it.
Well, in the immortal words of Barney Stinson…
And I have bad news for you, Tim, “Your Love” doesn’t even crack my Top 50.
Of course, the topic raises several tricky questions: What constitutes an opening line? The first complete sentence? The first rhyming couplet? Until the first pause? And what criteria should we use to evaluate “the best” opening line? The catchiest? The most memorable?
I ended up being pretty flexible on both questions. Some of these lyrics were chosen because they are legitimately great lyrics. Others were chosen because of how they’re sung. Others are chosen because they are the most iconic moments of great songs. I’m sure I’m forgetting some great ones (I had only one day, chill out!), but here is an initial draft of the Top 50 opening lines in music history: Continue reading
Welcome to a new series! You’ve read Josh’s attempts to rank the Bill of Rights. You’ve read Tim’s attempt to rank everything in history. Well, now John’s going to rank Bob Dylan songs. Keeping it manageable, he’s sticking with songs from the 1960s. No live versions and no bootlegs. We’re going with songs from studio albums, from “Bob Dylan” to “Nashville Skyline.” And what the heck? Since the Basement Tapes were recorded in ’67, we’ll throw that in the mix too. So including all nine studio albums, plus the Basement Tapes, but NOT including songs on the Basement Tapes that don’t include Dylan as a writer/performer, we’re looking at 121 songs. We won’t be ranking the first 111 in any particular order, but the top ten will be counted down once we get there (probably in like 2013).
62nd may seem too low for such an iconic song, but for a while I was debating whether or not to put this in the top 100. “The Times They Are a-Changin’” is certainly Bob Dylan’s most overrated song. If and when Dylan ultimately dies, “The Times” will most likely be one of the first three songs mentioned in any obituary (the other two being “Like a Rolling Stone” and “Blowing in the Wind”). And yet it is a very flawed song: It sounds a little too preachy and predictable—like the cookie-cutter protest song. It doesn’t attain the protean magic of “Blowing in the Wind” or innovative audacity of “Like a Rolling Stone.” Continue reading