The 5 Best Song Openers Of '70s Classic Rock

Though everyone's heard a million times to not judge a book by its cover, and by extension, a song by its first few notes or a movie by its first scene, it's only natural. Serious fans will, of course, let a song speak entirely before coming to conclusions, but snap judgments are hard to avoid. Thankfully, these rock tracks don't leave any room for doubt. 

The classic rock of the '70s is filled with stellar songs. Some take some time to develop into masterpieces. Others — which we'll take on in this list — grip listeners from the very beginning. We'll tackle some memorable bands, solo acts, and musicians you certainly remember that cemented these masterpieces immediately. The songs below have some memorable factor in their opening, whether that's a memorable guitar lick, vocal melody, lyric, or anything else of note. As great as they are as a whole, the immediate hook in each places them among the best of classic rock when it comes to setting the scene.

America was responsible for a number of classic rock hits in the '70s — "A Horse with No Name" and "Sister Golden Hair" are songs almost every rock fan would know. But what sets "Ventura Highway" apart is its golden, sticky guitar lick that serves as the base for the entire song, from the first beat to the final of its three-and-a-half-minute run time. The track was written by Dewey Bunnell in 1972 and released the same year, and it was inspired by imagery from his life. There are lines about the rural Midwest ("Chewin' on a piece of grass / Walkin' down the road") and also California ("'Cause a free wind is blowing through your hair / And the days surround your daylight there"), where the song has become an unofficial soundtrack to the state.

Gerry Beckley wrote the memorable lick while the band was fiddling with a few songs, and the rest was history. The song has been a forever success since, boasting over 400 million streams on Spotify alone. As quality as the rest of the song is, this moment immediately captures the feeling "Ventura Highway" intends — windows down, breeze blowing, and good times rolling.

"Idiot Wind" isn't one of the most remembered songs from the acclaimed 1975 record "Blood on the Tracks," like "Tangled Up in Blue" or "Shelter from the Storm." But it's Bob Dylan at his most fed-up, noticeable from its first beat. Pure vitriol rings on every line throughout the nearly eight-minute track, and the trademark — love it or hate it — nasal drawl of one of history's finest songwriters is at its full power.

The story within, of disgusted anger at someone and something, feels personal in its details, starting from the first lines: "Someone's got it in for me / They're planting stories in the press." The animated delivery of Dylan's wild, thin notes at the end of the line leaves a distinct, energized impression. The song's cruising guitars, rolling drums, and organ have an infectious groove, and it carries its momentum throughout the entire song. Though it is angry, it's infectiously fun — "Idiot Wind" is a track we can't help rock out to as soon as it begins.

"My Sweet Lord" is George Harrison's most iconic and successful track, reaching No. 1 for four consecutive weeks shortly after it was released and still accumulating over 700 million streams on Spotify. It's a calming, serene meditation of faith, and this status is in large part due to how it begins. Though it becomes grandiose and spiraling as it goes on, the peaceful notes of its opening — the pensive acoustic guitar strumming and the twanging electric lead riff — put us in a deep state of warm relaxation on each listen.

Released in 1970 on Harrison's breakout solo album, "All Things Must Pass," "My Sweet Lord" — despite allegedly being stolen from another artist — captures the mantra of the project entirely. What makes the iconic start special enough to be featured on this list is Harrison's opening vocals on the first rendition of the simple but memorable chorus: "My sweet Lord / Mmm, my Lord / Mmm, my Lord." Much like the previously listed "Ventura Highway," there's a feeling of space and nostalgia behind these lines, and the soundscape paints an alluring scene like a sunset or starlit drive.

This two-minute track from the formative British punk band is timeless for a reason. Though "Blitzkrieg Bop" wasn't immediately successful, there isn't any dull moment throughout its short runtime. Both the guitars and the first uttered lyrics set it apart as one of the best openings of the '70s. The gritty, warm, and upbeat guitar riff, backed by rapid drums, is as iconic as any, and it invites a visceral movement and energy that takes you straight into the mosh pit of a Ramones concert. It's hard not to get up or bop your head immediately as the first 20 seconds play.

But then the iconic chant — "Hey ho, let's go! / Hey ho, let's go!" — begins as the guitars fade away, and only the percussion remains. It's a sound that feels as "live" as can be captured in a recording, and as the song flourishes into the rest of its runtime, the energy remains constant without skipping a beat. "Blitzkrieg Bop" doesn't let up at all, and it's a must-have burst of energy for any classic rock fans looking to have a good time.

It's hard to talk classic rock openings without mentioning Fleetwood Mac, a band that never fails to begin a song just right. "Dreams," the group's now-biggest hit, has now become increasingly popular among younger generations (some would even say TikTok ruined it). Released in 1977 on the hit album "Rumours," the track is known for its iconic chorus and charming sounds from start to finish, but the way it starts deserves note. The lush keys and chords, set over a rolling drum pattern, set the scene briefly before Stevie Nicks' vocals make the moment.

Her vocals match the mood as usual, with a tenderness and pretty melody that slides over the instrumental perfectly. But the lyrics she sings, in particular, set up what becomes an excellent track, both in wordcraft and music-writing skill: "Now, here you go again / You say you want your freedom / Well, who am I to keep you down?" These lines perfectly set up the conflict of the song — the tumultuous relationship that Nicks sings of. This story expands as "Dreams" wanders on, but these lines are an immediate hook, with just the right amount of emotion, detail, and ambiguity for any listener to become invested. If Stevie Nicks is singing, it's hard not to be.