3 Rock Songs That Wouldn’t Be the Same Without Their Long Intros

Dave Grohl once offered songwriting advice to Tenacious D’s Kyle Gass. He discussed the importance of writing hits and how the deep cuts won’t “keep the mansion running.” In the video, Grohl says, “Don’t bore us, get to the chorus.” While Grohl isn’t the first to utter the phrase, you’ll recognize the sentiment in most hit songs you hear. Still, rock and roll often breaks songwriting rules. Which leads us to the bands on this list that were in no hurry to get to the chorus… or the verse. And these tracks wouldn’t be the same without their long intros.

“One” by Metallica

The unlikely song propelling Metallica into the mainstream begins as a lengthy ballad. Quite a move for a thrash metal band. It was also the first time Metallica had filmed a music video, landing an MTV hit with one of the darkest visuals the station had ever shown. The intro to “One” starts with an ominous chord sequence from James Hetfield. Next, Kirk Hammett enters with perhaps his most melodic guitar solo, followed by a disjointed beat courtesy of Lars Ulrich, setting the somber mood for Hetfield’s despairing wounded-vet tale. All of it heading toward a finale simulating the sound of machine gun fire.

“November Rain” by Guns N’ Roses

Axl Rose was already ambitious well before the making of Use Your Illusion (I & II). Rose’s epic piano ballad “November Rain” predates Appetite For Destruction, and you can find a 10-minute demo version on the deluxe edition of Guns N’ Roses’ debut. Hit singles don’t typically blow past a minute before the vocal enters. But Rose successfully bent both the radio and MTV to conform to his standards, not theirs. Remember, “Paradise City” is nearly seven minutes long. On “November Rain”, Rose echoes Elton John and aims for peak drama on a cinematic power ballad with a pricey video featuring Slash shredding outside a church in a desert.

“Plainsong” by The Cure

“Plainsong” opens The Cure’s dark masterpiece, and you don’t hear Robert Smith’s voice until nearly three minutes in. Smith was almost 30 when he made Disintegration, and felt the clock ticking against his ability to write something profound. The single-note guitar melody on “Plainsong” feels deeply sad against synthesizers that are opaque, troubled, and heavy. The chimes give a sense of coldness, and Smith’s voice, muttering, is barely audible over the track. It’s like he’s struggling to be heard beneath layers of his own depression. Man, this song is beautiful. Disintegration remains one of the most played albums of my life, and yet it still brings me to tears every time I hear it.

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