Fanfarra, Sergio Mendes. I used to crank this up when I had a good sound system.
This is probably cheating, but the opening 30-or-so seconds of the “Close Encounters” soundtrack. Back when I got the LP, my brother was asleep one late morning after a night of carousing and I put it on, started it up, and really cranked the volume when the big CRASH came. Wake up, party animal!
Synchronicity, too.
“Key to the Highway” from*** Layla and Other Assorted Love Songs***. It tickles me that it wasn’t really planned for when it was recorded as a jam.
I’m also surprised that nobody has mentioned “Tubthumping” yet. I certainly consider it to be a fade-in, even though it’s fading into an intro that is not really a part of the song itself.
Telegraph Road by Dire Straits.
Man, I had forgotten just how good a song that is. Knopfler’s playing may not be the “best”, but it’s sure the most expressive I’ve ever heard.
Thank you. That is… well, beautiful. The interplay of piano and guitar reminds me of Knopfler’s Local Hero soundtrack. Where some pieces echo the “wild theme” from earlier in the film.
Mark Knopfler. All those perfect pauses, all those notes not played… like tears in the rain.
“Travels in Nihilon,” XTC
“Don’t Give Up,” Peter Gabriel
“Dogs,” Pink Floyd
Great call! Love this one…
“I Wanna be Adored” by Stone Roses.
Over the hills and far away - Led Zeppelin
I was always a big big fan of that guitar.
Boston’s “More Than a Feeling”
“down in the tube station at midnight” by The Jam
Temptation - New Order
Porcelina of the Vast Oceans - Smashing Pumpkins
What Do I Get- Buzzcocks
Dirty Boots - Sonic Youth
Blind and Jane Mary, Cry One Tear - Swans
These Days and Shadowplay and New Dawn Fades - Joy Division
She’s In Parties - Bauhaus
*Sweetness and Light *- Lush
Seal Driver and Pibroch (Cap In Hand) - Jethro Tull
Spot the prog one out in that list…
Also Hand in Glove (at least, the single version)
great choice, that was the first 12 inch single I ever bought.
Also a couple of classics from Krautrock giants NEU!, Hallogallo and Seeland. You could make a case for them both being one long fade-in and fade-out and as with a lot of Brian Eno’s work, none the worse for that fact.
There’s no bigger than the infamous “car horn chorus” fade-in from Van Halen’s “Runnin’ with the Devil”
Or the nostalgic jangling guitars of Come Dancing by The Kinks
One of my favorites is the haunting chimes, guitar and bass fron Rush’s “Witch Hunt” Of course, they.ve used a fade-ins many many times. “Take a Friend” from their debut album has a particularly lengthy one.
The Kinks “borrow” the ametrical opening chord from the Beatles’ “A Hard Day’s Night” but give it a fade-in crescendo to open “Do it Again”
The searing “Hot Smoke and Sassafrass” fade-in by Bubble Puppy and Alex’s extended fade-in for Red Barchetta.
Not the beginning of the song, but there’s “Helter Skelter”'s fade-in, (along with creepy “seagull” guitar peels).
Hitler Skelter?
Hit the Lights - Metallica