Top 30 Heavy Metal Songs of All Time

Top-30-Heavy-Metal-Songs-of-All-Time

Welcome to WatchMojo, and today we’re counting down our picks for the heaviest jams to ever make us raise our fists and yell!

#30: “See You in Hell” (1983)
Grim Reaper

This British band may have been the butt of some jokes back in the days of MTV’s “Beavis and Butt-Head,” but don’t sleep on this New Wave of British Heavy Metal Institution. Grim Reaper combined deceptively simple arrangements with memorable riffs and caterwauling vocals to provide a perfect starting gate for neo-metalheads. Nick Bowcott leads the charge with a main riff that’s catchier than the common cold, while vocalist Steve Grimmett howls at the moon with reckless abandon. “See You in Hell” doesn’t pretend to be anything more than the sum of its parts: a great, meat-and-potatoes metal song that flies high the flag of stainless steel.

#29: “Over the Wall” (1987)
Testament

Much has been said about “The Big 4” of American thrash metal, but what about the groups that comprise the second tier? Testament just has to sit among the very top of this genre’s one-percent, a technical masterclass of precision and skill. Guitarist Alex Skolnick in particular is a generational talent, a man whose six-string wizardry allows songs like “Over the Wall” to sound both anthemic and combustive. The song races right out of the starting gate with reckless abandon, as “Over the Wall” becomes not only a centerpiece for Skolnick, but also lead vocalist Chuck Billy. The melodic midsection in particular has become something of a singalong set piece for Testament, a live highlight that’s become a favorite of the band’s fans.

#28: “Elimination” (1989)
Overkill

The American thrash metal train rolls on, this time with New Jersey’s finest, Overkill. These working class heroes have become something of a metallic institution, thanks to a career that’s endured for over forty years and counting. “Elimination” is taken from the group’s fourth LP, and their first with producer Terry Date. The latter’s bone-dry production style allows the song’s riffs to crunch like milk-less corn flakes, while also allowing D.D. Verni’s nasty bass tone to rattle fans’ speakers. “Elimination” wouldn’t quite be the same without singer Bobby “Blitz” Ellsworth’s captivating shriek, however, and it’s the man’s charismatic presence that assists in elevating Overkill’s global metal stock into elite company.

#27: “Fighting the World” (1987)
Manowar

New York’s Manowar cares little about whether or not doubters question their over-the-top theatrics and macho posturing. All this band cares about is pleasing their legions of fans around the world that crave some seriously muscular metal. “Fighting the World” is taken from an album of the same name and signified something of a commercial breakthrough for Manowar. Sure, the band’s cult status was assured, but “Fighting the World” felt like a call-to-arms anthem that spoke to more than just the knowing faithful. This was a measured, mid-paced halberd to the face of false metal, leaning heavily upon singer Eric Adams’ immense power and unconquerable passion.

#26: “I Want Out” (1988)
Helloween

Heavy metal possesses a myriad of subgenres, with only diehard fans being able to differentiate all of the subtle differences. Germany’s Helloween strode the creative lines between speed, thrash and power metal, and their “Keeper of the Seven Keys: Part II” LP helped formulate the band’s lasting legacy. The title track was an epic, to be sure, but it’s the immediacy of “I Want Out” that perhaps serves as Helloween’s defining metal moment. This is a song where riffs, vocal melodies and an all-time classic chorus create layers like a German chocolate cake, alternating the sweet and the savory in a manner that feels impossible to deny.

#25: “Stargazer” (1976)
Rainbow

Historians often differ as to whether or not Black Sabbath, Deep Purple, Led Zeppelin or Rainbow were the first heavy metal band. One thing’s for sure, however, “Stargazer” helped codify many of the genre’s most powerful and glorious trappings. There’s an aura of mysticism associated with this song, as the guitar of former Deep Purple leader Ritchie Blackmore’s guitar weaves its magic spell. Elsewhere, Ronnie James Dio is Blackmore’s partner in sorcery, a captivating presence on the mic that allows “Stargazer” to enter the hallowed halls of metal magic. Long may it reign.

#24: “Du Hast” (1997)
Rammstein

The Neue Deutsche Härte discography of Rammstein contains a veritable laundry list of bangers, including “Feuer Frei!” from the band’s landmark “Mutter” album. However, fans could also point to the chart success of “Du Hast” as a point where commercial radio really began paying attention to Rammstein. This was no mean feat, either, considering that the pop chart landscape of 1997 was largely unreceptive to heavy metal. “Du Hast” has endured, however, and found an audience that eagerly lapped up Rammstein’s heavy riffs and martial rhythms, juxtaposed against an almost-gothic atmosphere. This was an industrial revolution in heavy metal that helped keep the genre afloat during difficult weather.

#23: “Ten Thousand Fists” (2005)
Disturbed

Chicago’s Disturbed is a modern metal band that just seemed to improve over time. “Ten Thousand Fists” was the title track to Disturbed’s third LP and proved without a shadow of doubt that the success of their debut album, “The Sickness,” wasn’t a fluke. What’s most remarkable about the song is how it represents Disturbed’s progression as a band. Gone are the gimmicky vocalizations of “The Sickness,” and in their place is a soaring and commanding register from front-man David Draiman. Elsewhere, the guitar playing has become significantly more dynamic and impressive, perhaps being influenced by European artists such as Sweden’s Soilwork. It all comes together in solid fashion on “Ten Thousand Fists,” and Disturbed would only improve further from this point.

#22: “The Toxic Waltz” (1989)
Exodus

The “Bonded By Blood” debut from Exodus is inarguably one of ‘80s thrash metal’s finest moments, but it was “The Toxic Waltz” from 1989 that helped increase the Bay Area band’s international profile. Lead singer Steve “Zetro” Souza possesses a screech worthy of Cobra Commander, while the song’s lyrics possess a knowing sense of irony and humor. The riffs, however, are no joke, as the duo of Gary Holt and Rick Hunolt unleash licks that punish ‘n please in equal measure. The mosh part that occurs as “The Toxic Waltz” leaves its solo section is the stuff of legend, while Zetro, for his part, commands that Exodus’ audience destroy each other with extreme prejudice. To paraphrase the band: “it’s good, friendly, violent fun.”

#21: “I Wanna Be Somebody” (1984)
W.A.S.P.

The 1984 self-titled debut from “W.A.S.P.” was something unique and special from Los Angeles’ explosive glam metal scene. That record, particularly its lead single “I Wanna Be Somebody,” combined shock rock excess with songwriting chops that were catchy…but also a little menacing. This was a band that felt sleazy, while “I Wanna Be Somebody” also worked as something of a heavy metal anthem. The arrangement is economical, but possesses a killer main riff, while frontman Blackie Lawless hollers like a delirious deviant. W.A.S.P. weren’t just a batch of Sunset Strip pretty boys but instead came to play with an arsenal of tricks that made them very dangerous against their competition.

#20: “All We Are” (1987)
Warlock

The landscape of mid-eighties heavy metal wasn’t exactly where one might expect to find one of the most dynamic female singers of her generation, but then again, Doro Pesch was nobody’s wallflower. Instead, Doro pioneered heavy metal in her native Germany with the band Warlock before embarking upon a solo career that continues to this day. “All We Are” is a true heavy metal anthem, taken from Warlock’s most commercially successful album, “Triumph and Agony.” Doro’s vocals are immense and charismatic, while the song’s arrangement balances the catchiness of hair metal with a riff-attack that’s burly enough to easily stand toe-to-toe with the boys. “All We Are” is a rallying call to arms that still gets us pumped.


#19: “Balls to the Wall” (1984)
Accept

Speaking of German heavy metal, another formative act from that country was Accept, who laid plenty of groundwork for younger bands to follow in their wake. In fact, Accept’s early speed and aggression heavily influenced the thrash metal scene, thanks to rippers like “Fast as a Shark,” “Metal Heart,” and our personal pick, “Balls to the Wall.” The track works in a mid-paced mold, driving home a main riff that frankly defies you to not headbang to its earworm-level catchiness. Meanwhile, the middle section features multiple breakdowns, chanting, and enough bass-led singalongs to satisfy any heavy metal maniac. Oh, and lead singer Udo Dirkschneider? He has a voice that can peel paint from the walls, which is ALWAYS a plus in our book.

#18: “Burn in Hell” (1984)
Twisted Sister

Twisted Sister was always sort of an outlier within the world of 1980s hair metal, with the band’s early material echoing their influences from ‘70s glam and glitter rock. Their 1984 album “Stay Hungry” was a breakthrough success, combining that early aggression with streamlined and economic songwriting. “Burn in Hell'' also hit at the perfect time, when the perceived Satanic content of heavy metal was frightening parents across the United States. “Burn in Hell'' has its cake and eats it too, playing coy with cheeky lyrical content while also possessing inspired riffing. Dee Snider also proves underrated as a front man and singer, absolutely BELTING it out from the first note to last. If this is hell, then hell ain't a bad place to be.


#17: “Abigail” (1987)
King Diamond

The legacy of Danish singer and songwriter King Diamond was secure after the dissolution of his former band, Mercyful Fate (more on them in a minute), with legions of fans flocking to The King’s unique and idiosyncratic falsetto vocals. The King Diamond solo band, however, would delve into even more theatrical and conceptual storytelling, with each studio effort working simultaneously as heavy metal art and performance art. “Abigail” is perhaps the most actualized of these efforts, a fan favorite LP whose title track is bombastic, melodic, and even melancholic. There’s a profound sadness to the story told within the “Abigail” album’s lyrics, while the song itself boasts perhaps one of guitarist Andy LaRocque’s most memorable riffs.


#16: “Curse of the Pharaohs” (1983)
Mercyful Fate

We just mentioned King Diamond’s previous band, Mercyful Fate, earning some real deal fan recognition with their studio output. How real-deal, you may ask? Well, how about Metallica? The heavy metal icons were profoundly influenced by Mercyful Fate early on in their careers, and even covered this track, “Curse of the Pharaohs,” in medley form, on their album, “Garage Inc.” It’s easy to see why Metallica were so impressed, too, because the guitar work from Hank Shermann and Michael Denner was truly on another level. It’s almost criminal how talented the pair was as a guitar team, since not only does “Curse of the Pharaohs” contain an instantly catchy opening riff, but harmony soloing and relentless, rhythmic aggression. It’s truly one of the greats.


#15: “Witching Hour” (1981)
Venom

Behold, and bear witness to the insidious roots of heavy metal’s darkest and most mysterious sub-genre: black metal. The New Wave of British Heavy Metal, from which Venom first emerged, was used to dabbling with occult themes, but these lads from Newcastle went ALL IN with their Satanic imagery. The band also shunned subtlety in their tri-pronged attack, operating in an intentionally hyperactive and crude (some might say “sloppy”) manner that sought to offend and excite in equal measure. “Witching Hour” is blazingly fast for the time, and merciless in its intent to pound you over the head and absolutely kick your ass. Meanwhile, the theatrics of Cronos, Mantas, and Abaddon would inspire legions of corpse-painted black metal bands to get even more extreme in their wake.


#14: “Am I Evil?” (1980)
Diamond Head

We couldn’t have a more drastic contrast of styles from our last pick to our next entry, Diamond Head’s “Am I Evil?” Both songs arrived from the New Wave of British Heavy Metal movement, yet Diamond Head’s influences and execution are clearly more indebted to the majesty of classic rock like Led Zeppelin than the simplicity of Venom. “Am I Evil?” even opens with a tribute to the classical piece “The Planets,” by Gustav Holst, before breaking into a righteous heavy metal thunder. Diamond Head hang their hat on the song’s epic main riff and Brian Tatler’s guitar pyrotechnics, while singer Sean Harris weaves a tale of true wickedness within the lyrics. It’s classy, proper heavy metal at its old school best.


#13: “Arise” (1991)
Sepultura

At the crossroads between death metal and thrash metal, there you will find the sonic steel that is the classic Sepultura sound. These Brazilian legends grew from an underground black metal career to surprising mainstream success with their albums “Chaos A.D.” and “Roots.” It’s the middle era that’s the true sweet spot for Sepultura fans, however, with “Arise” serving as its creative zenith. The song is just five years removed from the groove metal of “Roots,” yet couldn’t sound more different, defining death/thrash perfection in a little over three minutes. Max Cavalera’s vocals are guttural, yet decipherable, while his brother Igor counteracts the ripping guitars with a simple, effective groove. Not a second is wasted, and every moment kicks maximum ass.


#12: “Pull Me Under” (1992)
Dream Theater

The world of progressive metal rarely, if ever, achieves crossover chart success. However, this is exactly what happened with “Pull Me Under,” a surprising hit single from Dream Theater’s sophomore effort, “Images and Words.” The song was, in the band’s own words, “a fluke,” yet there’s nothing surprising about the level of talent laid out on display here in “Pull Me Under.” It retains a constant level of excitement, despite its eight-plus minute running time, with chugging heaviness contrasting with an amount of melody that’s nothing short of anthemic. The whole band works every angle, fires every creative cylinder and drives home unlimited energy throughout every mini-movement achieved by “Pull Me Under” and its progressive metal mastery.


#11: “Caught in a Mosh” (1987)
Anthrax

There’s traditionally a “Big Four” of the American thrash genre that come into the overarching, heavy metal conversation. So much so that a series of live events celebrating those four artists were held in places like New York City and the city of Sofia, in Bulgaria. Anthrax opened up those shows, and a number of songs were constant in their set list, including this one, “Caught in a Mosh.” The track is taken from what’s arguably the band’s finest hour, 1987’s “Among the Living,” and instantly catches listeners’ attention, thanks to Frank Bello’s iconic opening bassline. From there, it’s a thrash-terpiece of intense drumming, hardcore-influenced guitar riffs and a breakdown section that gets bodies moving Every. Single. Time.


#10: “Holy Diver” (1983)
Dio

There are a million moments from the career of Ronnie James Dio that could’ve made this list, from his stint fronting Black Sabbath to the mini-movie that was the video clip for his song “Rock 'n' Roll Children.” However, the world would likely point to “Holy Diver” as one of Dio’s most commercially successful songs from what became a defining album for the singer. “Holy Diver” revels in the sort of medieval and magical atmosphere for which Dio would become known, to the point where a dragon-slaying spot was once included in the band’s stage show. Meanwhile, the melody is set on full display, while “Holy Diver’s” mid-paced groove allows future Def Leppard guitarist Vivian Campbell to show off his amazing chops.


#9: “Cemetery Gates” (1990)
Pantera

Pantera was undoubtedly one of the most influential heavy metal bands of the last thirty years, laying groundwork for the immensely popular “power-groove” sound that would dominate after the group abandoned their hair metal roots. “Cowboys from Hell” signified this sort of sonic rebirth, an amplification of their previous album, “Power Metal,” and a true coming-of-age for Pantera’s still-new singer Philip Anselmo. The album’s title track served as a fearsome call-to-arms, but it’s perhaps “Cemetery Gates” that’s the best distillation of Pantera’s new and exciting sound. Complete with the genius guitar work of Dimebag Darrell, it’s a rousing mixture of heavy metal’s past and future, a power-ballad that’s ALL power, yet retaining all of the emotion required to remain a stone-cold classic.

#8: “Holy Wars…The Punishment Due” (1987)
Megadeth

Megadeth exists as perhaps the most technical example of thrash metal from the genre’s “Big Four” acts, a clinical exercise in how to perform the genre with surgical precision. To further that end, the band’s fourth album, “Rust in Peace,” blew minds back in 1990 with exactly how complex and thoughtful Megadeth had become as songwriters and arrangers. “Holy Wars… The Punishment Due” is prime testament to that idea, as it’s basically two songs in one, the first being a fast and melodic speed metal exercise, before getting very, very heavy. The “Punishment Due” section slows things down to a crushing mid-pace, before picking things up with an array of mind-melding lead guitars. We’ve never heard an ode to Marvel’s “The Punisher” sound quite like this.


#7: “Crazy Train” (1980)
Ozzy Osbourne

Sometimes, you just gotta give the people what they want. Former Black Sabbath frontman Ozzy Osbourne did this when he departed the formative heavy metal legends for a solo career, delivering the genre a fresh (and commercially viable) shot in the arm. “Crazy Train” is just one of those universal Ozzy songs that everyone knows, yet it was elevated by the X factor that was the once-in-a-lifetime guitar talent of Randy Rhoads. Rhoads’ classically-influenced playing made the arrangement of “Crazy Train'' iconic, while at the same time being easily digestible for so many different kinds of people. Yet, the actual work on display is so dizzyingly awesome and impressive, there’s no doubt that Ozzy and Randy were truly inspired when composing “Crazy Train.”


#6: “Ace of Spades” (1980)
Motörhead

Motörhead is another band with such a rich musical history, that it proved very difficult to choose just ONE song to stand out from the rest. “Killed by Death,” “Overkill,” “Iron Fist” and more all proved to be worthy candidates, but sometimes your first instinct is the best… and that instinct was “Ace of Spades.” Lemmy’s blower bass kicks the whole sha-bang off in classic fashion, as Phil “Philthy Animal” Taylor’s double kick drums sound the call for “Fast” Eddie Clarke’s riffing to take charge and lead the way to glory. It’s a simple but outstandingly effective example of overdriven rock ‘n roll done to excess, and performed with charisma, style and sleazy charm to spare.


#5: “Angel of Death” (1986)
Slayer

Slayer’s “Reign in Blood” is widely regarded as one of, if not the finest examples of thrash metal ever recorded by one of the “Big Four.” It’s easy to see why, thanks to songs like “Raining Blood” and our next pick, “Angel of Death.” The world wasn’t ready when Slayer unleashed this beast, so unstoppable was their level of aggression. It’s not enough that the song rips out of the starting gate with a riff that instantly sets every nerve alive, but then there’s the matter of what occurs at about a minute thirty-eight. The bottom drops out of our world when “Angel of Death” lets loose with an earth-shattering breakdown, before racing down to hell with frenzied soloing and drumming. KILLER.


#4: “The Trooper” (1983)
Iron Maiden

The music of Iron Maiden is many things to many different people, but one constant behind their creative process has always been the adaptation of historical events into their lyrics. “The Trooper” might be the most beloved example of this, a song that combines the bombast of heavy metal with the story of Britain’s infamous Charge of the Light Brigade during the Crimean War. Although “Run to the Hills” is just as well known, “The Trooper” presents Maiden’s musical attack in a near-perfect way. The guitars of Dave Murray and Adrian Smith harmonize, bassist Steve Harris gallops along with drummer Nicko McBrain, while singer Bruce Dickinson proves once again why he’s on the short list of heavy metal’s all-time greatest front men.

#3: “Painkiller” (1990)
Judas Priest

Speaking of that short list, is there any heavy metal singer who quite exemplifies all the trappings of the genre more than Rob Halford? For many fans, he’s unequivocally THE voice of metal, with his band Judas Priest also serving as judge, jury, and executioner against any pretenders to the throne. “Painkiller” might be the band’s heaviest moment, too, a reaction to the rising popularity of thrash metal, and a promise that the old guard was NOT going to be left in the dust. “Painkiller” is overdriven and excessive, with steel polished to a razor-sharp edge that cuts with killing riffs and a relentless rhythm. Halford’s screams like a demon-possessed, announcing to the world that they were NOT going quietly into that good night.


#2: “Master of Puppets” (1986)
Metallica

Knock Knock. (Say who’s there) Surprise! It’s Metallica, with the greatest thrash metal song ever! Bad jokes aside, many metal fans would be hard pressed to argue against how “Master of Puppets” clocks in at nearly nine minutes in length, yet never feels boring or drawn out. Instead, every riff has its place, and every place its riff, as Metallica elevates thrash into a true work of art. “Master of Puppets” possesses movements and mood, taking listeners through a journey of one man’s addiction, via a song that’s as aggressive, melodic and memorable as anything offered by Metallica’s many peers. “Enter Sandman” may be the band’s biggest single, but “Master of Puppets” laid down greatness back in ’86 as a true thrash metal masterpiece.


#1: “Black Sabbath” (1970)
Black Sabbath

We can’t imagine what it must’ve felt like to have dropped the needle on Black Sabbath’s self-titled debut from 1970 and actually hear the birth of heavy metal right in front of our eyes and ears. That was a very good year for the Sabs, as songs like “War Pigs,” “Paranoid,” and “Iron Man” all burrowed their way into the DNA strands of a fresh new genre, but there’s just something special about this opening track that continues to send shivers up our spines so many years later. The tolling bells of doom, that doomy pace, Tony Iommi’s ominous riffs and Ozzy’s harrowing wail… there’s just no getting around it: this is capital H, capital M: HEAVY METAL. Oh lord, yeah.



What does heavy metal mean to you? Let us know in the comments!