Top 10 Best Punk Rock Guitar Riffs of All Time

Bad Brains

Here, we’ve got this blistering track from Washington, D.C.'s Bad Brains, the seminal band who are often labeled as one of progenitors of hardcore punk. "Pay to Cum" was released as a single in 1980 before appearing on the Bad Brains' self-titled debut two years later, and it absolutely rips with a frenzied intensity and to-the-point arrangement. Guitarist Dr. Know shreds with manic abandon as he unleashes a riff that is guaranteed to have arms flailing and fists banging to the Bad Brains' unique power and wild energy. Simply stated: "Pay to Cum" is a hardcore punk classic.

Rancid

We move from the manic and aggressive to the melodic as we fast forward about fifteen years to the sound of Berkeley, California’s punk rock favorites, Rancid. "Ruby Soho" kicks off with an instantly memorable set of chords before guitarists Tim Armstrong and Lars Frederiksen rip it off with an anthemic chorus section that practically begs to be sung loud and proud. Rancid may not be the rawest punk rock band on the block, but their songwriting chops speak for themselves: with "Ruby Soho" being a near-perfect distillation of their talent and vision into one quick, almost three-minute punk masterpiece.

Adolescents

The sound of "Amoeba" and the Adolescents is the sound of sunshine, surfing and skating; a trip back in time to the early California punk rock scene. "Amoeba" kicks things off right with that amazingly catchy chorus riff; a sing-a-long type of lick backed up by Tony Cadena - more often known as Tony Reflex’s - snotty vocals. Rikk and Frank Agnew were already ahead of their punk rock peers at a young age, and "Amoeba" showcases this by including not one, but two sections for the pair to pull off some impressive solos. The best thing about "Amoeba,' though, is how timeless it is: the track still sounds as infectious today as it did in the early ‘80s.

Black Flag

Drenched in feedback, anger and aggression, Black Flag's "Rise Above" is a punk rock anthem; a call to arms for the pissed and disenfranchised youth of the early 1980s. The track benefits greatly from guitarist Greg Ginn's nonchalant attitude towards any established playing technique, as "Rise Above" practically revels in its noisy and grating approach. The song's musical fury is matched only by Henry Rollins' influential charisma as a front man, as the vocalist shouts along to Ginn's messy chords and distorted guitar tone. "Rise Above" sure ain’t pretty, but for pissed off punk perfection? There's nothing quite like it.

Misfits

We've got something to say: we love the Misfits! Turns out we're not alone, either, as this massively popular horror punk band continues to inspire legions of fans to this day. If you're looking for some musical proof behind that statement, however, then we present to you "Last Caress," one of the group's catchiest and most enduring songs. Front man Glenn Danzig sings along to guitar riffs that sound like a punk rock doo-wop session. Indeed, the legacy of drive-in monster movies and kitsch culture looms big time in the Misfits' music, with "Last Caress" as one great example of the band's diverse influences melding perfectly together.

Dead Kennedys

There's never been any band quite like the Dead Kennedys, regardless of genre, and it was difficult for us to narrow down just one from their diverse catalog. The enduring "California Uber Alles" was considered, but we ultimately decided to go with another one of their pissed, political anthems, "Holiday in Cambodia." Much of what made the Dead Kennedys, unique - aside from Jello Biafra's inimitable vocals - was the guitar playing of East Bay Ray, which actually pulled a lot of tonal influences from surf music. Ray's work on "Holiday in Cambodia," however, is dark, unsettling and ominous; a perfect foil to Biafra's righteous lyrics and firebrand persona.

The Stooges

It's amazing how the years can showcase a band's musical legacy; how their ideas were totally ahead of their time. The Stooges were one such band, and "I Wanna Be Your Dog" was one such song. The track is a primal and blistering prototype of punk to come; a dried-out garage rock epic with sass and style to spare. Ron Asheton's guitar is fuzzed out to the max and he kicks out a simple but oh-so-effective main riff; a one-eyed monster that basically serves as the song's entire framework. "I Wanna Be Your Dog" proves that sometimes it's just best to be direct.

Sex Pistols

Bold, brash and snotty to the max, the Sex Pistols were a revelation when they first hit the scene in the late seventies. The band helped usher in the age of punk, and it was thanks to songs like "God Save the Queen" that they were successful in that mission. After all, the Sex Pistols wouldn't have made the impression they did had they not had the songs to back it up, and Steve Jones made sure that "God Save the Queen" had one epic riff upon which to hang its hat. It's part classic rock 'n roll swagger, part new punk fury, and all shocking political bombast. In a word: it's perfect.

The Clash

Even if you've never heard of The Clash, it's still highly likely that you're familiar with the next song on our list, "Should I Stay or Should I Go?" Although the band's "London Calling" is certainly a classic punk rock jam, The Clash crossed over big time into the mainstream with their 1982 LP "Combat Rock." "Should I Stay or Should I Go?" was a smash hit from the album, thanks largely to Joe Strummer and Mick Jones' larger than life riff attack. It's simple, effective and to the point; a riff that instantly evokes images of punk rock's past at its very best.

Before we name our number one riff, here are a few honorable mentions!

"Bloodstains" (1980; 1981)
Agent Orange

"Partytime" (1984)
45 Grave

"21st Century (Digital Boy)" (1990)
Bad Religion

Ramones

If England had The Clash and The Sex Pistols, then it was the Ramones who were the American version of punk rock royalty. There was simply nothing like them in the mid-70s; a group of shaggy haired, hyper active punks with both aggression and melody to spare. "Blitzkrieg Bop" is a frantic mother of an opening track from their 1976 self-titled debut, a punk rock anthem that hinges upon four chords and a whole lot of attitude. Johnny Ramone's guitar tone is raw like sandpaper, but the riff's essence is never lost, even as Joey Ramone howls his rallying call of "Hey! Ho! Let's Go!" It's something special that still sounds great today.