Top 30 Greatest Guitar Riffs of All Time

What constitutes quality riffage? Is it complexity? Ease? How about memorability? 867-5309/Jenny hangs its creative hat up on a lick thats tailor made for air-guitaring in the mirror, one thats immediately catchy and stuck in ones head. The main verse riff to 867-5309/Jenny also provides a nice, power-chord mirror image to that super-clean sounding guitar section that opens up the song. This balance lends the music arrangements a natural flow, one that totally makes sense. Tommy Tutone truly struck upon power-pop gold with this one, even if listeners with that actual number of 867-5309 were none too pleased about its chart success.

The iconic power trio Cream are largely known today as one of the progenitors of heavy metal, even if drummer Ginger Baker notoriously pushed back against this appraisal. And sure, the jazz and blues influences are still very much prominent on 1967s Sunshine of Your Love. Yet, the songs main riff also has this lurching, hard-hitting groove that feels both serpentine and laborious, like the footsteps of a rhino. This trudging dirge makes the most of both Jack Bruces bass work and Eric Claptons generational guitar playing. Meanwhile, the aforementioned Baker is his usual fantastic self behind the drum kit, driving that same riff with toms that sound like cannon fire.

Rock music may never die, but it certainly had a beginning, with many journalists pointing to Johnny B. Goode by Chuck Berry as patient zero for the rock n roll disease. This energetic and hooky blues lick is played incredibly fast for 1958, and helped get an entire generation of young people out there on that dance floor. This accessibility has also made Johnny B. Goode extremely coverable for just about everyone from Judas Priest to Marty McFly. Its not at all hyperbolic to claim that Chuck Berrys guitar prowess inspired generations of players to pick up the instrument, and its Johnny B. Goode that helped pave the way.

It may be true that Heartbreaker is a common song title for many historical rock bands, but the cream tends to rise to the top. Pat Benatars Heartbreaker remains one of her defining tunes, a driving rock anthem anchored by Neil Giraldos hard-hitting guitar. The song is actually a cover, having first been recorded by another woman, Jenny Darren, in 1978. That version is actually quite cool in its own right, but the arrangements for the Giraldo and Benatar version make whats already an aggressive song sound even more bold n brash. The latters vocals also work in tandem with Giraldos riffage to make what was already a great song even BETTER.

Theres never been any shortage of amazing riffs to be found within the discography of Long Islands ultimate secret weapon, Blue Öyster Cult. Take your pick: Cities On Flame with Rock and Roll, Godzilla or Astronomy. Theyre all great. Meanwhile, Dont Fear the Reaper stands in the corner, beer in hand, just waiting to hand it off to the next hard rock wannabe that thinks theyve got the stuff. The atmosphere here is electric, as BOC lay down haunting gothic grooves one minute, and fiery guitar pyrotechnics the next. What can we say? They call em classics for a reason, after all. And yes, well have MORE cowbell, please.

Never underestimate the power of simplicity. Some Pantera songs contain more complicated riffing than others, such as Cowboys From Hell or some of the material from the bands hair metal heyday. Walk, in the meantime, is anything BUT complex, a one-eyed riff that knows what it is, and doesnt pretend to be anything else. Its muscular and to-the-point, a tough song with a tough riff doing tough things. Walk is a mindset of aggression, presenting the sort of metallic sound that inspired legions of power-groove wannabees to try their own hands at the Pantera blueprint.

Every Rush fan retains their own particular sweet spot when it comes to the bands discography. The Spirit of Radio exists at the crossroads of Rushs earliest, most progressive-minded music and the commercial waters explored during the 1980s and 90s. Theres a bubbling electricity to the opening lick by Alex Lifeson, an irresistibly energetic riff that immediately places us in a great mood. The Spirit of Radio is prog rock, sure, but its also a hit tune that can appeal to pretty much anybody. Meanwhile, that riff at the bridge section really sells (pardon the pun) The Spirit of Radio as a song that can be both progressive and hard-rocking at the same time.

The 1980s saw an about-face from the former prog and Krautrock leanings that classified the early material from Germanys Scorpions. Long, extended instrumental jams were out, and hard rocking anthems were most definitely INincluding Rock You Like a Hurricane. The Scorps clearly knew what they had with that main riff, a hooky and meaty-sounding number that immediately places the listener in a certain time and place. Big hair, big songs, slick production, Scorpions were officially playing arenas with a sound that was heavy, but also melodic. Rock You Like a Hurricane still sounds great today, too, a twin-guitar anthem that sits proudly alongside other Scorpions killers, a la No One Like You.

No list of big guitar riffs would be complete without a visit from one of the most iconic six string maestros, Jimi Freakin Hendrix. Purple Haze is undoubtedly a killer from the mans back catalog, but theres just something eternally cool and effortlessly slick about Voodoo Child (Slight Return). Its riffs such as the one that opens up this tune that carves in stone Hendrixs reputation as a guitar hero. Voodoo Child brings an over-amplified, bluesy swagger to the party, a song that oozes sensuality while also boasting a butter-smooth performance from Jimi. Its a timeless cut from rocks classic era that still makes heads nod and lighters go up in the air.

To study the riff arsenal of AC/DC is to stumble upon an embarrassment of riches. Thats because these Australian legends have been cranking out the voltage anthems for decades now. From the fan-favorite Thunderstruck to Back in Black, AC/DC have delivered the goods. Hells Bells is something a bit different, opening with a gloomy, tolling bell that seems to sound a mourning cry for the bands departed singer, Bon Scott. Yet before long, that malevolent main riff makes its presence known and tells everyone that AC/DC are back and they brought Brian Johnson with them. Its a 2.0 riff attack for a 2.0 era of the band that helped fly the flag for pure, unfiltered rock n roll.

Who doesn't crave a little Aerosmith to kick start their day? "Walk This Way" may arguably be the band's best known song, but that doesn't mean it doesn't deserve every damn bit of praise. A lot of this credit should be laid at the feet of guitarists Joe Perry and Brad Whitford, who lay down such a thick and funky groove, that it makes "Walk This Way" basically impossible to resist. A major success in the 70s, the track later helped to revitalize the band's career when Aerosmith collaborated with Run-DMC for a reworked version of the song in 1986.

Don't sleep on hair metal riffs, especially when they're coming from musicians as talented as Ratt's Warren DeMartini or Robbin Crosby. The genre was actually a breeding ground for skilled players who usually played as flashy as possible, but could also bring to the table a surprising amount of depth and texture. "Round and Round" boasts one of those instantly memorable riffs that's mid-paced and metallic, but poppy enough to create crossover appeal. The song also has a superb harmony around the middle of the track, really letting Crosby and DeMartini shine bright. This riff is a reminder that '80s glam metal wasn't only about big hair, but big hooks as well.

The ghosts of the desert loom high over Josh Homme's riffing on "No One Knows," an echo to the stars past with pioneering stoner rock band, Kyuss. Queens of the Stone Age are comparatively more pop-friendly than Kyuss, but that doesn't mean that "No One Knows" rocks any less. In fact, we'd argue that the quirky arrangement of the song is part of what makes the riffing stand out so much. Homme knows when to get funky, when to go heavy and when to let the song breathe. As a result, "No One Knows" is something of a pop-stoner-jam anthem for the ages.

There had to be a lot of mixed feelings for Alice in Chains fans when the band finally released their fourth albumthe first without frontman Layne Stayley, following his tragic passing. Thankfully, "Black Gives Way to Blue" had all of the music elements their audience craved, along with a new singer and rhythm guitarist, William DuVall. DuVall actually brings a lot to the table here on "Check My Brain," playing along with guitarist Jerry Cantrell for the song's heavy and sludgy main riff. It's a throwback to the band's early, metallic period as heard on the "Facelift" album, and a welcome return to form for one of the greatest grunge pioneers.

You know it, you love it, you can sing every word by heart. It's Survivor's "Eye of the Tiger," and it's a perfect pump-up song for any occasion. Of course, this melodic AOR rock jam became iconic thanks to being featured as the main theme to "Rocky III," but we'd like to think it would've been a hit regardless. It feels epic regardless of context due to the impact and immediacy of that main riff; guitarist and songwriter Frankie Sullivan keeps things anthemic and mid-paced. We defy anyone to hear "Eye of the Tiger" and not want to punch a heavy bag or engage in some kind of personal heroism.

The King of Pop may not have been hard rock or heavy metal, but he certainly knew a good musician when he heard one. Michael Jackson surrounded himself with the very best, both on tour and in the studio, which explains why he employed Totos Steve Lukather on lead guitar for this track. The riff on MJ's "Beat It" sounds as if it was brought down by the gods themselves, a killer and groovy staccato number that gives the song an authentically tough feel. Oh, and then there's the matter of that solo, a pitch-perfect example of Eddie Van Halen at his very best. Its the icing on the cake of this pop-rock crossover masterpiece.

It was the classic rock gallop heard round the world. It's Heart with one of their best known jams, so sing it with us now: ooooo Barracuda. It's a radio staple for the Seattle-bred group, and one that exemplifies that seventies rock sound that was so popular with fans. Guitarist Nancy Wilson actually revealed in a 2019 interview with Gear Factor that the killer main riff from "Barracuda" was adapted and borrowed from their touring partners Nazareth. Wilson went on to say that Heart heard Nazareth's heavy cover of Joni Mitchell's "This Flight Tonight" and liked it so much that they tinkered with their own "tribute. The end result was rock musics most famous fish. The world has never looked at a barracuda the same way since.

Here's a question: if Black Sabbath were the honest-to-goodness first heavy metal band, does that make "Paranoid" the very first crossover pop single for the genre? For better or worse, Paranoid has become intrinsically linked with Sabbath's iconic early period with Ozzy Osbourne. Of course, there's no denying the immediacy of that main riff, and it's even more crazy to note that the band basically wrote it in a matter of minutes. Yup, "Paranoid" was an afterthought for the band's then-titled "War Pigs" album, but it only took one listen by Vertigo Records execs to immediately change those plans, and voila! The "Paranoid" album was born.

The next band on our list is better known for their melodies and guitar harmonies than riffs, but Iron Maiden should NEVER be excluded from the conversation. The title track from the band's "Powerslave" album is a great example, while "Wasted Years" delivers the best of both worlds. The song opens with a super melodic guitar run that moves into the relatively simple main verse riff. It drives "Wasted Years" into the memorable chords that serve as structure for the chorus, before that opening melody returns and joins the verse riff again for the solo. It's metal magic, and an enduring hit for one of England's finest heavy exports.

It's a song you've probably heard covered a million times by your favorite bar band, but you're STILL not sick of it. And to be honest? Neither are we. Van Halen explored different musical moods, but many fans have preferred it when Eddie and co. go full heavy metal on songs like "Atomic Punk" and our pick, "Aint Talkin' Bout Love." It's a song that hangs its hat on that opening riff, but what a riff it is: an aggressive call to arms that basically serves up a Sunset Strip, hair metal prototype in just a few notes. Eddie may have initially dreamt up the track as a play on punk rock, but "Aint Talkin' bout Love" went on to become a classic rock staple.

Simply stated: Slayer IS the sound of all hell breaking loose. The faint of heart need not apply for "Raining Blood," a thrash metal masterpiece that truly is the sum of its creative parts. After all, you can basically just take your pick of badass riffs in this beast, from that iconic and dark opening harmony to the breakdown to end all breakdowns juuuust after the two minute mark. Oh, and did we mention that this songminus the roughly 1 minute of rain noisesclocks in at just over 3 minutes? It's proof that you don't need any bloated posturing to create epic heavy metal. Slayer basically defines the genre.

Ok, so we easily could've given this ninth spot to any number of classic GnR jams, including "Sweet Child o' Mine." Ultimately though, we settled on what has to be one of the best album openers ever, "Welcome to the Jungle." Some songs just have that "it factor," this nebulous power to put you in a specific time or place. In the case of "Welcome to the Jungle," it's the 1980s Sunset Strip: Los Angeles sun, nighttime sleaze and the hot neon of unrepentantly bad behavior. If there was any doubt that Guns 'n Roses were truly living out the scenarios laid out in their songs, "Welcome to the Jungle" silenced them with a riff that screams, "this is the next big thing: get used to it."

Mark Knopfler isn't really about the flash. His playing style tends to be far more subtle. Dire Straits lead vocalist and guitarist instead tends to focus on texture, melody and finger-picking technique. That said, the main hook to the "Money For Nothing" riff is actually quite thick, by Knopfler's standards, anyway. The riff and its very eighties-sounding, synthesized production dates the song, but not really in a bad way. Instead, "Money For Nothing" brings a nostalgic smile to the faces of those who remember the decade, and perhaps imaginative musings of what could've been for those who weren't there the first time 'round.

Remember how we mentioned earlier that Michael Jackson always surrounded himself with the best musicians? The same could also be said of The Oz Man himself, Ozzy Osbourne. That's because the former Black Sabbath frontman always sought out and employed the best guitarists around for his solo career. Jake E. Lee, Brad Gillis and Zakk Wylde are just a few of the axemen who've played with Ozzy, but the hearts of many fans lie with the dearly departed Randy Rhoads and his work on this classic Ozzy track, "Crazy Train." Rhoads permanently left his mark on popular culture with this song. "Crazy Train's" main riff is a hook that just won't let go. It's a classic that's endured for a reason.

Is Metallica's "Master of Puppets" the perfect thrash metal song? If not, were not sure what is! This title track from the album of the same name is a veritable treasure trove of great riffs. From the charging opening salvo to the twin harmony bridge section, "Master of Puppets" is all killer, no filler. This is due largely to the impeccable arrangements of James Hetfield and Lars Ulrich, who make sure that no riff overstays its welcome, while also creating mini-movements that drive the song ever-forward. Hetfield's downpicked rhythm playing is arguably at its best here. "Master of Puppets" manages to make its near-ten minute run time feel incredibly short.

Although most music historians point to the late seventies as the point where punk rock began to explode into the public consciousness, its origins can actually be traced back much further. Case in point? "You Really Got Me," by The Kinks, a classic rock track that really doesn't sound anything like other classic rock tracks of the day. Thats got a lot to do with the aggressive main riff, and how unique this approach was in the early to mid sixties. The Kinks experimented with a lot of styles, from psychedelia to pop, but "You Really Got Me" is straight, pissed and to the point: a perfect jump off for similar attitudes explored by punk rock nearly a decade later.

Songwriting is a beautiful thing, especially when it works this well. "Layla" was one of those lightning-in-a-bottle moments where the members of supergroup Derek & the Dominos got a little help from their friends...and created a classic rock anthem in the process. That striking opening riff gets things going right away, of course, but the real brilliant move is how "Layla" then quickly changes key for the main verse. This decision makes the second section sound even more urgent and powerful, before that opening riff comes back for the chorus. As if that wasn't enough, that iconic piano exit smoothes down everything after a blistering solo section from Eric Clapton and guest Duane Allman. It's pure rock genius.

When you think of The Rolling Stones and iconic riffs, two particular songs come to mind. One of them is "Start Me Up," but perhaps even more popular is the band's famous hit, "(I Can't Get No) Satisfaction." Keith Richards is never going to win any awards for flashy guitar heroics, but he doesn't need to, because the main riff here is simple but oh-so-memorable. It's a punchy lick that works great with Mick Jagger's unique vocals, and honestly never wears out its welcome. There isn't much deviation here with regards to arrangement, but when the riff is THIS good, why not hammer that sucker home for all its worth?

Does Deep Purple have better riffs than "Smoke on the Water?" Maybe. Does Deep Purple have more complex riffs than "Smoke on the Water?" Definitely. But that doesn't make our penultimate pick any less iconic. After all, the band was already firmly entrenched as a force for British psychedelia, prog and heavy rock when they released "Smoke on the Water" back in 1972. However, it only took the magic of Ritchie Blackmore's playing to turn what's essentially a basic blues riff into the early formations of heavy metal. It's monolithic, lumbering and oh so majestic in its simplicity, and so it's naturally been covered to pieces by adoring bands all over the world.

Ok, lets address the elephant in the room. Led Zeppelin have repeatedly faced accusations that they...well, let's say, were overly inspired by riff ideas from other artists. We'd argue, however: does that really matter when the end results are this good? Take your pick: it could be "Whole Lotta Love." Or "Immigrant Song." Or, it could be our top choice, "Heartbreaker," a twisted jam that's barely hanging on, but in the best possible way. Jimmy Pages opening riff is stumbling and messy, but possesses awesome, intense drive. It's steeped in Page's love of American blues, but amplified to oblivion and turned into an amazing, hydra-headed proto-metal behemoth.

What, to you, makes a truly GREAT riff? Let us know in the comments!