Which guitar riff truly reigns supreme? guitarplayers.net is diving deep into this timeless debate to definitively celebrate the most iconic riffs of all time. To ensure we captured the ultimate selection, we consulted guitar enthusiasts and music lovers worldwide, building upon a shortlist of our own favorites.
Even with a strict rule of “one riff per artist,” narrowing down the selection to a concise list proved challenging. Initially starting with 125 riffs, tough choices had to be made, meaning some absolute classics, even the mighty Paranoid or Highway to Hell, had to be omitted to ensure diversity and breadth. One riff per band became our guiding principle. While alternative suggestions were considered, the global guitar community largely resonated with our initial selection.
So, join us as we explore 50 of the most incredible guitar riffs ever recorded. We’ll delve into the stories behind these riffs and hear insights from some of the guitarists who brought them to life.
Let’s get started with the countdown…
50. Opeth – Heir Apparent (2008)
Progressive Metal Majesty from Stockholm’s Masters
We kick off our riff journey with this powerhouse track from Swedish progressive metal titans, Opeth, hailing from their death metal era. “Heir Apparent” is a masterclass in complex riffage, but it’s the riff that explodes onto the scene around the two-and-a-half-minute mark that truly showcases Mikael Åkerfeldt’s genius for sonic destruction.
Beginning with raw power chords from the 1st fret to open position, the riff quickly evolves, alternating between rapid-fire descending octave shapes higher up the neck and intensely palm-muted chromatic notes in the lower register. These contrasting elements clash and intertwine in a spectacular display of musical tension. Adding to the organized chaos is Fredrik Åkesson’s solo, a dramatic blend of bluesy bends and diminished runs that perfectly exploit the riff’s unsettling, outside-the-box feel.
Mikael Åkerfeldt of Opeth performing live, highlighting the complex guitar work in "Heir Apparent"
49. The Beatles – Ticket to Ride (1965)
Rickenbacker Chime and a Hint of Indian Influence
Released as a single in April 1965, “Ticket To Ride” became The Beatles’ seventh consecutive UK number one hit. Its instantly recognizable opening motif, played with fingers on a 12-string Rickenbacker 360/12 by George Harrison, is a defining sound of the mid-60s.
This chiming, arpeggiated riff, underpinned by repeating A chords and a low A drone, subtly hints at the traditional Indian music that would increasingly influence the band’s later work. Harrison’s playing creates an ethereal, almost tinny sonic quality, perfectly capturing the era’s vibe. The staggered phrasing, incorporating a quarter-note triplet at the end, enhances the song’s free-and-easy, quintessentially ’60s feel.
George Harrison playing his Rickenbacker 12-string guitar, creating the iconic riff for "Ticket to Ride"
48. Free – All Right Now (1970)
Paul Kossoff: Mastery in Simplicity and Tone
It might surprise some that Free’s 1970 mega-hit, “All Right Now,” only just breaks into the Top 50, but its impact is undeniable. The opening seconds, featuring Paul Kossoff’s cranked-up Les Paul locked in step with Simon Kirke’s driving beat, form one of the most instantly recognizable and powerful intros in rock history. Kossoff, known for his exceptional feel and tone, used one of his beloved Les Paul sunbursts on “All Right Now,” plugged straight into a roaring Marshall stack.
As singer Paul Rodgers aptly described, “Koss had such an amazing sound on that opening chord and with his chord structure on the A chord. He had such a long reach and could actually hold the A note on the E string on the 5th fret. He could get a real ripping sound and it had a lot of depth to it.” This simple yet incredibly effective riff demonstrates the power of tone and feel over complexity.
Paul Kossoff of Free delivering the powerful opening riff of "All Right Now" on his Les Paul
47. Polyphia – G.O.A.T. (2018)
Redefining Modern Guitar with Dazzling Sounds and Techniques
Polyphia guitarists Tim Henson and Scott LePage have emerged as true innovators, leading a new wave of guitar virtuosity. They seamlessly blend elements of fusion, progressive metal, and even trap beats into their own unique and mind-bending sonic cocktail.
The 2018 track “G.O.A.T.” stands out as one of their most popular and groundbreaking compositions, amassing over 50 million plays across YouTube and Spotify. The main riff is a showcase of modern guitar techniques, built upon a foundation of intricate harmonics, blistering 19th and 20th fret taps, the resonance of bleeding open strings, and harmonically rich B natural minor arpeggios. For the recording, both Henson and LePage relied on their signature Ibanez guitars. Tone-wise, Henson utilized “only the Fractal and a little bit of BIAS FX,” while LePage opted for a more traditional setup, employing an Orange amplifier and cabinet.
Tim Henson and Scott LePage of Polyphia showcasing their innovative guitar techniques in the "G.O.A.T." music video
46. Soundgarden – Outshined (1991)
Grunge Power in Unconventional 7/4 Time
1991 was the year Seattle grunge exploded onto the global music scene, and Badmotorfinger marked Soundgarden’s breakthrough album. “Outshined” became its most accessible and arguably most impactful track. The song’s opening and verse riff, played in drop D tuning, is a masterclass in stoner rock groove, blending heaviness with infectious hooks. The single-finger bends from guitarists Kim Thayil and Chris Cornell perfectly complement the riff’s raw power and swagger. Simply put, it’s the sonic definition of badass.
Adding to Soundgarden’s signature unconventionality, the riff is composed in 7/4 time, a rhythmic signature rarely found in mainstream rock. Within grunge’s most experimental and inventive band, Kim Thayil’s guitar work was pivotal, fusing Stooges-style raw aggression with psychedelic Sabbath-esque heaviness, often through his favored ’70s Guild SG-100.
Kim Thayil of Soundgarden performing live, delivering the heavy and unconventional riff of "Outshined"
45. Queens of the Stone Age – No One Knows (2002)
Stoner Rock’s Anthem and a Riff as Chorus
Queens of the Stone Age’s breakout hit, “No One Knows,” is built around a riff so potent it effectively functions as the song’s de facto chorus. While the lyrical “I realize you’re mine” section is repeated, the true anticipation and energy of the song, especially in a live setting, comes from the iconic guitar riff.
Josh Homme, known for his distinctive approach to gear, deliberately avoided using typical rock amps like Marshalls, Voxes, Fenders, or Gibsons during the recording of Songs For The Deaf. For “No One Knows,” he creatively combined three amps: a solid-state Peavey, an Ampeg VT40, and a vintage Tube Works head. The song’s uniquely powerful and textured guitar tone was meticulously crafted through a careful blend of microphones capturing this idiosyncratic rig.
Josh Homme of Queens of the Stone Age playing the iconic riff of "No One Knows"
44. Red Hot Chili Peppers – Can’t Stop (2002)
Funk Guitar Mastery: Fret-Hand Muting at its Finest
Few rock guitarists embody funk quite like Red Hot Chili Peppers’ John Frusciante. “Can’t Stop,” the third single from their 2002 album By The Way, features the album’s most rhythmically driven and undeniably funky riff. Frusciante, a devotee of vintage Stratocasters and Telecasters, achieves a sharp, punchy single-coil bridge pickup tone that’s perfect for this style.
The verse riff centers around a repeated two-note figure, D to E (played on the G string, 5th and 7th frets), representing the flat 7th and root of the E minor key. Frusciante expertly hits the root notes of the underlying chord progression (Em, D, Bm, C) while maintaining a clean and articulate sound through his deceptively complex fret-hand string muting technique. Combined with his aggressive and funky right-hand attack, it creates an absolutely irresistible and “unstoppable” riff.
John Frusciante of Red Hot Chili Peppers performing "Can't Stop," showcasing his funky fret-hand muting technique
43. Eagles – Life in the Fast Lane
Country Rockers Take a Hard Rock Detour
Another legendary riff that originated as a warm-up exercise, “Life In The Fast Lane” was initially just a jam session riff by Joe Walsh until it grabbed the attention of his Eagles bandmates. The riff’s brilliance lies in its rhythmic displacement. It’s essentially the same rhythmic idea played three times with subtle variations, but the fourth repetition starts half a beat earlier, generating a massive sense of urgency and momentum.
The Eagles’ guitar tones during their Hotel California era were primarily Fender-based, and this track exemplifies the raw, overdriven sound of Fender Tweed Deluxes and Champs pushed hard. Joe Walsh played his signature Stratocaster, while Don Felder wielded his iconic ’59 Les Paul – a perfect tag team of legendary guitarists and instruments creating a truly classic riff.
Joe Walsh and Don Felder of the Eagles, the guitar duo behind the driving riff of "Life in the Fast Lane"
42. The Police – Message in a Bottle (1979)
Their Breakthrough Number One: Post-Punk Meets Reggae
Powered by Andy Summers’ undeniably catchy and hook-laden riff, “Message In A Bottle” perfectly distilled The Police’s signature blend of post-punk energy and white reggae rhythms into what Summers himself described as “a very different-sounding pop song.” Despite the well-documented creative tensions within the band, Summers recognized that The Police was the ideal vehicle to showcase his unique guitar playing style.
“It was a unique chemistry,” Summers reflected, “between the guitar, the bassline, the high vocals that Sting had then, and Stewart (Copeland)’s unique drumming. Never to be repeated.” This riff is a testament to that unique chemistry, instantly recognizable and endlessly influential.
Andy Summers of The Police playing the iconic opening riff of "Message in a Bottle"
41. Rainbow – Stargazer (1976)
Ritchie Blackmore: Unstoppable and Epic
In this epic track from Rainbow’s classic second album, Rising, the main riff of “Stargazer” possesses a distinctive “walking” feel, largely due to the incorporation of passing tones within its pentatonic framework. A standout element is the three-note chromatic run, starting on the fifth fret of the fifth string, moving from the minor 7th to the major 7th, and finally resolving to the E octave. This chromaticism adds a layer of sophistication and drama to the riff.
During this period, Ritchie Blackmore primarily used an Olympic White ’73 Stratocaster and a sunburst ’74 Strat, both featuring scalloped necks, plugged into a Marshall Major amplifier modified for even greater power and distortion. “This extra output stage basically made the 200-watt into a 280-watt,” Blackmore once revealed, “So I did have the loudest amp in the world.” This combination of guitar and amp contributed to Blackmore’s signature powerful and soaring tone, perfectly showcased in the majestic riff of “Stargazer.”
