Which guitar riff truly reigns supreme? Guitarplayers.net is diving deep into this age-old debate to definitively rank the most iconic and influential riffs ever created. To settle this once and for all, we turned to the passionate community of Guitar World readers, launching a comprehensive poll to capture their collective wisdom. We started by compiling our own extensive list of top contenders – a ‘shortlist’ that was anything but brief!
Even with a strict rule of ‘one riff per artist,’ our initial selection still ballooned to 125 riffs. This meant agonizing choices, leaving out classics like Paranoid and even Highway to Hell to ensure diverse representation. One riff per band was the mandate. While alternative suggestions were welcomed in the poll, the overwhelming consensus from Guitar World‘s discerning readers largely validated our initial picks.
So, join us as we count down the 50 greatest guitar riffs of all time. We’ll explore the stories behind these legendary riffs and hear insights from some of the guitarists who brought them to life in the studio.
Let’s get started…
50. Heir Apparent – Opeth (2008)
Opeth performing Heir Apparent live, showcasing Mikael Åkerfeldt's intricate guitar work.
Prog Metal Majesty from Stockholm’s Masters
We kick off our riff odyssey with this progressive metal gem from Opeth, hailing from their death metal period. Heir Apparent, from the album Watershed, is overflowing with complex and captivating riffs, but it’s the riff that explodes into existence around the 2:30 mark that truly showcases Mikael Åkerfeldt’s genius for sonic devastation.
The riff begins with powerful chords rooted at the 1st fret, moving to open position before ascending into rapid-fire descending octave shapes higher up the fretboard. This is juxtaposed with palm-muted chromatic notes in the lower register, creating a spectacular and dynamic interplay of contrasting textures. Adding to the sonic chaos is Fredrik Åkesson’s solo, a whirlwind of blues-infused bends and diminished runs that amplify the riff’s unsettling and ‘outside’ feel. Heir Apparent is a masterclass in modern progressive metal riffage.
49. Ticket to Ride – The Beatles (1965)
George Harrison playing his Rickenbacker 12-string guitar for The Beatles' Ticket to Ride in 1965.
Rickenbacker Chime and a Hint of Indian Influence
Released as a single in April 1965, Ticket To Ride became The Beatles’ seventh consecutive number one hit in the UK. Its instantly recognizable opening riff, played with two fingers on a Rickenbacker 12-string guitar, is a defining sound of the mid-60s. The chiming, arpeggiated figure is anchored by repeating A chords, and the underlying low A drone subtly hints at the traditional Indian music that would increasingly influence the band’s sound in later years.
Played by George Harrison on his iconic Rickenbacker 360/12, the riff possesses an ethereal and slightly metallic sonic quality characteristic of the instrument. The staggered phrasing, incorporating a quarter-note triplet at the end of the motif, adds to the song’s relaxed and distinctly ’60s vibe. Ticket to Ride showcases how even seemingly simple riffs can be incredibly effective and innovative.
48. All Right Now – Free (1970)
Paul Kossoff of Free performing live in 1970, showcasing his Les Paul and Marshall stack setup.
Paul Kossoff: Mastery in Simplicity and Tone
It might be surprising that Free’s 1970 anthem, All Right Now, only just cracks the Top 50, but its impact on rock music is undeniable. The opening seconds, featuring Paul Kossoff’s roaring Les Paul locked in step with Simon Kirke’s powerful drum beat, is one of the most instantly recognizable song introductions of all time. Kossoff famously played one of his prized Les Paul sunbursts on All Right Now, plugged into a cranked Marshall stack, creating his signature warm and overdriven tone.
As singer Paul Rodgers recounted, “Koss had such an incredible sound on that opening chord and with his chord voicing on the A chord. He had an exceptional reach and could hold the A note on the E string at the 5th fret while barring the chord. He achieved a truly ripping sound that had immense depth and character.” All Right Now is a testament to the power of a simple, perfectly executed guitar riff.
47. G.O.A.T. – Polyphia (2018)
Polyphia guitarists Tim Henson and Scott LePage performing G.O.A.T., demonstrating their innovative guitar techniques.
Redefining Modern Guitar with Dazzling Sounds and Techniques
In recent years, Polyphia guitarists Tim Henson and Scott LePage have emerged as pioneers of contemporary guitar music, seamlessly fusing elements of fusion, tech-metal, and trap beats into their own captivating and complex soundscapes. Their innovative approach to guitar playing has inspired a new generation of musicians.
The 2018 track G.O.A.T. stands as one of their most popular and influential works to date, amassing over 50 million plays across YouTube and Spotify. Its main riff is built on a foundation of harmonics, 19th and 20th fret tapping, ringing open strings, and B natural minor arpeggios, creating a mesmerizing and technically astounding musical tapestry. For the recording, both Henson and LePage relied on Ibanez guitars, instruments synonymous with modern virtuosity. Tone-wise, Henson primarily used the Fractal Axe-Fx and a touch of BIAS FX, while LePage opted for a more classic setup with an Orange amplifier and cabinet, showcasing the diverse sonic palettes within Polyphia’s sound. G.O.A.T. exemplifies the cutting edge of modern guitar riffing.
46. Outshined – Soundgarden (1991)
Kim Thayil of Soundgarden playing a Guild SG guitar live, delivering the heavy riff of Outshined.
Grunge Power in Uncommon Time Signature
1991 marked the year Seattle grunge exploded onto the global music scene, and Soundgarden’s Badmotorfinger served as their breakthrough album. Outshined became its most commercially accessible track, yet it retained the band’s signature raw power and experimental edge. The song’s opening and verse riff, played in drop D tuning, is a masterclass in stoner rock groove, with single-finger bends from guitarists Kim Thayil and Chris Cornell perfectly complementing its infectious hook. It’s simply the embodiment of badass rock riffage.
Adding to Soundgarden’s unconventional approach, Outshined is written in 7/4 time signature, a rhythmic choice that sets it apart from typical rock anthems. Within grunge’s most experimental and inventive band, Kim Thayil’s guitar work was pivotal, blending the raw aggression of The Stooges with the psychedelic heaviness of Black Sabbath through his favored 1970s Guild SG-100 guitar. Outshined is a testament to grunge’s willingness to push boundaries.
45. No One Knows – Queens of the Stone Age (2002)
Josh Homme of Queens of the Stone Age performing No One Knows, showcasing his unique guitar tone and style.
Stoner Rock’s Defining Moment
Queens of the Stone Age’s breakout hit, No One Knows, features a riff so potent that it essentially functions as the song’s de facto chorus. While the lyric “I realize you’re mine” is repeated, it’s the guitar riff that truly ignites crowds at every QOTSA concert, becoming the moment everyone anticipates.
Josh Homme adopted a deliberately unconventional approach to gear during the recording of Songs For The Deaf, intentionally avoiding mainstream choices like Marshalls, Voxes, Fenders, or Gibsons. For No One Knows, he creatively combined three different amplifiers: a solid-state Peavey, an Ampeg VT40, and a vintage Tube Works head. The distinctive recorded guitar tone was achieved through a meticulous blend of microphones capturing the sound of this idiosyncratic rig. No One Knows demonstrates how unique gear choices can lead to iconic sounds.
44. Can’t Stop – Red Hot Chili Peppers (2002)
John Frusciante of Red Hot Chili Peppers playing a Fender Stratocaster, demonstrating his funky rhythm guitar style.
A Funk Guitar Masterclass in Fret-Hand Muting
Few rock guitarists embody funk as deeply as Red Hot Chili Peppers’ John Frusciante, and Can’t Stop, the third single from 2002’s By The Way, features the album’s most rhythmically driven riff. A dedicated player of vintage Stratocasters and Telecasters, Frusciante employs a sharp, powerful single-coil bridge pickup tone, perfectly suited for his funk-infused style.
The verse riff centers around a repeated two-note motif, D to E (played on the G string, 5th and 7th frets), representing the flat 7th and root of the E minor key. Frusciante emphasizes the root notes of the chord progression (Em, D, Bm, C) and maintains a clean articulation through his deceptively intricate fret-hand string muting technique. Combined with his aggressive and funky right-hand attack, the riff of Can’t Stop becomes an unstoppable groove machine.
43. Life in the Fast Lane – Eagles (1976)
Joe Walsh and Don Felder of the Eagles playing guitars, capturing the energy of Life in the Fast Lane.
Country Rockers Unleash Hard Rock Edge
Another riff that originated as a warm-up exercise, Life In The Fast Lane began as a jam by Joe Walsh until it captivated his Eagles bandmates. The brilliance of the riff lies in its rhythmic displacement. It’s essentially the same idea played three times with slight variations, but the fourth repetition begins half a beat earlier, creating a palpable sense of urgency and momentum.
The guitar tones of the Eagles during their Hotel California era were primarily Fender-based, and Life In The Fast Lane showcases the raw sound of Fender Tweed Deluxe and Champ amplifiers pushed to their limits. Walsh played a Stratocaster, while Don Felder played his iconic 1959 Les Paul, a legendary pairing of guitarists and instruments. Life in the Fast Lane marks the Eagles’ foray into harder rock territory.
42. Message in a Bottle – The Police (1979)
Andy Summers of The Police playing his Telecaster, delivering the iconic riff of Message in a Bottle.
Their Breakthrough Number One Hit
Powered by Andy Summers’ signature hook-laden riff, Message In A Bottle distilled The Police’s unique blend of post-punk and white reggae into what Summers himself described as “a very different-sounding pop song.” While internal tensions within the band were ever-present, Summers recognized that The Police provided the ideal platform for his distinctive guitar playing style.
“It was a truly unique chemistry,” Summers reflected, “the interplay between the guitar, Sting’s distinctive basslines and high vocals of the time, and Stewart Copeland’s unparalleled drumming. It was a combination that was never to be repeated.” Message in a Bottle solidified The Police’s status as a global force and showcased Summers’ riff-writing prowess.
41. Stargazer – Rainbow (1976)
Ritchie Blackmore of Rainbow playing his Fender Stratocaster, performing the epic Stargazer riff.
Ritchie Blackmore at Peak Power
This epic track from Rainbow’s seminal second album, Rising, features a riff with a distinctive “walking” feel, achieved through the incorporation of passing tones within its pentatonic framework. A notable element is a three-note chromatic run starting on the fifth fret of the fifth string, moving from the minor 7th to the major 7th and resolving to the E octave. This sophisticated melodic contour elevates the riff beyond typical hard rock fare.
During this period, Ritchie Blackmore primarily used Olympic White 1973 and sunburst 1974 Stratocasters, both equipped with scalloped necks. His amplifier of choice was a Marshall Major, modified for increased power and distortion. “This extra output stage essentially boosted the 200-watt amp to 280 watts,” Blackmore revealed. “So, I genuinely had the loudest amp in the world at that time.” Stargazer is a testament to Blackmore’s virtuosity and his pursuit of sonic extremes.
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Amit Sharma
Amit Sharma has been a contributor to leading music publications such as Total Guitar, MusicRadar, and Guitar World for over a decade. As a guitarist, his primary influences include guitarists like Richie Kotzen, Guthrie Govan, and Jeff Beck. His writing credits extend to magazines like Kerrang!, Metal Hammer, Classic Rock, Prog, Record Collector, Planet Rock, Rhythm, and Bass Player, as well as newspapers including Metro and The Independent. He has interviewed a wide spectrum of artists, from Ozzy Osbourne and Lemmy to Slash and Jimmy Page. In a memorable experience, he once traded guitar solos with a member of Slayer on a track released internationally. As a session guitarist, he has performed alongside members of Judas Priest and Uriah Heep in the London-based band Metalworks, and has also played lead guitar for legendary musicians such as Glen Matlock (Sex Pistols, The Faces) and Stu Hamm (Steve Vai, Joe Satriani, G3).
With contributions from
