We love rock & roll. What began as a simple fusion of blues and country has evolved into a sprawling, magnificent genre—a multifaceted beast encompassing over 250 subgenres, from progressive rock to punk, metal to math rock. Attempting to select just 25 songs and declare them “the best” is a daunting task, more intimidating than Robert Johnson’s mythical deal with the devil. So, we’ve returned to the fundamentals.
Our selection criteria were based on four essential rules:
- Desert Island Quality: These songs had to be so essential that you’d want them with you if stranded on a desert island.
- The Wayne and Garth Test: They had to be songs you can’t help but rock out to in your car, à la Wayne and Garth in Wayne’s World.
- Boundary-Breaking Innovation: Each song had to be a game-changer, pushing the boundaries of the rock genre forward.
- Timeless Vitality: These songs had to be as impactful and relevant today as they were when they were first released.
Did we succeed? We believe so! While you might disagree—and you probably will on some choices—before we delve into a Dr. Seuss-esque introduction, understand this: your personal favorites might be missing. Conversely, you might find songs you dislike. However, consider this list a gateway, a rabbit hole into the vast universe of rock, where the old becomes new, the new echoes the old, and everything is interconnected. If this list inspires you to explore further, to rediscover classics, and find new favorites, then we consider it a success.
So, without further ado, we present our list of the 25 Greatest Rock Songs Of All Time.
1. “I Love Rock ‘N Roll” (1981) – Joan Jett & the Blackhearts
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So what if it’s a cover? Joan Jett & the Blackhearts completely own “I Love Rock ‘N Roll,” imbuing it with their raw energy and rebellious spirit. With her signature black hair and powerful stage presence, Joan Jett doesn’t just sing about rock; she embodies it. Her toughness is no facade. After the Runaways disbanded, Jett recorded a solo album with the Blackhearts, facing rejection from 23 labels. This made the chart-topping success of “I Love Rock ‘N Roll” even more triumphant. Stripped down and anthemic like a schoolyard chant, producer Kenny Laguna crafted a perfect interplay between sharp handclaps and gritty guitar chords. And at the heart of it all is Jett’s commanding voice—a declaration of victory in every word. This song is a quintessential rock anthem, celebrating the pure joy and defiant energy of rock and roll.
2. “Born to Run” (1975) – Bruce Springsteen
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“At night, we ride through mansions of glory in suicide machines”—if these lyrics don’t fit the typical rock song mold, it’s because “Born to Run,” an anthem of love, cars, and unrealized American dreams, is anything but ordinary. The title track of Bruce Springsteen’s career-defining third album, “Born To Run” is his magnum opus. It’s a desperate epic about escaping New Jersey via Highway 9, which cuts through his hometown of Freehold. Springsteen’s voice begins with weariness, almost monotone, gradually lifted by a sonic wall of guitars, organ, sax, drums, glockenspiel, bass, and keyboards, culminating in rock’s most iconic “woo-oah”s. Driving relentlessly forward, mirroring the chrome-wheeled, fuel-injected machines he sings about, the song builds towards a miraculous conclusion: hope triumphs over despair. “Born to Run” is more than a song; it’s a cinematic experience, a journey of aspiration and escape that resonates deeply with listeners.
3. “Starman” (1972) – David Bowie
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David Bowie’s “Starman” is a celestial marvel, a shimmering narrative about an alien communicating with Earth’s children through radio waves and phone lines. While lyrically sci-fi, it’s also a homage to classic American pop, from the “Somewhere Over the Rainbow” octave leap to the morse-code “You Keep Me Hangin’ On” guitar riff and the intro’s captivating “oh-oh-oh’s.” Like an origami box, each layer unfolds to reveal another treasure, from Mick Ronson’s stratospheric guitar work to the uplifting chorus. Bowie’s 1972 BBC TV performance of “Starman” was profoundly influential, reaching countless future stars in their youth—from Bono to Boy George. It was as if the song’s lyrics were coming to life. “Starman” is not just a song; it’s a cultural moment, a beacon of otherworldly hope and glam rock innovation that inspired generations.
4. “Once in a Lifetime” (1980) – Talking Heads
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An anthem of disassociation, Talking Heads’ signature track “Once in a Lifetime” is driven by Tina Weymouth’s mesmerizing, elastic bassline and Chris Frantz’s rhythmic, shuddering beats. Producer Brian Eno’s studio ingenuity was crucial to the song’s magic, looping the band’s Fela Kuti-inspired jam sessions—a groundbreaking innovation for its time. The result is a soundscape reminiscent of being trapped inside a telephone switchboard, filled with repeating signals, samples, and fragments. Of course, David Byrne’s hauntingly existential lyrics (“How did I get here?”) and delivery—part fortune teller, part street preacher—elevate the song to another level. “Once in a Lifetime” is an art-rock masterpiece, a sonic and lyrical exploration of modern alienation and self-discovery that remains strikingly relevant.
5. “Rebel Girl” (1993) – Bikini Kill
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In the 90s punk scene, mosh pits were dominated by macho attitudes, and feminism was often dismissed. Then came Bikini Kill, fronted by the indomitable Kathleen Hanna, who roared “Girls to the front!” and “Revolution girl style now!” “Rebel Girl” is the band’s original grrrl power anthem, propelled by raw guitars and a relentless beat. Among the various recordings, the ’98 version stands out, with Joan Jett’s guitar chords adding extra muscle to the mix. However, the constant is Hanna’s potent voice, capturing the essence of teenage girlhood like no other (only Poly Styrene comes close). Her Valley girl-esque howl commands attention, proclaiming friendship, revolution, and yes, desire. When she sang, a revolution felt imminent. “Rebel Girl” is more than a song; it’s a feminist battle cry, a cornerstone of the riot grrrl movement that empowered a generation.
6. “Where Is My Mind?” (1988) – Pixies
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Pixies, hailed by David Bowie as “a psychotic Beatles” and cited by Kurt Cobain as a major influence, mastered the “loud-quiet-loud” dynamic. Choosing a single “best” song from their infectiously quirky and intensely hummable discography is nearly impossible, but “Where Is My Mind?” comes incredibly close. Distinguished by Joey Santiago’s melodic guitar waves, Black Francis’s dreamlike and unsettling storytelling, and Kim Deal’s ethereal “ooh-ooh”s (recorded in the studio bathroom for its unique acoustics), the song thrives on contrast: dreamy versus jarring, dark versus light. The effect is akin to surf rock ablaze. “Where Is My Mind?” is an alternative rock masterpiece, a hauntingly beautiful and strangely unsettling track that perfectly encapsulates the Pixies’ unique sound.
7. “Whole Lotta Love” (1969) – Led Zeppelin
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As a classic rock staple, it’s easy to overlook how unconventional Led Zeppelin truly is, largely due to drummer John Bonham. Defying standard rock conventions where drummers follow bassists, Bonham instead followed guitarist Jimmy Page, creating a heavy, winding, and unparalleled sound. Even with its iconic guitar riffs, Robert Plant’s exaggerated “reinterpretation” of classic Willie Dixon blues lyrics, and a psychedelic theremin interlude, “Whole Lotta Love” remains grounded, thanks to Bonzo’s powerful drumming. “Whole Lotta Love” is a blues-rock behemoth, a raw and primal track that showcases Led Zeppelin’s unparalleled musicianship and groundbreaking approach to rock music.
8. “La Grange” (1973) – ZZ Top
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To fully grasp the radical nature of ZZ Top’s “La Grange”—a thunderous, swinging, blues-rock avalanche—remember it was released in 1973 when Tony Orlando and Dawn topped the radio charts. Billy Gibbons (guitar), Frank Beard (drums), and Dusty Hill (bass) blended modern rock with boogie blues, topping it off with some of the grittiest, funkiest, and most explosively fiery guitar work ever recorded. The result was a completely new groove. While they later embraced a slicker, more commercial image, in this era, they were simply a trio of BBQ-loving Texas eccentrics doing their thing. “La Grange” is a Texas boogie masterpiece, a testament to ZZ Top’s raw talent and their ability to fuse blues tradition with rock innovation, creating a sound that is both timeless and uniquely their own.
9. “Fell in Love With a Girl” (2001) – The White Stripes
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If you had to choose a song that sounds like the feeling of falling in love, “Fell in Love With a Girl” might be it. The White Stripes understand that love isn’t just hearts and rainbows; it’s also snotty sing-alongs, slashing guitars, and a wild energy that makes you want to jump six feet in the air. Orson Welles famously said, “The enemy of art is the absence of limitations,” a philosophy perfectly embodied by The White Stripes. Limitation has always been their strength—from their three-color palette to their two-person lineup, from Meg White’s simple yet powerful drumming to Jack White’s preference for cheap plastic guitars. So, if you’re still puzzled how something so minimal can create such a massive sound, just heed Welles’s words. “Fell in Love With a Girl” is a garage rock gem, a raw and exhilarating burst of energy that captures the chaotic and exhilarating rush of new love.
10. “Bohemian Rhapsody” (1975) – Queen
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The making of “Bohemian Rhapsody” is legendary—from the ten-hour singing sessions to the three-week recording period and the 180 overdubs. But none of that matters when you press play on Queen’s masterpiece and immerse yourself in nearly six minutes of head-banging brilliance. A key to this “mock opera’s” (as Freddie Mercury termed it) enduring success is its sheer fun to sing along to. Entertaining as a summer blockbuster and satisfying as a six-course meal—intro, ballad, solo, opera, hard rock, outro—”Bohemian Rhapsody” was, is, and forever will be a monument to joyous creative excess. “Bohemian Rhapsody” is a rock opera masterpiece, a genre-bending epic that remains a timeless testament to Queen’s ambition and Freddie Mercury’s unparalleled showmanship.
11. “Gimme Shelter” (1969) – The Rolling Stones
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For a glimpse into chaos, look no further than 1969: the Manson murders, the Vietnam draft, and Nixon’s election. The Rolling Stones’ “Gimme Shelter” captured the demise of the “peace and love” era, perfectly encapsulating the era’s desperation through Keith Richards’ echoing freight-train shuffle and the frantic gospel of Mick Jagger and Merry Clayton. Clayton’s wrenching vocals, the song’s emotional core, resulted from an impromptu midnight session where she delivered the iconic “rape/murder” siren in her pajamas. A final ominous touch: Richards’ guitar literally fell apart in his hands on the last note, which they left in—the sound of disintegration serving as a perfect coda. “Gimme Shelter” is a dark and powerful rock anthem, a reflection of societal turmoil and a testament to the Rolling Stones’ ability to capture the zeitgeist of a turbulent era.
12. “There She Goes, My Beautiful World” (2004) – Nick Cave and the Bad Seeds
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“You weren’t much of a muse/but then I weren’t much of a poet” might not sound like a love song, but with Nick Cave, trust that it is. Love, in all its forms—from the deepest despair to the silliest heights, always delivered with urgency—is his driving philosophy. On Abattoir Blues/Lyre of Orpheus, his 13th album with the Bad Seeds, we encounter a new Nick—Cave 2.0, you might say—married, sober, and channeling gospel power while retaining his punk soul. “There She Goes, My Beautiful World” showcases him as a black-suited power preacher, backed by a band on fire, delivering holy poetry and name-dropping Larkin, Nabokov, and Thunders in what might be the greatest (and perhaps only) rock song about writer’s block. “There She Goes, My Beautiful World” is a sophisticated and literary rock song, a unique blend of gospel fervor and introspective lyricism that exemplifies Nick Cave’s artistic evolution.
13. “All Day and All of the Night” (1964) – The Kinks
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It’s almost unbelievable that “All Day and All of the Night,” the sound of teenage longing pressed onto vinyl, was released in 1964, when Joey Ramone was 13 and the term “punk rock” was still seven years away. Yet, its raw, modern sound wouldn’t be out of place on a contemporary Sub Pop release. Yes, the chords are sharp, deliberate, and perfectly paced. Yes, Ray Davies is effortlessly cool. But the true magic lies in that frenetic tone—the dirty, grungy, previously unheard sludge created when guitarist Dave Davies, Ray’s brother, slashed his amp speaker with a razor. And just like that—with a flick of the wrist—punk rock was born. “All Day and All of the Night” is a proto-punk anthem, a raw and electrifying track that foreshadowed the punk rock revolution and solidified The Kinks’ place in rock history.
14. “London Calling” (1979) – The Clash
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If you were fortunate enough to hear “London Calling” on the radio in 1980 (when it finally hit the US), the first 20 seconds would have stopped you in your tracks. What else sounded like Topper Headon’s drum crunch as Joe Strummer and Mick Jones followed on guitar? Boots pounding asphalt, perhaps? By the time the bassline swoops in, “London Calling” unfolds like a rain-soaked, three-minute film, narrated by Strummer, a master storyteller. Clash songs are solid-state instruments—low budget, unadorned, powerful—and this one is no exception. Guitars provide brief, jagged flashes of color, but the focus remains on Strummer and his apocalyptic narrative. Apocalyptic, yes, but never bleak—more like a call to arms. “London Calling” is a punk rock masterpiece, an urgent and politically charged anthem that captures the anxieties of a generation while inspiring action and rebellion.
15. “Blitzkrieg Bop” (1976) – The Ramones
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The Ramones were the epitome of simplicity and efficiency: four members, four chords, identical names, identical outfits. And you always knew their fast-paced songs were about to begin when Joey Ramone (aka the Punk Giant) gave his helpful “1, 2, 3, 4!” countdown, or, in the case of “Blitzkrieg Bop,” “Hey, ho, let’s go!” The Ramones stood on stage not as rock gods or unreachable heroes, but as ordinary, relatable misfits in ripped jeans. Of course, they created catchy, bouncy, perfect pop-punk, but the democratic spirit of the Ramones is their true legacy—everyone was invited to the party. “Blitzkrieg Bop” is a pop-punk ignition, a simple yet incredibly infectious anthem that defined the Ramones’ sound and invited everyone to join the punk rock revolution.
16. “Smells Like Teen Spirit” (1991) – Nirvana
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“With the lights out, it’s less dangerous/Here we are now, entertain us.” Kurt Cobain famously loathed fame. Emerging from the flannel-clad Pacific Northwest punk/grunge scene, the success of “Smells Like Teen Spirit”—platinum sales, critical acclaim—seemed to surprise him. An ironic, angry anthem for an ironic, angry generation, the combination of rhythmic punk power chords (inspired by Pixies’ “Debaser”), resentful, sarcastic lyrics, and Dave Grohl’s funk-influenced drumming created once-in-a-lifetime rock alchemy. “Smells Like Teen Spirit” is a grunge revolution anthem, a generation-defining song that captured the angst and disillusionment of the 90s and propelled Nirvana to global superstardom.
17. “Voodoo Child (Slight Return)” (1968) – The Jimi Hendrix Experience
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“Voodoo Child (Slight Return)” presents Jimi Hendrix as Zeus, hurling Stratocaster-shaped thunderbolts to Earth. Or as a fire-breathing rock monster, Godzilla in tie-dye, or simply Guitar God, recounting tales of standing next to mountains, chopping them down by hand, creating islands with the pieces—you know, typical demigod stuff. Then, as if winking at the listener, Hendrix laughs. The astonishing thing is that the guitar work on this track is so incendiary, he earns those bragging rights and then some. “Voodoo Child (Slight Return)” is a guitar virtuoso showcase, a mind-bending display of Jimi Hendrix’s unparalleled guitar skills and psychedelic rock innovation, solidifying his status as a true guitar god.
18. “Gloria” (1975) – Patti Smith
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“Jesus died for somebody’s sins but not mine,” Patti Smith declares in perhaps the most self-assured and coolest rock intro of all time. Her “Gloria” is a fusion of two works—Smith’s original poem “Oath” and Van Morrison’s “Gloria.” Unsurprisingly, she utterly slays it, bending and twisting Morrison’s innocent bop to fit her darker, more complex vision. And when she asserts, “My sins belong to me, me,” it sends shivers down your spine—the sound of a woman staking her claim in a male-dominated rock & roll world, pushing aside the establishment and demanding “make room.” And they did. “Gloria” is a punk poetry manifesto, a powerful and defiant track that established Patti Smith as a major force in rock music and a pioneer for women in the genre.
19. “Search and Destroy” (1973) – The Stooges
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You might know the pivotal role “Search and Destroy” played in the birth of punk rock. But you might not know the extent of Bowie’s (as producer) influence. His decision to foreground Iggy Pop’s vocals and James Williamson’s untamed guitar melodies (while reducing the rhythm section’s volume) inadvertently created a template adopted by bands from the Sex Pistols to The White Stripes and beyond. The result is an urgent, propulsive song with a raw spirit and some of Iggy’s most electrifying lyrics, deceptively simple yet brimming with desperation about love and war. “Search and Destroy” is a proto-punk blueprint, an aggressive and raw track that laid the foundation for punk rock and showcased The Stooges’ confrontational energy and Iggy Pop’s iconic stage presence.
20. “Let’s Go Crazy” (1984) – Prince & the Revolution
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With its purple bananas, elevators, church organs, fervent guitar solos, and arguably the greatest sermon/eulogy in rock history, Prince’s ode to partying (and religion—”de-elevator” refers to Satan) opened Purple Rain—both the album and the film. With its dynamic mix of synth, drums, guitar, brilliant wordplay (“Dr. Everything’ll-be-alright/will make everything go wrong”), and a scream that surpasses all others, it has stood the test of time. Now, with Prince gone, the life-and-death lyrics gain new depth, but songs like this ensure his enduring legacy. “Let’s Go Crazy” is a funk-rock sermon, a high-energy and spiritually infused track that showcases Prince’s musical genius, flamboyant style, and ability to seamlessly blend rock, funk, and pop elements.
21. “Tutti Frutti” (1955) – Little Richard
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Little Richard, a former drag performer (Princess Lavonne) from the Deep South, catapulted into the American pop music scene in the 1950s with a signature blend of gospel, blues, and fearless attitude. Richard, who called himself the “King and Queen” of rock, screamed and played piano with unmatched fervor. As EW’s Jonathan Bernstein noted, Richard was considered the “first-ever mainstream popular entertainer of his era to openly explore his gender identity and sexuality on stage.” To make “Tutti Frutti,” his first hit, radio-friendly, a writer helped him revise the original NSFW lyrics, but the vibrant spirit remained, turning “A-wop-bop-a-loo-bop-a-lop-bam-boom” into a national catchphrase. “Tutti Frutti” is a rock and roll explosion, a groundbreaking and energetic track that established Little Richard as a pioneer of rock and roll and a cultural icon who challenged gender and sexuality norms.
22. “Johnny B. Goode” (1958) – Chuck Berry
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There’s little debate about who “invented” rock & roll: Mr. Chuck Berry. While “Maybellene” was his debut song (1955), “Johnny B. Goode,” released a few years later, truly blew the roof off, a wild, rollicking guitar ride that influenced…well…everyone. And we mean everyone! “Johnny B. Goode” is a rock and roll blueprint, a foundational and universally influential track that cemented Chuck Berry’s legacy as a father of rock and roll and inspired countless musicians across genres.
23. “Be My Baby” (1963) – The Ronettes
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Ronnie Spector (née Bennett), an 18-year-old singer from Spanish Harlem with an achingly emotive tough-girl voice (and perfect winged eyeliner), recorded “Be My Baby” with producer Phil Spector, her future husband. Despite their tumultuous personal life, this recording remains a shining example of his “wall of sound” technique, capturing Ronnie’s perfect expression of young love—and featuring one of rock’s most iconic drum intros. Though she passed away at 78 in January 2022, Ronnie’s voice endures. “Be My Baby” is a girl group masterpiece, a soulful and emotionally resonant track that showcases Ronnie Spector’s powerful voice and Phil Spector’s innovative production, creating a timeless anthem of young love.
24. “A Day in the Life” (1967) – The Beatles
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The final track on The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band is a surreal John Lennon/Paul McCartney collaboration for the ages. Following John’s somber opening—”I read the news today, oh boy”—Paul interjects from a brighter universe, cheerfully describing his morning routine. The song famously culminates with a 40-piece orchestra erupting into controlled chaos as McCartney directs the musicians to ascend from the lowest to the highest notes, creating a beautiful cacophony that concludes with a single E chord struck on three pianos simultaneously. “A Day in the Life” is an enigmatic masterpiece, a Beatles crown jewel that continues to demonstrate rock’s boundless creative potential, even today. “A Day in the Life” is a psychedelic rock symphony, an experimental and groundbreaking track that exemplifies The Beatles’ artistic ambition and their ability to push the boundaries of rock music.
25. “Wuthering Heights” (1978) – Kate Bush
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Spoiler alert: “Wuthering Heights” is sung from the perspective of Cathy’s ghost. Non-spoiler alert: this isn’t even the strangest aspect of the song. “Wuthering Heights” is an entire mood, and while it might not sound traditionally rebellious, it is arguably the most radical choice on this list. As unconventional today as it was upon release, this Brontë novel set to music achieves greatness with a swirling chorus that’s impossible to forget. Written by Kate Bush at 18 and sung in what could be described as “full banshee mode,” “Wuthering Heights” was initially rejected as a lead single by her label. However, she insisted, creating a now-iconic music video to accompany it. In 2022, Bush’s story gained a new chapter as her music featured in Stranger Things, generating renewed interest and a new generation of fans. Long may she twirl. “Wuthering Heights” is an art-rock enigma, an ethereal and unconventional track that showcases Kate Bush’s unique artistry and her ability to create hauntingly beautiful and dramatically theatrical music.
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