Rock and roll. It started as a simple mix of blues and country, but it has evolved into a massive, incredible genre. Today, rock music includes over 250 subgenres, from progressive rock to punk, metal to math rock, making it tough to choose just a few as “the best.” Picking only 25 songs and calling them the absolute greatest felt almost as daunting as Robert Johnson’s legendary deal with the devil. So, we decided to go back to the basics to define what truly makes a rock and roll song legendary.
We set four rules to guide our selection:
- Desert Island Quality: These songs had to be so good you’d want to listen to them even if stranded on a desert island.
- Wayne and Garth Test: They needed to be songs you can’t help but rock out to in your car, headbanging and air-guitaring along.
- Boundary Breakers: These songs had to be innovative, pushing rock music forward and influencing future generations.
- Timelessness: They had to be as powerful and relevant today as they were when they were first released.
Did we achieve the impossible? We think so! You might disagree with some of our choices, and that’s okay. You might think we missed your personal favorite, or even included a song you can’t stand. But think of this list as a journey into the vast world of rock, where the past and present connect, and you might just discover something new, or rediscover an old favorite. If this list inspires you to explore the incredible depth and breadth of rock and roll, then we consider it a success.
So, crank up the volume and dive into our list of the 25 best Rock And Roll Songs of all time.
“I Love Rock ‘N Roll” (1981) – Joan Jett & the Blackhearts
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Who cares if it’s a cover? Joan Jett & the Blackhearts made “I Love Rock ‘N Roll” their own. With her signature black hair and powerful stage presence, Joan Jett doesn’t just sing about rock; she embodies it. Her toughness is authentic. After the Runaways disbanded, she recorded a solo album with the Blackhearts, facing rejection from 23 record labels. This made the chart-topping success of “I Love Rock ‘N Roll” even more rewarding. Producer Kenny Laguna kept the sound simple and impactful, creating a perfect blend of sharp handclaps and raw guitar chords. And at the center is Jett’s strong, husky voice, delivering every word with pure rock and roll conviction. This song is more than just a hit; it’s an anthem for anyone who loves the raw energy of rock and roll.
“Born to Run” (1975) – Bruce Springsteen
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“At night, we ride through mansions of glory in suicide machines.” These aren’t your typical rock lyrics, and “Born to Run,” a powerful song about love, cars, and the yearning to escape small-town American dreams, is anything but typical. The title track of Bruce Springsteen’s breakthrough third album, “Born To Run,” is his masterpiece. It’s an epic of desperation, about breaking free from New Jersey via Highway 9, which runs through his hometown of Freehold. Springsteen’s voice starts almost whispering, filled with weariness, and then gradually builds with a massive wall of sound—guitars, organ, sax, drums, glockenspiel, bass, and keyboards—reaching its peak with the most iconic “woo-oah”s in rock history. Driving forward relentlessly, like the powerful cars he sings about, the song builds to a miraculous climax: hope triumphs over despair. “Born to Run” isn’t just a song; it’s an experience, capturing the raw emotion and desire for freedom at the heart of rock and roll.
“Starman” (1972) – David Bowie
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David Bowie’s “Starman” is a sparkling, wondrous track, a sci-fi story about an alien reaching out to Earth’s children through radio waves and phone lines. While the lyrics are futuristic, the song is also a tribute to classic American pop music, from the “Somewhere Over the Rainbow” octave jump to the Morse code-like guitar riff reminiscent of “You Keep Me Hangin’ On,” and the intro’s catchy “oh-oh-oh’s.” Like a beautifully folded origami box, each listen reveals new treasures, from Mick Ronson’s soaring guitar work to the uplifting chorus. Bowie’s 1972 BBC TV performance of “Starman” was incredibly influential, inspiring countless future musicians like Bono and Boy George when they were young. It was as if the song’s lyrics became reality, with Bowie himself acting as the otherworldly starman, bringing a message of hope and change through rock and roll.
“Once in a Lifetime” (1980) – Talking Heads
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An anthem of disorientation, Talking Heads’ signature song, “Once in a Lifetime,” is driven by Tina Weymouth’s mesmerizing, elastic bassline and Chris Frantz’s rhythmic drumming. Producer Brian Eno’s studio genius played a crucial role, transforming the band’s Fela Kuti-inspired jam sessions through looping techniques, an innovation ahead of its time. The result is a soundscape that feels like being lost inside a telephone exchange, filled with repeating signals, samples, and fragments. David Byrne’s haunting, existential lyrics (“How did I get here?”) and his unique delivery—part fortune teller, part street preacher—elevate this song to another level. “Once in a Lifetime” is a unique blend of art-rock and new wave, exploring themes of modern life and self-discovery in a way that is both unsettling and deeply compelling.
“Rebel Girl” (1993) – Bikini Kill
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In the 90s punk scene, mosh pits were dominated by men, and feminism was often dismissed. Then came Bikini Kill, fronted by the powerful Kathleen Hanna, who roared “Girls to the front!” and “Revolution girl style now!” at their shows. “Rebel Girl” is Bikini Kill’s original anthem of grrrl power, fueled by raw guitars and a relentless beat. Of the various recordings, the 1998 version, featuring Joan Jett’s guitar, adds extra punch, but the constant is Hanna’s incredible voice. She captures teenage girlhood like no other, with only Poly Styrene coming close. Her Valley girl-esque howl grabs your attention, declaring friendship, revolution, and desire. When she sang, it felt like the start of a revolution in rock and roll, making space for female voices and perspectives.
“Where Is My Mind?” (1988) – Pixies
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Pixies, described by David Bowie as “a psychotic Beatles” and cited by Kurt Cobain as a major influence, mastered the “loud-quiet-loud” dynamic. Choosing just one “best” song from their quirky, catchy, and intense catalog is nearly impossible, but “Where Is My Mind?” comes very close. Distinguished by Joey Santiago’s melodic guitar lines, Black Francis’s surreal storytelling, and Kim Deal’s ethereal “ooh-ooh” vocals that seem to float from another world (actually recorded in the studio bathroom), this song, like all Pixies tracks, finds magic in contrast: dreamy versus screaming, dark versus light. The effect is like surf rock set ablaze, creating a unique and unforgettable sound that has inspired countless alternative rock bands.
“Whole Lotta Love” (1969) – Led Zeppelin
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As a cornerstone of classic rock, it’s easy to overlook just how unique Led Zeppelin truly is, largely due to drummer John Bonham. Rejecting the typical rock formula where the drummer follows the bass, Bonham followed guitarist Jimmy Page, creating a heavy, winding, and powerful sound unlike anything else. Even with its iconic guitar riffs, Robert Plant’s over-the-top “reinterpretation” of Willie Dixon’s blues lyrics, and a psychedelic theremin breakdown, “Whole Lotta Love” remains grounded by Bonham’s drumming. It’s a raw, powerful, and undeniably sexy rock and roll track that showcased Led Zeppelin’s innovative approach to blues and hard rock.
“La Grange” (1973) – ZZ Top
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To fully appreciate the radical sound of ZZ Top’s “La Grange”—a heavy, swinging, blues-rock explosion—remember it was released in 1973, when pop radio was dominated by artists like Tony Orlando and Dawn. Billy Gibbons (guitar), Frank Beard (drums), and Dusty Hill (bass) mixed modern rock with boogie blues, topped off with some of the grittiest, funkiest, and most incredibly fiery guitar work ever recorded. The result was a completely new kind of groove. Later, ZZ Top adopted a more polished, commercial style, but during this era, they were just a trio of Texas eccentrics, soaked in BBQ sauce, doing their own thing. “La Grange” captures that raw, authentic energy and remains a definitive example of blues-rock at its finest.
“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 about raw energy, catchy sing-alongs, and guitars that make you want to jump. Orson Welles famously said, “The enemy of art is the absence of limitations,” a philosophy that perfectly describes the White Stripes. Limitation is their signature—from their three-color palette to their two-person band, from Meg White’s simple yet powerful drumming to Jack White’s preference for cheap plastic guitars. If anyone still wonders how something so minimal can create such a massive sound, just listen to “Fell in Love With a Girl.” It’s garage rock at its most energetic and infectious, proving that less can truly be more.
“Bohemian Rhapsody” (1975) – Queen
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The making of “Bohemian Rhapsody” is legendary—from the ten-hour singing sessions daily to the three weeks of recording and the 180 overdubs. But none of that matters when you press play on Queen’s masterpiece and get ready for nearly six minutes of pure rock and roll fun. One of the keys to the enduring success of this “mock opera,” as Freddie Mercury called it, is how much fun it is to sing along to. As entertaining as a summer blockbuster and as satisfying as a multi-course meal—intro, ballad, solo, opera, hard rock, outro—”Bohemian Rhapsody” was, is, and will always be a monument to joyful creative excess. It’s a song that breaks all the rules and still manages to be a timeless classic, loved by generations of rock fans.
“Gimme Shelter” (1969) – The Rolling Stones
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If you want to understand chaos, look at 1969: the Manson murders, the Vietnam War draft, and the election of Nixon. The Rolling Stones’ “Gimme Shelter” captured the end of the “peace and love” era, perfectly summarizing the desperation of the time with Keith Richards’ echoing, train-like guitar riff and the urgent vocals of Mick Jagger and Merry Clayton. Clayton’s powerful vocals, the heart of the song’s intensity, were recorded during a spontaneous midnight session, where she delivered the iconic “rape/murder” lines in her pajamas. Adding to the song’s chaotic energy, Richards’ guitar literally fell apart in his hands on the last note, but they kept it in—the sound of something breaking became the perfect ending. “Gimme Shelter” is a raw and haunting reflection of a turbulent time, and a testament to the Rolling Stones’ ability to capture the zeitgeist.
“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, it absolutely is. His central theme is love in all its forms—from the deepest despair to the silliest joy, always delivered with intense passion. On Abattoir Blues/Lyre of Orpheus, his 13th album with the Bad Seeds, we see a new Nick Cave—Cave 2.0—married, sober, and embracing the power of gospel music while staying true to his punk roots. “There She Goes, My Beautiful World” presents him as a powerful, black-suited preacher, backed by a band on fire, delivering poetic lyrics and name-dropping literary figures like Larkin, Nabokov, and rock icon Johnny Thunders in what might be the greatest (and possibly only) rock song about writer’s block. It’s a unique and compelling track that showcases Cave’s evolution as an artist while retaining his signature intensity.
“All Day and All of the Night” (1964) – The Kinks
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It’s hard to believe that “All Day and All of the Night,” a song that perfectly captures teenage desire, was released in 1964. At that time, Joey Ramone was only 13, and the term “punk rock” wouldn’t appear for another seven years. Yet, the raw, modern sound of this track wouldn’t be out of place on a contemporary indie record label. Yes, the chords are sharp, deliberate, and perfectly timed. Yes, Ray Davies is effortlessly cool. But the real magic lies in that frenetic tone—the dirty, grungy, previously unheard sound created when guitarist Dave Davies, Ray’s brother, slashed his amp speaker with a razor blade. And just like that, with a simple act of sonic rebellion, punk rock was born. “All Day and All of the Night” is a foundational rock and roll song, prefiguring the punk explosion to come.
“London Calling” (1979) – The Clash
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If you were lucky enough to hear “London Calling,” the title track from The Clash’s iconic album, on the radio in 1980, those first 20 seconds would have stopped you in your tracks. What else sounded like Topper Headon’s crashing drums as Joe Strummer and Mick Jones joined in with their guitars? It sounds like boots pounding the pavement, perhaps. By the time the bass kicks in, “London Calling” has become a rain-soaked, three-minute film, narrated by Strummer, a master storyteller. Clash songs are like solid, essential tools—low budget, unpretentious, powerful—and this one is no exception. Guitars offer brief, sharp bursts of color, but the focus remains on Strummer and his end-of-the-world narrative. Apocalyptic, yes, but never despairing—more like a call to action. “London Calling” is a timeless protest song, capturing the anxieties of the era while still inspiring listeners today.
“Blitzkrieg Bop” (1976) – The Ramones
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The Ramones were the embodiment of simplicity and efficiency: four members, four chords. Identical names, identical outfits. And you always knew when their fast and loud songs were about to begin because Joey Ramone, the Punk Giant, would give a helpful countdown: “1, 2, 3, 4!” or, in the case of “Blitzkrieg Bop,” “Hey, ho, let’s go!” The Ramones stood on stage not as rock gods or unreachable idols, but as ordinary people—misfits, outcasts in ripped jeans. Of course, they created incredibly 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 more than just a song; it’s an invitation to join the fun, the energy, and the revolution of punk rock.
“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 hated fame. Emerging from the flannel-clad Pacific Northwest punk/grunge scene, the massive success of “Smells Like Teen Spirit”—platinum records, 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”), sarcastic lyrics, and Dave Grohl’s funk-influenced drumming created a once-in-a-lifetime rock and roll alchemy. “Smells Like Teen Spirit” became the soundtrack for a generation, capturing the angst and disillusionment of the early 90s and forever changing the landscape of rock music.
“Voodoo Child (Slight Return)” (1968) – The Jimi Hendrix Experience
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“Voodoo Child” embodies Jimi Hendrix as a rock and roll Zeus, throwing Stratocaster-shaped lightning bolts to earth. Or Hendrix as a fire-breathing rock monster, Godzilla in tie-dye, or simply Guitar God, telling epic tales about standing next to mountains, chopping them down with his hand, making islands from the pieces—you know, typical rock star stuff. And then, as if winking at the audience, Hendrix laughs. The incredible thing is that the guitar work on this track is so fiery and inventive that he earns those bragging rights, and then some. “Voodoo Child (Slight Return)” is a showcase of Hendrix’s unparalleled guitar skills and showmanship, a song that pushed the boundaries of rock guitar and cemented his legendary status.
“Gloria” (1975) – Patti Smith
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“Jesus died for somebody’s sins but not mine,” Patti Smith declares in what might be the most confident and coolest rock and roll intro of all time. Her song “Gloria” is actually a fusion of two works—Smith’s original poem “Oath” and Van Morrison’s song “Gloria.” Unsurprisingly, she absolutely owns it, bending and twisting Morrison’s innocent pop song to fit her darker, more complex vision. And when she proclaims, “My sins belong to me, me,” it sends chills down your spine—it’s the sound of a woman staking her claim in a male-dominated rock and roll world, pushing aside the establishment and demanding “make room.” And they did. “Gloria” is a powerful statement of independence and artistic vision, marking Patti Smith as a major force in rock music.
“Search and Destroy” (1973) – The Stooges
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You probably already know the crucial role this driving, sinister song played in the invention of punk rock. But what you might not know is how much influence David Bowie, as producer, had on it. His decision to bring Iggy Pop’s vocals and James Williamson’s wild guitar melodies to the forefront (while reducing the volume of the rhythm section) unintentionally created a template used by bands from the Sex Pistols to the White Stripes and beyond. The result is an urgent, propulsive song with a raw, untamed spirit and some of Iggy Pop’s most charged lyrics, deceptively simple yet filled with desperation about love and war. “Search and Destroy” is a raw, visceral track that embodies the rebellious spirit of early punk and continues to inspire artists today.
“Let’s Go Crazy” (1984) – Prince & the Revolution
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With its purple imagery, metaphorical elevators, church organs, intense guitar solos, and perhaps the best sermon/eulogy in rock and roll history, Prince’s celebration of life and faith (“de-elevator” is a reference to the devil) opened Purple Rain—both the album and the film. With its energetic blend of synth, drums, guitar, brilliant wordplay (“Dr. Everything’ll-be-alright/will make everything go wrong”), and a vocal performance that sets a new standard, “Let’s Go Crazy” has truly stood the test of time. Now that Prince is gone, the lyrics about life and death carry even greater weight, but songs like this ensure his legacy. “Let’s Go Crazy” is a vibrant, genre-bending masterpiece that showcases Prince’s genius and continues to electrify audiences.
“Tutti Frutti” (1955) – Little Richard
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Little Richard, who started as a drag performer named Princess Lavonne in the Deep South, exploded onto the American pop music scene in the 1950s with a unique mix of gospel, blues, and unapologetic attitude. Richard, who called himself the “King and Queen” of rock and roll, screamed and played piano with unmatched energy. As EW’s Jonathan Bernstein noted, Richard was 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 songwriter helped him revise the original NSFW lyrics, but the song retained its infectious spirit, turning “A-wop-bop-a-loo-bop-a-lop-bam-boom” into a national catchphrase. “Tutti Frutti” is a groundbreaking song, essential to the birth of rock and roll, and a testament to Little Richard’s flamboyant genius.
“Johnny B. Goode” (1958) – Chuck Berry
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There’s little debate about who “invented” rock and roll: Chuck Berry. While “Maybellene” was his debut song in 1955, it was “Johnny B. Goode” a few years later that truly blew the roof off, a wild, rollicking guitar-driven track that influenced…well…everyone. And we mean everyone! “Johnny B. Goode” is the ultimate rock and roll origin story, a celebration of the American dream and the power of music to transcend social barriers. Berry’s guitar work on this track is legendary, making it a cornerstone of rock and roll history and a must-listen for anyone wanting to understand the roots of the genre.
“Be My Baby” (1963) – The Ronettes
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Ronnie Spector (born Bennett) was an 18-year-old singer from Spanish Harlem with a deeply emotional, tough-girl voice (and perfect winged eyeliner) when she recorded “Be My Baby” with producer Phil Spector, who would later become her husband. Though their life together was filled with darkness, this recording remains a shining example of his “wall of sound” technique, capturing Ronnie’s perfect expression of young love—and featuring one of the most iconic drum intros in rock and roll history. Even after her passing at age 78 in January 2022, Ronnie’s voice continues to resonate. “Be My Baby” is a timeless classic, showcasing the power of Spector’s production and Ronnie’s unforgettable voice, a defining song of the girl group era and rock and roll history.
“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 surrealistic collaboration between John Lennon and Paul McCartney for the ages. After John’s somber opening—”I read the news today, oh boy”—Paul jumps in from a brighter dimension, singing about his cheerful morning routine. The song famously concludes with a 40-piece orchestra going wild as McCartney instructs the musicians to start at the lowest note and build to the highest, creating a beautiful cacophony that ends with a single E chord played on three pianos simultaneously. “A Day in the Life” is a musical mystery box, a crown jewel in the Beatles’ catalog that continues to demonstrate rock and roll’s boundless creative potential, even today. It’s a song that pushes the boundaries of genre and form, solidifying the Beatles’ place as innovators in rock music.
“Wuthering Heights” (1978) – Kate Bush
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Spoiler alert: “Wuthering Heights” is sung from the perspective of Cathy, a ghost. Non-spoiler alert: this isn’t even the strangest thing about this song. “Wuthering Heights” is pure atmosphere, and while it might not sound traditionally rebellious, it’s arguably the most radical choice on this list. As unconventional now as it was when it was released, this musical adaptation of the Brontë novel achieves greatness with a swirling chorus that’s impossible to forget. Written by Kate Bush at just 18 and sung in what could be described as “full banshee mode,” “Wuthering Heights” was initially rejected by her label as a lead single. However, she insisted and created a now-iconic music video to accompany it. In 2022, Bush’s story continued as her music’s appearance in Stranger Things sparked renewed interest and a new generation of fans. Long may she twirl. “Wuthering Heights” is a unique and unforgettable song, demonstrating the breadth and artistic possibilities within rock and roll.
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