Rock and roll. It started as a rebellious mix of blues and country, but it mutated into a glorious, sprawling genre with countless subgenres, from progressive rock to punk, heavy metal to math rock. Trying to pick just 25 “best” rock songs from this vast landscape is a daunting task. So, we decided to go back to the core essence of rock music.
We set four simple, but crucial rules:
- Desert Island Discs: These songs had to be so good, you’d want them with you if stranded on a desert island.
- Car Rock-Out Test: They had to be the kind of songs that make you crank up the volume and air-guitar like nobody’s watching (even if Wayne and Garth are watching).
- Genre-Bending Impact: These songs had to be groundbreaking, pushing the boundaries of rock music forward.
- Timelessness: They must be as powerful and relevant today as they were when they first hit the airwaves.
Did we succeed? We think so! You might disagree with some of our choices, and that’s part of the fun. The beauty of Popular Rock Music is its diversity and the passionate opinions it inspires. If this list inspires you to explore the rich history of rock, discover new artists, or revisit old favorites, then we consider it a success.
So, without further ado, let’s dive into our list of 25 of the most popular and influential rock songs ever recorded.
“I Love Rock ‘N Roll” (1981) – Joan Jett & the Blackhearts
:max_bytes(150000):strip_icc()/joan-jett-I-love-rock-n-roll-82870737-7ff6a97461c54b5a8e31009b76d84948.jpg)
Who cares if it’s a cover? Joan Jett & the Blackhearts made “I Love Rock ‘N Roll” their own, injecting it with raw energy and rebellious attitude. Joan Jett, with her signature black hair and powerful stage presence, doesn’t just sing about rock; she embodies it. Her toughness was genuine. After her previous band, The Runaways, disbanded, she faced rejection from 23 record labels before finally achieving chart-topping success with this anthem. Producer Kenny Laguna’s stripped-down production, featuring crisp handclaps and gritty guitar chords, perfectly complements Jett’s husky, powerful vocals. “I Love Rock ‘N Roll” is a declaration of passion, pure rock energy distilled into a timeless classic of popular rock music.
“Born to Run” (1975) – Bruce Springsteen
:max_bytes(150000):strip_icc()/bruce-springsteen-born-to-run-82870740-a58c1336126e44c0b28e841a4c11a394.jpg)
“At night, we ride through mansions of glory in suicide machines” – not your typical rock lyrics, and “Born to Run” is anything but typical. This track, the title song from Bruce Springsteen’s breakthrough album, is a sprawling epic about love, escape, and the yearning for the American dream. It’s a desperate plea to break free from small-town Jersey life via Highway 9. Springsteen’s vocals start weary, almost monotone, gradually building with layers of sound – guitars, organ, sax, drums, glockenspiel, bass, keyboards – culminating in rock’s most iconic “woo-oah” moments. Like the chrome-wheeled cars he sings about, “Born to Run” drives relentlessly forward, a testament to hope prevailing over despair, cementing its place in popular rock music history.
“Starman” (1972) – David Bowie
:max_bytes(150000):strip_icc()/david-bowie-starman-82870743-f99c0497525e4119857c8826b316d667.jpg)
David Bowie’s “Starman” is a shimmering, otherworldly masterpiece. A sci-fi tale of an alien reaching out to Earth’s children via radio waves, it’s also deeply rooted in classic American pop. From the “Somewhere Over the Rainbow” vocal leap to the Morse code-like guitar riff reminiscent of “You Keep Me Hangin’ On,” and the catchy “oh-oh-oh” intro, “Starman” is a treasure trove of musical brilliance. Mick Ronson’s soaring guitar work and the feel-good chorus elevate this song to pure pop-rock perfection. Bowie’s legendary 1972 BBC TV performance of “Starman” was transformative, inspiring countless future musicians who were watching as kids, solidifying the song’s impact on popular rock music and culture.
“Once in a Lifetime” (1980) – Talking Heads
:max_bytes(150000):strip_icc()/talking-heads-once-in-a-lifetime-82870746-11a98e7590a84874b32041531b929f1d.jpg)
“Once in a Lifetime,” Talking Heads’ signature song, is an exploration of disassociation, driven by Tina Weymouth’s mesmerizing bassline and Chris Frantz’s rhythmic drumming. Producer Brian Eno’s innovative studio techniques, looping Fela Kuti-inspired jam sessions, created a soundscape that was ahead of its time. The result is a sonic experience like being lost inside a telephone switchboard, echoing with repeating signals and fragments. David Byrne’s hauntingly existential lyrics (“How did I get here?”) and delivery, part preacher, part fortune teller, complete this iconic track. “Once in a Lifetime” is a unique and unforgettable contribution to popular rock music, blending art-rock with infectious rhythms.
“Rebel Girl” (1993) – Bikini Kill
:max_bytes(150000):strip_icc()/bikini-kill-rebel-girl-82870749-47f62c1d08174e62a2470a1130f12749.jpg)
In the 90s punk scene, dominated by machismo, Bikini Kill, led by Kathleen Hanna, burst onto the scene with feminist fury. “Girls to the front!” and “Revolution girl style now!” became rallying cries. “Rebel Girl” is Bikini Kill’s raw, powerful anthem of grrrl power, fueled by crunchy guitars and a relentless beat. While there are several versions, the ’98 recording with Joan Jett adding guitar is a standout. But the constant is Hanna’s potent voice, capturing the essence of teenage girlhood with unmatched intensity, rivaled only by Poly Styrene. Her distinctive howl is a call to arms, proclaiming friendship, revolution, and desire. “Rebel Girl” is a pivotal song in popular rock music, marking the rise of riot grrrl and feminist punk.
“Where Is My Mind?” (1988) – Pixies
:max_bytes(150000):strip_icc()/pixies-where-is-my-mind-82870752-1f4e257d621548699e1e741b45f944a8.jpg)
Pixies, described by David Bowie as “a psychotic Beatles” and a major influence on Kurt Cobain, mastered the “loud-quiet-loud” dynamic. Choosing a single “best” Pixies song is nearly impossible, but “Where Is My Mind?” comes incredibly close. Distinguished by Joey Santiago’s melodic guitar waves, Black Francis’s surreal lyrics, and Kim Deal’s ethereal “ooh-ooh’s” (rumored to be recorded in the studio bathroom), this song thrives on contrast: dreamy versus abrasive, dark versus light. The effect is like surf rock engulfed in flames. “Where Is My Mind?” is a quintessential example of Pixies’ unique and influential sound within popular rock music, blending melody with raw intensity.
“Whole Lotta Love” (1969) – Led Zeppelin
:max_bytes(150000):strip_icc()/led-zeppelin-whole-lotta-love-82870755-31c2cb47b79a4c76b058000f52b3245d.jpg)
Led Zeppelin, a cornerstone of classic rock, often defies easy categorization thanks to the drumming of John Bonham. Instead of following the bass, Bonham locked in with Jimmy Page’s guitar, creating a heavy, winding sound unlike anything else. Even with its iconic guitar riffs, Robert Plant’s over-the-top blues-inspired vocals, and a psychedelic theremin breakdown, “Whole Lotta Love” remains grounded by Bonham’s powerful drumming. This track showcases Led Zeppelin’s groundbreaking approach to blues-rock, pushing boundaries and establishing them as giants of popular rock music.
“La Grange” (1973) – ZZ Top
:max_bytes(150000):strip_icc()/zz-top-la-grange-82870758-d71367817b794b37a6c6c221a89f1432.jpg)
To truly appreciate ZZ Top’s “La Grange,” consider its 1973 release, when pop radio was dominated by softer sounds. Billy Gibbons (guitar), Frank Beard (drums), and Dusty Hill (bass) fused modern rock with boogie blues, topped with Gibbons’ incredibly crunchy and funky guitar work. The result was a whole new groove, a heavy, swinging, blues-rock powerhouse. Before their later commercial slickness, ZZ Top was a trio of Texas eccentrics delivering raw, BBQ-soaked rock. “La Grange” is a definitive example of their early sound, a crucial track in the development of southern rock and popular rock music in general.
“Fell in Love With a Girl” (2001) – The White Stripes
:max_bytes(150000):strip_icc()/the-white-stripes-fell-in-love-with-a-girl-82870761-4012c90d218d42c49f1a0984208a6b8d.jpg)
If a song could capture the feeling of falling in love, it might be “Fell in Love With a Girl” by The White Stripes. Love isn’t just hearts and flowers; it’s also raw energy, snotty sing-alongs, and slashing guitars that make you want to jump. The White Stripes thrived on limitations – their three-color palette, two-person format, Meg White’s minimalist drumming, and Jack White’s cheap guitars. From this minimalism came a massive sound. “Fell in Love With a Girl” is a testament to their raw, energetic approach, a vibrant and essential track in the landscape of popular rock music in the early 2000s.
“Bohemian Rhapsody” (1975) – Queen
:max_bytes(150000):strip_icc()/queen-bohemian-rhapsody-82870764-9929185297b7482999431530d935b69a.jpg)
The making of “Bohemian Rhapsody” is legendary – hours of singing sessions, weeks of recording, and countless overdubs. But all that fades away when you press play on Queen’s masterpiece and embark on a six-minute journey of rock opera. Freddie Mercury called it a “mock opera,” but its enduring appeal lies in its sheer fun and sing-along quality. “Bohemian Rhapsody” is a blockbuster in song form, a six-course meal of intro, ballad, solo, opera, hard rock, and outro. It’s a monument to joyful creative excess and remains a cornerstone of popular rock music, celebrated across generations.
“Gimme Shelter” (1969) – The Rolling Stones
:max_bytes(150000):strip_icc()/the-rolling-stones-gimme-shelter-82870767-514a83c6691642028083e4a4d666b868.jpg)
1969 was a chaotic year, and The Rolling Stones’ “Gimme Shelter” captured the turbulence perfectly. Reflecting the end of the “peace and love” era, the song embodies the desperation of the time with Keith Richards’s echoing guitar riff and the haunting vocals of Mick Jagger and Merry Clayton. Clayton’s powerful vocals, especially her iconic “rape/murder” lines, were recorded in an impromptu midnight session. Even the song’s production mirrored the chaos: Richards’s guitar literally fell apart on the last note, a fittingly broken coda left in the final mix. “Gimme Shelter” is a raw and powerful reflection of its time, a vital piece of popular rock music history.
“There She Goes, My Beautiful World” (2004) – Nick Cave and the Bad Seeds
:max_bytes(150000):strip_icc()/nick-cave-and-the-bad-seeds-there-she-goes-my-beautiful-world-82870770-0f51641858f44293b40e24a4e0b3e52c.jpg)
“You weren’t much of a muse, but then I weren’t much of a poet” – not your typical love song opening, but this is Nick Cave. Love, in all its forms, drives his music, from the darkest depths to moments of unexpected joy. “There She Goes, My Beautiful World,” from Abattoir Blues/Lyre of Orpheus, introduces a “Cave 2.0” – sober, married, and embracing gospel influences without losing his punk spirit. Backed by a band on fire, Cave delivers a powerful performance, name-dropping literary figures like Larkin and Nabokov in what might be rock’s best song about writer’s block. It’s a testament to Nick Cave’s unique place in popular rock music, blending poetry with raw rock energy.
“All Day and All of the Night” (1964) – The Kinks
:max_bytes(150000):strip_icc()/the-kinks-all-day-and-all-of-the-night-82870773-50d86a7f960a45e1859a1446343c8267.jpg)
It’s almost unbelievable that “All Day and All of the Night,” a song of pure teenage desire, was released in 1964, years before punk rock officially emerged. Yet, its raw, modern sound would fit perfectly on a contemporary indie record label. Ray Davies’ cool vocals and the song’s perfectly paced, jagged chords are key, but the real magic is the frenetic tone. This dirty, grungy sound was created when guitarist Dave Davies slashed his amp speaker with a razor blade. In that moment, punk rock’s sonic blueprint was arguably born. “All Day and All of the Night” is a foundational track in popular rock music, bridging the gap between early rock and the punk explosion.
“London Calling” (1979) – The Clash
:max_bytes(150000):strip_icc()/the-clash-london-calling-82870776-296483c4b78342759753b713d1418a15.jpg)
Hearing the opening of “London Calling” on the radio in 1980 was instantly arresting. Topper Headon’s drum intro, followed by Joe Strummer and Mick Jones’ guitars, created a soundscape unlike anything else. It evokes boots on asphalt, setting the scene for a rain-soaked, three-minute film narrated by master storyteller Strummer. Clash songs are stripped-down, muscular instruments, and “London Calling” is no exception. Guitars provide brief flashes of color, but the focus remains on Strummer’s apocalyptic yet defiant narrative. It’s a call to arms, not despair, and a defining moment in popular rock music, blending punk with social commentary.
“Blitzkrieg Bop” (1976) – The Ramones
:max_bytes(150000):strip_icc()/the-ramones-blitzkrieg-bop-82870779-091b9674395443e684949d8c2364993a.jpg)
The Ramones were the embodiment of simplicity and efficiency: four members, four chords, identical names and outfits. And you always knew a Ramones song was starting with Joey Ramone’s “1, 2, 3, 4!” or, in the case of “Blitzkrieg Bop,” “Hey, ho, let’s go!” The Ramones weren’t rock gods; they were relatable oddballs and misfits in ripped jeans. They created catchy, bouncy, perfect pop-punk, but their true legacy is their democratic spirit – everyone was welcome to the party. “Blitzkrieg Bop” is a quintessential punk anthem and a cornerstone of popular rock music, inviting everyone to join the fun.
“Smells Like Teen Spirit” (1991) – Nirvana
:max_bytes(150000):strip_icc()/nirvana-smells-like-teen-spirit-82870782-d4697635a78342748997c7a866084070.jpg)
“With the lights out, it’s less dangerous/Here we are now, entertain us.” Kurt Cobain famously hated fame. Emerging from the Pacific Northwest grunge scene, the massive success of “Smells Like Teen Spirit” seemed to surprise him. An ironic, angsty anthem for a disaffected generation, it combined rhythmic punk power chords (inspired by Pixies’ “Debaser”), sarcastic lyrics, and Dave Grohl’s funk-influenced drumming. This alchemy created a once-in-a-lifetime rock moment. “Smells Like Teen Spirit” defined the grunge era and became an iconic anthem of popular rock music, resonating with a generation.
“Voodoo Child (Slight Return)” (1968) – The Jimi Hendrix Experience
:max_bytes(150000):strip_icc()/the-jimi-hendrix-experience-voodoo-child-slight-return-82870785-3438a85e187c4c7295a55a5b07464487.jpg)
“Voodoo Child (Slight Return)” showcases Jimi Hendrix as a guitar god, unleashing thunderbolts from his Stratocaster. He’s a rock monster, Godzilla in tie-dye, bragging about superhuman feats – moving mountains and creating islands with his bare hands. Then, he laughs, as if acknowledging the absurdity. But the incendiary guitar work justifies the bravado. Hendrix earned every bit of his legend. “Voodoo Child (Slight Return)” is a showcase of Hendrix’s unparalleled guitar genius and a cornerstone of popular rock music, inspiring generations of musicians.
“Gloria” (1975) – Patti Smith
:max_bytes(150000):strip_icc()/patti-smith-gloria-82870788-4941189f06044897991323d4728b2b79.jpg)
“Jesus died for somebody’s sins but not mine,” Patti Smith declares in rock’s most self-assured intro. Her “Gloria” is a fusion of her poem “Oath” and Van Morrison’s song “Gloria.” Smith completely transforms Morrison’s innocent bop into something darker and more complex. When she asserts, “My sins belong to me, me,” it’s chilling, a woman claiming her space in a male-dominated rock world, pushing aside the establishment and demanding room. And they made room. “Gloria” is a powerful statement and a pivotal song in popular rock music, highlighting Smith’s unique blend of poetry and punk.
“Search and Destroy” (1973) – The Stooges
:max_bytes(150000):strip_icc()/the-stooges-search-and-destroy-82870791-c5e21c47c5074692a34e9328490a8343.jpg)
“Search and Destroy” is known for its role in punk’s invention. But Bowie’s production is crucial. His decision to push Iggy Pop’s vocals and James Williamson’s wild guitar upfront while lowering the rhythm section volume created a template for bands from the Sex Pistols to The White Stripes. The result is urgent and propulsive, with a raw spirit and Iggy’s charged lyrics about love and war, dripping with desperation. “Search and Destroy” is a proto-punk masterpiece and a hugely influential track in popular rock music, shaping the sound of punk and alternative rock.
“Let’s Go Crazy” (1984) – Prince & the Revolution
:max_bytes(150000):strip_icc()/prince-and-the-revolution-lets-go-crazy-82870794-445e99b945b748138f4b856b38b09403.jpg)
“Let’s Go Crazy,” with its purple flourishes, church organ, searing guitar solos, and iconic sermon/eulogy intro, opened Purple Rain the album and the film. Prince’s ode to partying (and spirituality – the “de-elevator” is Satan) is a whirlwind of synth, drums, guitar, and brilliant wordplay. Prince’s vocals are unmatched. Now, with Prince gone, the life-and-death lyrics resonate even deeper. “Let’s Go Crazy” is a timeless anthem and a testament to Prince’s genius, solidifying his legacy in popular rock music.
“Tutti Frutti” (1955) – Little Richard
:max_bytes(150000):strip_icc()/little-richard-tutti-frutti-82870797-5a02686e00394500a6296e586263d528.jpg)
Little Richard, a former drag queen, exploded onto the 1950s music scene with gospel, blues, and fearless attitude. Calling himself the “King and Queen” of rock, Richard screamed and played piano with unmatched fervor. He openly explored gender identity and sexuality on stage, breaking barriers. To make “Tutti Frutti” radio-friendly, the original NSFW lyrics were rewritten, but the vibrant spirit remained. “A-wop-bop-a-loo-bop-a-lop-bam-boom” became a national catchphrase. “Tutti Frutti” is a foundational rock and roll track and a crucial moment in popular rock music history, breaking social and musical boundaries.
“Johnny B. Goode” (1958) – Chuck Berry
:max_bytes(150000):strip_icc()/chuck-berry-johnny-b-goode-82870800-904107b490c44956b83615e7c20d0735.jpg)
There’s little debate about who “invented” rock and roll: Chuck Berry. While “Maybelline” came first, “Johnny B. Goode” truly ignited the genre. A wild, rollicking guitar ride, it influenced…everyone. And we mean everyone! “Johnny B. Goode” is the quintessential rock and roll song, a blueprint for generations of guitarists and a cornerstone of popular rock music, its influence is immeasurable.
“Be My Baby” (1963) – The Ronettes
:max_bytes(150000):strip_icc()/the-ronettes-be-my-baby-82870803-9f78d742315f483481908644e5844353.jpg)
Ronnie Spector, just 18, with her emotional, tough-girl voice, recorded “Be My Baby” with producer Phil Spector. Despite their turbulent personal lives, this recording remains a shining example of Spector’s “wall of sound” technique, capturing Ronnie’s perfect expression of young love. It features one of rock’s most iconic drum intros. Ronnie’s voice, though silenced in 2022, lives on forever. “Be My Baby” is a masterpiece of early girl-group rock and roll and a beloved classic in popular rock music.
“A Day in the Life” (1967) – The Beatles
:max_bytes(150000):strip_icc()/the-beatles-a-day-in-the-life-82870806-1185879c72754306b131e735a9737450.jpg)
The final track on The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band is a surreal collaboration between John Lennon and Paul McCartney. Lennon’s dark opening gives way to McCartney’s cheerful morning routine. The song culminates in a 40-piece orchestra crescendo, guided by McCartney, creating a beautiful cacophony ending with a powerful E chord. “A Day in the Life” is a mystery box, a Beatles crown jewel that continues to demonstrate rock’s endless creative possibilities. It remains a landmark achievement in popular rock music, showcasing the Beatles’ unparalleled innovation.
“Wuthering Heights” (1978) – Kate Bush
:max_bytes(150000):strip_icc()/kate-bush-wuthering-heights-82870809-9f1f912253044010989c018f63c43378.jpg)
“Wuthering Heights” is sung from the perspective of Cathy’s ghost. And that’s not even the strangest thing about it. “Wuthering Heights” is pure atmosphere. While not traditionally rebellious, it’s arguably the most radical choice on this list. As bizarre now as ever, this Brontë novel set to music features a haunting chorus that burrows into your mind. Written by Kate Bush at 18 and sung in “full banshee mode,” “Wuthering Heights” was initially resisted by her label as a single. Bush insisted, filming a legendary video. In 2022, Stranger Things reignited interest in Bush’s music for a new generation. Long may she twirl. “Wuthering Heights” is a unique and enduring contribution to popular rock music, proving the genre’s capacity for the unconventional and the ethereal.
Related content:
