Rock and roll. It started as a rebellious blend of blues and country, but over the decades, it has morphed into a magnificent, sprawling genre with countless subgenres – from the intricate artistry of progressive rock to the raw energy of punk, the heavy riffs of metal to the complex rhythms of math rock. Choosing just a handful of tracks and calling them “the best” is a daunting task, akin to navigating a labyrinthine musical landscape. So, we decided to simplify things and go back to the essence of rock itself.
Our mission was guided by four core principles to curate this definitive list of the Best Rock Tracks Ever:
- Desert Island Disc Quality: These songs had to be so compelling that you’d want them with you if stranded on a desert island – endlessly replayable and deeply satisfying.
- The Wayne and Garth Test: Pure, unadulterated rock-out-in-your-car anthems. Tracks that compel you to crank up the volume, roll down the windows, and air-guitar like nobody’s watching.
- Boundary-Breaking Innovation: Each song had to be a game-changer, pushing the boundaries of rock music forward, influencing subsequent artists and shaping the genre’s evolution.
- Timeless Vitality: These tracks needed to be as potent and relevant today as they were when they first exploded onto the scene – songs that transcend trends and continue to resonate with new generations.
Did we succeed in this ambitious endeavor? We believe so! While you might find yourself disagreeing with some of our choices – perhaps your personal favorites are missing, or you might even dislike a track or two on this list – consider this: if this curated selection ignites your passion for rock music, sending you on a journey of discovery through its rich history, where the old feels new and the new echoes the old, then we’ve achieved our goal.
So, without further ado, immerse yourself in our list of the 25 best rock tracks of all time, tracks that have not only defined eras but continue to fuel the spirit of rock and roll.
1. “I Love Rock ‘N Roll” (1981) – Joan Jett & The Blackhearts
So what if it’s a cover? Joan Jett & The Blackhearts didn’t just cover “I Love Rock ‘N Roll”; they seized it, making it their undisputed anthem. Joan Jett, with her signature black shag and powerful stage presence, embodies the very spirit of rock and roll. Her toughness wasn’t a manufactured persona. After the breakup of The Runaways, Jett persevered, recording a solo album with her band, The Blackhearts, only to face rejection from 23 record labels. This struggle made the chart-topping triumph of “I Love Rock ‘N Roll” all the more rewarding.
The track’s minimalist arrangement, crafted by producer Kenny Laguna, is as effective as a schoolyard chant – a perfect call-and-response between sharp handclaps and gritty guitar chords. And at the heart of it all is Jett’s voice, a husky powerhouse delivering every word with unwavering conviction and rebellious energy, a true victory cry for rock music. This is more than just a song; it’s a statement, a declaration of love for the raw, unapologetic power of rock and roll.
2. “Born to Run” (1975) – Bruce Springsteen
“At night, we ride through mansions of glory in suicide machines.” These opening lyrics of “Born to Run” are far from typical rock fare, and for good reason. This epic anthem, a passionate ode to love, cars, and the elusive American dream, transcends the ordinary. “Born to Run,” the title track of Bruce Springsteen’s career-defining third album, is his magnum opus, a desperate escape narrative from the confines of New Jersey, specifically Highway 9, the road that cuts through his hometown of Freehold.
Springsteen’s vocal delivery begins with a weariness, almost monotone, reflecting the desperation of his lyrics. But then, it gradually ascends, lifted by a monumental wall of sound – layers of guitars, organ, saxophone, drums, glockenspiel, bass, and keyboards – culminating in those legendary, soaring ‘woo-oah’s’ that have become synonymous with rock euphoria. Driven relentlessly forward, much like the chrome-wheeled, fuel-injected machines he sings about, the song builds towards its powerful climax. In its final moments, a miraculous transformation occurs: hope triumphs over despair. “Born to Run” is not just a song; it’s a cinematic experience, a sonic journey from desperation to aspiration, solidifying its place as one of the best rock tracks ever.
3. “Starman” (1972) – David Bowie
David Bowie’s “Starman” is a shimmering marvel, a fantastical tale of an alien reaching out to Earth’s children via radio waves and telephone lines. While the lyrics are steeped in science fiction, the song is also a heartfelt homage to classic American pop music. From the “Somewhere Over the Rainbow” inspired octave leap to the Morse code-like guitar riff reminiscent of “You Keep Me Hangin’ On,” and the infectious “oh-oh-oh” intro, “Starman” is a masterclass in pop-rock songwriting.
Like an intricately folded origami box, each listen reveals new treasures. Mick Ronson’s soaring, otherworldly guitar work is a moonshot in itself, perfectly complementing the feel-good chorus. Bowie’s iconic 1972 BBC TV performance of “Starman” was profoundly influential, reaching countless future stars during their formative years – from Bono to Boy George. It was as if the lyrics themselves were manifesting in reality, a testament to the song’s powerful message of hope and otherworldly connection. “Starman” is more than just a rock song; it’s a cultural touchstone, a beacon of imagination and musical innovation.
4. “Once in a Lifetime” (1980) – Talking Heads
An anthem of disassociation and existential questioning, Talking Heads’ signature track, “Once in a Lifetime,” is propelled by Tina Weymouth’s mesmerizing, elastic bassline and Chris Frantz’s rhythmic, jittery drumming. However, producer Brian Eno’s studio wizardry played a crucial role in shaping the song’s unique sonic landscape. Eno took the band’s Fela Kuti-inspired jam sessions and expertly looped them, a groundbreaking innovation for its time.
The result is a soundscape that feels like being trapped inside a bustling telephone switchboard, filled with repeating signals, fragmented samples, and sonic scraps. Of course, David Byrne’s hauntingly existential lyrics (“How did I get here?”) and his distinctive delivery – a blend of fortune teller and street preacher – elevate the song to another level. “Once in a Lifetime” is not just a rock song; it’s an art-rock masterpiece, a sonic exploration of modern alienation and the search for meaning in a chaotic world.
5. “Rebel Girl” (1993) – Bikini Kill
In the 1990s punk scene, mosh pits were often dominated by macho aggression, and feminism was often dismissed. Enter Bikini Kill, fronted by the indomitable Kathleen Hanna, who challenged the status quo with raw power and unapologetic feminism. At Bikini Kill shows, Hanna would command “Girls to the front!” and proclaim “Revolution girl style now!” “Rebel Girl” stands as the band’s original and defining anthem of grrrl power, driven by crunchy guitars and a relentless, driving beat.
While multiple recordings exist, the ’98 version, featuring Joan Jett’s beefed-up guitar chords, is particularly powerful. But the constant is Hanna’s unmistakable voice, a raw and potent instrument that captures the complexities of teen girlhood like no other artist, perhaps with the exception of Poly Styrene. Her Valley girl-esque howl is arresting, proclaiming themes of friendship, revolution, and yes, female desire. When Hanna sang “Rebel Girl,” it wasn’t just a song; it was a sonic revolution, a rallying cry for a new generation of female voices in rock.
6. “Where Is My Mind?” (1988) – Pixies
Pixies, hailed by David Bowie as “a psychotic Beatles” and cited by Kurt Cobain as a major influence, were masters of the “loud-quiet-loud” dynamic. Choosing a single “best” track from their quirky, infectious, and intensely hummable catalog is nearly impossible, but “Where Is My Mind?” comes remarkably close. Distinguished by Joey Santiago’s melodic, wave-like guitar lines, Black Francis’s surreal, panic-dream storytelling, and Kim Deal’s ethereal “ooh-ooh’s” that seem to drift in from an underwater realm (actually recorded in the studio bathroom), the song, like all Pixies tracks, finds magic in contrasts.
Dreamy verses juxtapose with screaming choruses, darkness dances with light. The overall effect is akin to surf rock consumed by flames. “Where Is My Mind?” is more than just a song; it’s an auditory paradox, a beautiful collision of sonic opposites that solidifies Pixies’ place as innovators in alternative rock.
7. “Whole Lotta Love” (1969) – Led Zeppelin
As a cornerstone of the classic rock canon, it’s easy to overlook just how unconventional Led Zeppelin truly was, largely thanks to the groundbreaking drumming of John Bonham. Rejecting the standard rock formula where the drummer follows the bass, Bonham instead locked in with guitarist Jimmy Page, forging a heavy, winding, and utterly unique sonic landscape. Even with its iconic, swaggering guitar riffs, Robert Plant’s over-the-top, blues-infused vocal performance (a “reinterpretation” of Willie Dixon’s lyrics), and a psychedelic theremin breakdown, “Whole Lotta Love” remains anchored, grounded by Bonham’s powerful and innovative drumming.
“Whole Lotta Love” is more than just a rock song; it’s a sonic blueprint, a testament to the power of rhythm and blues amplified to stadium-rock proportions, defining the sound of hard rock for generations to come.
8. “La Grange” (1973) – ZZ Top
To truly grasp the radical nature of ZZ Top’s “La Grange,” a heavy, swinging, ten-ton-blues-rock behemoth, consider its release year: 1973. At a time when Tony Orlando and Dawn topped the radio charts, ZZ Top unleashed this raw, unapologetically Texan sound. Billy Gibbons (guitar), Frank Beard (drums), and Dusty Hill (bass) fused modern rock with boogie blues, topping it off with some of the most scorching, funky, and utterly outrageous guitar work ever recorded.
The result was a completely new kind of groove, a sound that was both primal and sophisticated. While ZZ Top would later embrace a slicker, more commercial image (complete with iconic music videos), in their “La Grange” era, they were simply a trio of BBQ-soaked Texas eccentrics doing their own thing, crafting a sound that was both deeply rooted in blues tradition and boldly pushing rock into new territories. “La Grange” is more than just a song; it’s a sonic embodiment of Texas cool, a blues-rock masterclass.
9. “Fell in Love With a Girl” (2001) – The White Stripes
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 understood that love isn’t always hearts and roses; it’s also snotty sing-alongs, slashing guitars, and a surge of wild energy that makes you want to leap into the air. Orson Welles famously said, “The enemy of art is the absence of limitations,” a philosophy that perfectly encapsulates The White Stripes’ approach.
Limitation was always their creative fuel – from their strict three-color palette to their two-person lineup, from Meg White’s deceptively simple drumming to Jack White’s insistence on using cheap plastic guitars. So, if you’re still puzzled how something so minimalist could create a sound so massive, just remember Welles’s words. “Fell in Love With a Girl” is more than just a song; it’s a testament to the power of raw energy and creative constraint, a vibrant explosion of garage-rock love.
10. “Bohemian Rhapsody” (1975) – Queen
The creation story of “Bohemian Rhapsody” is legendary – from marathon 10-hour singing sessions to a three-week recording period and a staggering 180 overdubs. But all the technical details fade away when you press “play” on Queen’s operatic rock masterpiece and embark on a nearly six-minute head-banging journey. One of the keys to the enduring success of this “mock opera,” as Freddie Mercury playfully called it, is its sheer singalongability, its infectious energy that invites participation.
“Bohemian Rhapsody” is as entertaining as a summer blockbuster and as satisfying as a six-course meal – seamlessly transitioning through intro, ballad, solo, opera, hard rock, and outro sections. “Bohemian Rhapsody” was, is, and will forever remain a monument to joyful creative excess, a testament to Queen’s unparalleled ambition and musical genius. It’s more than just a song; it’s a rock opera in miniature, a timeless classic that continues to captivate and inspire.
11. “Gimme Shelter” (1969) – The Rolling Stones
For a glimpse into chaos, look no further than 1969: the Manson murders, the Vietnam War draft, and the election of Nixon. The Rolling Stones’ “Gimme Shelter” perfectly captured the unraveling of the “peace and love” era, encapsulating the desperation of the time through Keith Richards’ echoing, freight-train rhythm and the panicked gospel vocals of Mick Jagger and Merry Clayton. Clayton’s wrenching vocal performance, the song’s emotional core, was the result of an impromptu midnight session, where she delivered the iconic “rape/murder” siren call in her pajamas.
Adding to the song’s mystique, Richards’ guitar literally fell apart in his hands on the final note. They decided to leave it in – the sound of something breaking became the perfect coda. “Gimme Shelter” is more than just a song; it’s a sonic snapshot of a turbulent era, a raw and visceral expression of fear, desperation, and the search for refuge in a world teetering on the brink.
12. “There She Goes, My Beautiful World” (2004) – Nick Cave and the Bad Seeds
“You weren’t much of a muse/but then I weren’t much of a poet” might not sound like a typical love song lyric, but this is Nick Cave, and with him, love takes many forms, from the darkest depths to the most unexpected heights, always delivered with raw desperation. Nick Cave’s driving artistic philosophy is love in all its complexities. On Abattoir Blues/Lyre of Orpheus, his 13th album with The Bad Seeds, we encounter a new Nick Cave – Cave 2.0, if you will – married, sober, and harnessing the power of gospel music while retaining his punk rock soul.
“There She Goes, My Beautiful World” presents him in black-suited power-preacher mode, backed by a band ablaze, delivering holy poetry and name-dropping literary figures like Larkin and Nabokov alongside punk icon Johnny Thunders in what might be the greatest (and perhaps only) rock song about writer’s block. “There She Goes, My Beautiful World” is more than just a song; it’s a literary rock sermon, a testament to Cave’s unique blend of darkness, poetry, and unexpected hope.
13. “All Day and All of the Night” (1964) – The Kinks
It’s almost unbelievable that “All Day and All of the Night,” a song that pulsates with teenage lust, was released in 1964. Joey Ramone was only 13 years old, and the term “punk rock” wouldn’t even be coined for another seven years. Yet, the raw, modern sound of this track would feel right at home on a contemporary indie label like Sub Pop. Yes, the chords are sharp, deliberate, and perfectly paced. Yes, Ray Davies exudes effortless cool.
But the true magic lies in that frenetic tone – the dirty, grungy, and previously unheard sludge created when guitarist Dave Davies, Ray’s brother, slashed his amplifier speaker with a razor blade. With that single act of sonic vandalism, punk rock was born. “All Day and All of the Night” is more than just a song; it’s a sonic ground zero, the Big Bang of punk rock, a testament to the transformative power of raw sound and teenage rebellion.
14. “London Calling” (1979) – The Clash
If you were fortunate enough to hear “London Calling,” the title track from The Clash’s seminal album, on the radio back in 1980 (when it finally reached the US), those first 20 seconds would have stopped you in your tracks. Nothing else sounded like Topper Headon’s drum intro, followed by Joe Strummer and Mick Jones’s guitars. It sounded like boots pounding on rain-soaked asphalt. By the time the bassline kicks in, “London Calling” unfolds like a gritty, three-minute film, narrated by Strummer, a master storyteller.
Clash songs are like solid-state instruments – low-budget, minimal frills, and intensely muscular. “London Calling” is no exception. Guitars provide brief, jagged flashes of color, but the spotlight remains firmly on Strummer and his apocalyptic narrative. Apocalyptic, yes, but never bleak – more like a call to arms, a defiant roar in the face of impending doom. “London Calling” is more than just a song; it’s a sonic manifesto, a punk rock siren call for a generation facing uncertainty and change.
15. “Blitzkrieg Bop” (1976) – The Ramones
The Ramones were the embodiment of simplicity and efficiency. Four members, four chords. Identical names, identical outfits. And you always knew when their fast-paced songs were about to explode because Joey Ramone (aka 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 unattainable heroes, but as ordinary oddballs, misfits, and fellow outcasts in ripped jeans.
Of course, they created incredibly catchy, bouncy, and utterly perfect pop-punk anthems, but The Ramones’ true legacy lies in their democratic spirit – everyone was invited to their party. “Blitzkrieg Bop” is more than just a song; it’s a punk rock invitation, a three-chord call to join the rebellion, a timeless anthem of youthful energy and outsider solidarity.
16. “Smells Like Teen Spirit” (1991) – Nirvana
“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 massive success of “Smells Like Teen Spirit” (platinum sales, critical acclaim) seemed to genuinely surprise him. An ironic, angst-ridden anthem for an ironic, angst-ridden generation, the song combined rhythmic punk power chords (inspired by Pixies’ “Debaser”), angry, sarcastic lyrics, and Dave Grohl’s funk-influenced drumming to create a once-in-a-lifetime rock alchemy.
“Smells Like Teen Spirit” is more than just a song; it’s a cultural earthquake, the anthem of a generation grappling with disillusionment and apathy, a grunge rock masterpiece that redefined the sound of the 1990s and beyond.
17. “Voodoo Child (Slight Return)” (1968) – The Jimi Hendrix Experience
“Voodoo Child (Slight Return)” is Jimi Hendrix at his most godlike, Zeus wielding a Stratocaster as a thunderbolt. Imagine Hendrix as a fire-breathing rock monster, Godzilla in tie-dye, or simply the Guitar God himself, spinning fantastical tales of standing next to mountains, chopping them down with a wave of his hand, and creating islands from the debris. Then, as if to wink at the listener, Hendrix lets out a laugh.
The astonishing thing is that the guitar work on this track is so incandescent, so utterly virtuosic, that he earns those bragging rights – and then some. “Voodoo Child (Slight Return)” is more than just a song; it’s a sonic spectacle, a dazzling display of guitar mastery, a testament to Hendrix’s unparalleled genius and his otherworldly connection to his instrument.
18. “Gloria” (1975) – Patti Smith
“Jesus died for somebody’s sins but not mine,” Patti Smith declares in what is arguably the coolest and most self-assured rock intro of all time. Her song, “Gloria,” is a brilliant fusion of two distinct works – Smith’s original poem “Oath” and Van Morrison’s song “Gloria.” Unsurprisingly, she utterly slays it, bending and twisting Morrison’s innocent bop to fit her darker, more complex vision.
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 and roll world, pushing aside the establishment and demanding “make room.” And they did. “Gloria” is more than just a song; it’s a feminist rock manifesto, a powerful declaration of independence and artistic self-possession, solidifying Patti Smith’s place as a pioneering force in rock music.
19. “Search and Destroy” (1973) – The Stooges
You might already know “Search and Destroy”‘s pivotal role in the birth of punk rock. But what you might not know is the extent of David Bowie’s influence as producer. His decision to push Iggy Pop’s vocals and James Williamson’s wild guitar melodies to the forefront (while lowering the volume of the rhythm section) inadvertently created a template that would be adopted by bands from the Sex Pistols to The White Stripes and countless others.
The result is an urgent, propulsive track with a raw, untamed spirit and some of Iggy Pop’s most supercharged lyrics, deceptively simple yet dripping with desperation and exploring themes of love and war. “Search and Destroy” is more than just a song; it’s a proto-punk blueprint, a sonic Molotov cocktail that ignited the punk rock revolution and continues to inspire raw, energetic rock music.
20. “Let’s Go Crazy” (1984) – Prince & The Revolution
With its purple bananas, elevators, church organs, feverish guitar solos, and arguably the best sermon/eulogy in rock and roll history, Prince’s “Let’s Go Crazy,” a paean to both partying and spirituality (“de-elevator” referring to Satan), explodes as the opening track of Purple Rain – both the album and the iconic film. With its propulsive blend of synth, drums, guitar, brilliant wordplay (“Dr. Everything’ll-be-alright/will make everything go wrong”), and a vocal howl that surpasses all others, “Let’s Go Crazy” has undeniably stood the test of time.
Now, with Prince’s passing, the song’s life-and-death lyrics take on an even deeper poignancy, but tracks like this ensure his enduring legacy. “Let’s Go Crazy” is more than just a song; it’s a sonic celebration of life, a vibrant and flamboyant rock-funk masterpiece that showcases Prince’s unparalleled musical genius and showmanship.
21. “Tutti Frutti” (1955) – Little Richard
Little Richard, a former drag performer (Princess Lavonne) from the Deep South, catapulted himself into the American pop music scene of the 1950s with his signature fusion of gospel, blues, and an audacious attitude. Richard, who famously declared himself the “King and Queen” of rock and roll, screamed and played piano with a fervor that suggested his very existence depended on it. 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 breakthrough hit, radio-friendly, a writer helped him sanitize the original NSFW lyrics, but the song retained its vivacious spirit, turning “A-wop-bop-a-loo-bop-a-lop-bam-boom” into a national catchphrase. “Tutti Frutti” is more than just a song; it’s a cultural explosion, a groundbreaking anthem of early rock and roll that challenged social norms and paved the way for future generations of flamboyant and boundary-pushing artists.
22. “Johnny B. Goode” (1958) – Chuck Berry
There’s little debate about who “invented” rock and roll: Mr. Chuck Berry. While “Maybellene” was his debut song (released in 1955), it was “Johnny B. Goode,” released a few years later, that truly blew the roof off, a wild, rollicking guitar ride that influenced… well… everyone. And we mean everyone! From The Beatles to The Rolling Stones, from countless garage bands to stadium rockers, Chuck Berry’s influence is undeniable.
“Johnny B. Goode” is more than just a song; it’s a foundational text of rock and roll, a timeless anthem of ambition, the American dream, and the transformative power of music, forever cementing Chuck Berry’s status as the architect of rock and roll.
23. “Be My Baby” (1963) – The Ronettes
Ronnie Spector (née Bennett) was an 18-year-old singer from Spanish Harlem with an achingly emotional, tough-girl voice (and perfectly winged eyeliner) when she recorded “Be My Baby” with producer Phil Spector, who would later become her husband. Although their life together (and apart) took many dark turns, this recording still shines as a prime example of Spector’s “Wall of Sound” technique, perfectly capturing Ronnie’s raw expression of young love – and featuring one of the most iconic drum intros in rock history.
Though Ronnie Spector passed away at age 78 in January 2022, her voice continues to resonate eternally. “Be My Baby” is more than just a song; it’s a girl-group masterpiece, a timeless expression of teenage longing and romantic yearning, showcasing Ronnie Spector’s unforgettable voice and Phil Spector’s groundbreaking production techniques.
24. “A Day in the Life” (1967) – The Beatles
The final track on The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band is a surreal and timeless John Lennon/Paul McCartney collaboration. After John Lennon’s somber opening – “I read the news today, oh boy” – Paul McCartney enters from an alternate reality, cheerfully singing about his mundane morning routine. The song culminates in a famous crescendo with a 40-piece orchestra going completely 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 final, resounding E chord played on three pianos simultaneously.
“A Day in the Life” is a musical enigma, a treasure chest of sonic innovation, and a crown jewel in The Beatles’ legendary catalog. It continues to demonstrate rock music’s boundless creative potential, even today. “A Day in the Life” is more than just a song; it’s a sonic journey, a psychedelic masterpiece that showcases The Beatles’ unparalleled songwriting and studio experimentation, forever pushing the boundaries of rock music.
25. “Wuthering Heights” (1978) – Kate Bush
Spoiler alert: “Wuthering Heights” is sung from the perspective of a ghost named Cathy. Non-spoiler alert: this isn’t even the strangest aspect of the song. “Wuthering Heights” is pure atmosphere, a sonic mood piece. While it may not sound traditionally rebellious, it’s arguably the most radical choice on this list. As wonderfully bizarre today as it was upon its release, this Brontë novel set to music captures a haunting beauty in its swirling chorus that is impossible to forget.
Written by Kate Bush when she was just 18 and sung in what might be described as “full banshee mode,” “Wuthering Heights” was initially rejected by her label as a lead single. However, Bush insisted, filming a now-iconic video to accompany it. In 2022, Bush’s story took another turn when her music’s prominent role in Stranger Things sparked renewed interest and a new generation of fans. Long may she twirl. “Wuthering Heights” is more than just a song; it’s an ethereal masterpiece, a gothic rock fairytale that defies categorization and showcases Kate Bush’s singular artistic vision and vocal prowess.
