THE 50 GREATEST RIFFS EVER

We asked metal’s most prominent players to pick their favourite riff of all time. It wasn’t easy. Here are the final results, as compiled by Team Hammer. Plectrums up…

As chosen by metal’s top guitarists, and arranged by Team Hammer. But who’s taken the top spot..?

WORDS: DAVE EVERLEY, ELEANOR GOODMAN, DOM LAWSON, LUKE MORTON

50

EstrangEd from orbit

Artificial Brain

(Infrared HorIzon, 2017)

“The chorus riff won’t stop playing in my head; such beautiful yet aggressive guitar work, the chord progression gets me every time. It sucks me into another dimension. I could’ve mentioned some old, typical, classic riff, but it’s about time we all have a new favourite riff.”

ASH GRAY, VENOM PRISON

49 hall of thE mountain King

Savatage

(Hall of tHe MountaIn kIng, 1987)

“The intro riff gets my blood flowing. It’s a flawless song, and the main riff has the right balance between heavy and catchy. Sadly, guitarist Criss Oliva passed away, but he left us with a ton of heavy-ass riffs to enjoy forever!”

MICHAEL AMOTT, ARCH ENEMY

48

thE attitudE song

Steve Vai

(flex-able, 1984)

“This was right after his Frank Zappa era, and he was just getting into it as a solo artist. The song is really chromatic and progressive all the way through, but that opening riff… it was a badge of honour in my neighbourhood to learn that song all the way through.”

CLINT LOWERY, SEVENDUST

47 too Young to fall in lovE

Mötley Crüe

(SHout at tHe devIl, 1983)

“It’s heavy as hell, but not in an obvious way. It’s so brilliantly catchy – you’ll be humming it after only hearing it once. It sounds very simple, but it’s surprisingly tricky if you want it to sound good. And of course, Mick Mars is rad!”

ALEXI LAIHO, CHILDREN OF BODOM

46

smElls liKE tEEn spirit

Nirvana

(neverMInd, 1991)

“I grew up in a rural area, pre-internet, so my friends and I digested music on MTV. One of my earliest memories of learning a song for no other reason than I felt compelled to was Smells Like Teen

Spirit. Nirvana were a gateway band for me to get into playing music.”

JOHN BAIZLEY, BARONESS

45

bastard chain

Soilwork

(a Predator’S PortraIt, 2001)

“It’s not so much the riff itself, it’s the whole arrangement of the track. It’s all riff. It’s just a super album through and through. Call it ingenuity, or freshness, or whatever it is. I listened to it seven times in a row the first time. The whole track is a mega-riff; it doesn’t stop.”

MICHAEL WEIKATH, HELLOWEEN

44 still of thE night

Whitesnake

(wHIteSnake, 1987)

“It’s been so overlooked. Oh my god, that fucking riff is unstoppable, the bridge in the middle with the guitar solo over it. And it’s balls-heavy, man! I love it, and the whole fucking song rips your dick off.”

ADAM D, KILLSWITCH ENGAGE

43

romancE is dEad

Parkway Drive

(kIllIng wItH a SMIle, 2005)

“The opening riff has defined how I write music since I was a teenager.

It’s both melancholic and aggressive; it tugs on your heartstrings whilst getting your blood pumping at the same time! To this day, I wish I could create a riff that excites me as much as this one.”

SAM KUBRICK, SHIELDS

42

tracEs of rEalitY

Dødheimsgard

(SatanIc art, 1998)

“This song has one of the greatest black metal riffs of all time. It digs its claws in about four minutes in; a snaking, helterskelter of maniacal evil. Vicotnik has defined and updated a style which has elevated and progressed Norwegian BM to the next level. Underrated genius.”

MAT MCNERNEY, GRAVE PLEASURES