Considered to be his last foray into Glam Rock, ‘Rebel Rebel’ opens with Bowie playing a riff which is known and loved for its overdrive and arpeggiated chord sequence. Bowie himself has said of the riff “It’s a fabulous riff! Just fabulous! When I stumbled onto it, it was ‘Oh, thank you!”. ‘Rebel Rebel’ has become Bowie’s most covered track, with versions released by artists ranging from Bryan Adams to The Smashing Pumpkins.

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‘Purple Haze’ set the rock scene on fire, thanks to Hendrix’s marvellous guitar manipulation. Central to the all-round amazingness of ‘Purple Haze’ is a chord made so famous by Jimi that pundits even refer to it as ‘the Hendrix chord’ to this day. Many musicians have covered the song but Hendrix’s original version will always be sensational.

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A slower, smoother pace of melody for Ed Sheeran’s 2011 hit ‘Lego House’ than some of the other riffs featured, but that should not detract from his subtle musicianship.   The third single from Sheeran’s critically acclaimed debut album + (pronounced ‘Plus’), ‘Lego House’ demonstrates his knack for a gripping tune, and the ability to incorporate winning melodies and plangent guitar tones.

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Not every rock band is all sound and no substance, Green Day break the mould when it comes to modern day musicians.  ‘American Idiot’, taken from the 2004 album of the same name, was a much needed savior to the slump that the band was experiencing prior to this, especially after such successes of the nineties.  The song with its classic four-chord punk riff, delivers a merciless rant against the US administration of the day, the controlling media and America’s self-perception as a global police force.

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The opening track of their second album, ‘In the Morning’ highlighted Razorlight’s shift towards a more commercial sound. With its clean, sixteenth’s based riff, this is a catchy hum-under-your-breath kinda song which became a huge hit and a solid fan favourite at live gigs. The riff’s downstrokes punctuate the kick drum in a way that has been likened to Franz Ferdinand’s ‘Take Me Out’.

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http://www.youtube.com/watch?v=A3-JRmw8LtI

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A more ‘cheerful’ alternative to previous metal music, the release of the Permission to Land album by The Darkness could not have been better timed. In ‘I Believe in a Thing Called Love’ the band flawlessly combined solid rock influences with a sense of humour and slinky catsuits. With an opening riff which begins as a whisper and explodes into an energetic and invigorating beast of a tune, this song gave glam metal a whole new name.

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Written after the 7/7 bombings and the terrorist attacks of September 11th, the lyrics of this song make a statement about the media’s ability to control the public through scare-mongering tactics. Opening with an electronic introduction, ‘Hunting for Witches’ showcases a high-register riff and a catchy post-punk vibe. Shaking up the Indie Rock scene at the time of its release, this track earned Bloc Party a spell as NME’s favourite new band.

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Rocking as it is, the riff forming the backbone of ‘Cochise’ is not a new one; instead it pays homage to Led Zeppelin, with a touch of Deep Purple thrown in for good measure. The outcome is an impressive introduction to a great song, complete with distorted notes played through a whammy pedal. Written by Tom Morello, the lyrics of this mighty song tell of an 18th century American Indian chief who waged war on the invading white man.

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Reaching number one in the UK Indie Chart, this edgy tune from post-punk rock band Franz Ferdinand is instantly recognizable. As the second single on their debut album, the Scottish foursome really hit the spot with ‘Take Me Out’. Its persuasive opening riff followed by a simple staccato and resounding bass-line has secured ‘Take Me Out’ the accolade of being Franz Ferdinand’s most gripping and addictive track.

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Rock doesn’t sound much better than the supergroup Them Crooked Vultures.  With a line up reading like The Rock and Roll Hall of Fame, Josh Homme (Queens Of The Stone Age), John Paul Jones (Led Zeppelin) and Dave Grohl (Foo Fighters) produced some of the most adept riffs ever written.  ‘Mind Eraser, No Chaser’ was the second single taken from their debut self titled album.

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