The 1964 song Brian May said started the art of the riff: “The archetypal riff”
The name Brian May consistently finds its way into conversations surrounding the greatest guitarists of all time, and it’s easy to see why. As the lead guitarist for Queen, the artist turned astrophysicist performed some of the most iconic rock songs of all time with his talent on the instrument. From the blistering twangs of ‘Bohemian Rhapsody’ to the closing guitars of ‘We Will Rock You’, May has well and truly made his mark on guitar music.
Queen wasn’t too reliant on the art of the riff, often focusing on grand soundscapes full of spectacle while allowing May’s talents to shine in other ways. But that didn’t stop him from penning a few memorable moments across their discography. Take ‘Brighton Rock’ for example, which stands out as some of his finest guitar work, or ‘Keep Yourself Alive’, which is driven by his riff.
That approach meant May often had to think beyond the traditional role of a rock guitarist. Rather than anchoring songs with repeated patterns, he used the instrument to add colour and texture, layering parts in a way that felt closer to orchestration than standard rock arrangement. It gave Queen’s music a sense of scale, where the guitar was just one element in a much broader sonic palette.
It also shaped how he viewed riffs when they did appear. Because they were used more sparingly in Queen’s catalogue, they carried a different kind of weight, standing out as defining moments rather than the foundation of every track. That perspective likely informed his appreciation for other artists who could distil so much impact into a single, memorable phrase.
May is also a fan of riffs when it comes to his own listening habits. During a chat with Music Radar, the Queen guitarist was asked to name some of his favourite examples of the skill from throughout music history. He kicked things off with a nod to the Beatles, acknowledging that they did some “pretty fair riffs, you know,” before citing ‘Ticket to Ride’ as an example.
Featuring on the band’s 1965 album, Help!, ‘Ticket to Ride’ isn’t necessarily an example of a raucous, driving riff. Rather, it’s an example of the band’s talent for pop melody-making. The track opens with gorgeous guitar twangs, at once simple and evocative. They’re sweet and nostalgic, and they eventually get lost under harmonies and increasing instrumentation, but it’s a gorgeous riff.
May also used ‘I Feel Fine’ as another example of The Beatles’ talents when it comes to riff-writing. The 1964 track opens with a gorgeously twangy guitar riff provided by George Harrison, which May describes as “incredible” and “out-of-the-box.” It is a particularly great riff that often goes underrated in their discography.
Of course, it’s difficult to talk about the greatest riffs of all time without mentioning the Kinks’ original garage rocker ‘You Really Got Me’. Released in the same year as ‘I Feel Fine’, the Kinks track features one of the most iconic riffs ever created, bold and distorted. “I mean, that’s got to be the archetypal riff,” May commented, “I think that’s going to be my vote. That’s the beginning of all riff-making, isn’t it really?”
When it came to his own work in riff-making, May acknowledged Queen’s aversion to riff-based songs but picked out ‘Tie Your Mother Down’ as “the one people most want to hear.” The track appeared on their 1976 album A Day at the Races and opens with a distant yet enticing riff that introduces the entire album. It’s not quite as iconic as ‘You Really Got Me’, but it’s a solid effort nonetheless.
There are a fair few classics May didn’t mention, such as ‘Back in Black’ or ‘Smells Like Teen Spirit’, but the Queen guitarist seems to have hit the nail on the head with ‘You Really Got Me’. Well over half a century after the song was first released, it still remains one of the most memorable guitar parts ever created, just as catchy now as it was then. It began riff-making, paving the way for all those who have carved out their own rocking riffs ever since.
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