Top 10 Guitar Riffs

This week, I run through the 10 most impactful guitar riffs in rock history. From the legendary opening riff of Chuck Berry's Johnny B. Goode to the power-packed melody of Nirvana's Smells Like Teen Spirit, I explore how these riffs not only sound great but also evolved the genre. Join me as I dive into the primal, memorable, and era-defining guitar riffs that shook speakers and launched countless garage bands. Don't miss this electrifying episode as I trace 70 years of rock and roll through its most iconic guitar riffs, this week on The Rock-N-Roll Show Podcast!

00:00 Introduction to the Rock and Roll Show

02:26 Defining the Riff

04:14 Top 10 Guitar Riffs That Defined Rock and Roll

05:00 Riff #1: The Birth of Rock Guitar

07:08 Riff #2: The Next Big Explosion

09:26 Riff #3: Guitar Riffs Go Global

11:38 Riff #4: Something Altogether New

14:07 Riff #5: Hard and Heavy

16:32 Riff #6: The Ultimate Guitar Riff

19:37 Riff #7: Punk Rock RIffage

22:03 Riff #8: A Riff from the Ashes

24:27 Riff #9: The First Blow to Hair Metal

26:55 Riff #10: The Nineties' Anthem

29:49 Honorable Mentions and Conclusion

Podcast Playlist is here:

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Transcript

Alex Gadd: 0:00

Welcome to the Rock and Roll Show podcast. I'm your host, Alex Gadd, and this week I've got another top 10 list for you. I've been thinking about what really makes a song stand out. Sure, there's a melody. The lyrics, the overall performance, they all matter. But in rock and roll, there's one thing that grabs your attention faster than anything else.

0:20

A great guitar

Alex Gadd: 0:20

riff The guitar is the ultimate rock and roll instrument. And while solos can be flashy and unforgettable, nothing sticks with me more than a killer riff. So today I am counting down the 10 most impactful guitar riffs in rock history Riffs That didn't just sound great, but defined a genre. We're talking about more than 70 years of rock and roll, distilled into 10 iconic moments, so stick around for my list of the most legendary rock and roll guitar riffs coming up right now. Today we're turning up the amps, cranking the gain and diving straight into one of the most sacred elements of rock and roll Music. The guitar riff. Not the solo, not the rhythm track, the riff. That instantly recognizable hook that grabs you by the collar makes you move and says, this is rock and roll. A great riff is primal. It's simple enough to hum, but powerful enough to move mountains from Chuck Berry's duck walking across the stage to Edward Van Halen's, pyrotechnic swagger, riffs are the DNA of rock itself. Think about it the second you hear that opening to smoke on the water, you know exactly what it is, or the first power cord punch of Whole Lotta Love, or that slinky groove of day tripper. These are more than just notes and chords. They're identity statements. They define the players, the bands, and the eras they came from. For me, riffs have always been the gateway to my favorite music. I remember hearing Detroit Rock City for the first time as a little kid and thinking, what is that sound? The tone, the chugging attack. It wasn't just music. It unleashed new emotions in my 8-year-old brain. It later came Sultans of Swing, I Want You to Want Me. You Really Got Me Satisfaction and so many more. Each riff opened a new door in my rock and roll education, and behind every door was another band ready to blow my mind. Before we get to the countdown, let's be clear on what a riff actually is. A good definition for a riff is a short musical pattern that gives a song, its rhythmic and harmonic identity. It's similar to a lick. Which is a short musical phrase or flourish that a guitarist or any musician might use as a fill or as a bit of color. But there's usually one main riff that anchors a song where there can be many licks throughout that song. A riff is also different from a song's melody, though the riff can form the basis of the melody. And while not every song has a guitar riff, almost every great song has some kind of riff, a repeating figure that defines it and makes it memorable. Many of the greatest songs have great riffs, although not every great song needs one, and some of the best riffs weren't even played on the guitar at all. Think of the organ riff in Like A Rolling Stone. The pounding keys of Louie Louie or the fiddle riff in Devil Went Down to Georgia. Even Spinal Tap's, big bottom is driven by that ridiculously glorious bass riff. Most of the time, the term riff can be used interchangeably with the term hook. I mentioned it earlier, but not all hooks are riffs. A hook is a part of the song that grabs your attention and sticks in your head. It's the musical or lyrical moment that you remember most. The part you find yourself humming hours later without even realizing it. The easiest way to think of it is this, an example of a hook would be the vocal intro to steam's na nah. Hey, hey, kiss him goodbye. While the riff is played on a farfisa organ, the vocal performance mirrors the riff, which mirrors the melody. But all three things are different. Whereas with Bon Jovi's Living on a Prayer, the hook is the chorus, whereas the riff is that voice box driven guitar intro. And in Black Sabbath's Paranoid, the intro riff is the hook. And that's where we're focusing today. On the top 10 guitar riffs that defined rock and roll, the songs that shook speakers, launched a thousand garage bands and turn countless kids into lifelong air guitar riffs. There were so many contenders to choose from, that a top 10 list was just short of impossible. So I'm really choosing to focus on the riffs I feel best define the evolution of rock through the years. I'm gonna go in chronological order, tracing how the guitar riff grew from early rock and roll roots into the powerhouse sound that still drives the genre today. And again, in getting a list down to 10, I left so many great riffs out, so I encourage you to share your thoughts in the comments. Okay. Enough of a setup. You got it. Let's get to it. These are the riffs that made the world sit up and take notice. Starting off our countdown is Johnny B. Good by Chuck Berry. At the very top of my chronological list of the greatest guitar riffs in rock history sits the song that really started it all. If rock and roll guitar riffs have a birth certificate, this is it. The opening riff didn't just introduce a song, it introduced a whole language. Before Hendrix said his guitar on fire. Before Jeff Beck showed us his endless creativity before Stevie Ray Vaughn showed us what it meant to play with an unbridled passion. Chuck Berry plugged in, hit those opening notes and invented a vocabulary. Every guitarist since has been quoting from that riff is equal parts, rhythm, and melody. It's half blues, half kind of country boogie, and it's all attitude. It comes out of the gate like a jolt of electricity. It's bright, fast, confident, and joyful. It's not complicated, but it kind of feels almost alive. It swings, it struts, and it tells you everything you need to know about what rock and roll would become. Every teenager with a cheap amp and a dream suddenly had a new roadmap. Keith Richards followed that roadmap to the t. George Harrison internalized it. Angus Young practically built a career on its DNA. The riff became rock's. Rosetta Stone. Even today, Johnny B. Good is still played in bar bands and garage rehearsals everywhere. You can drop that intro anywhere in the world and someone will definitely say, go, Johnny. Go. It's the sound of discovery. The moment guitar stepped out of the rhythm section and took center stage. So as we start the countdown of the top 10 guitar wrists that defined rock and roll, it only makes sense to begin here with the spark that lit the fuse. Chuck Berry didn't just write a great song. He carved the template for everything that followed. Johnny B. Good isn't just riff number one chronologically, it's number one spiritually. The rest of rock and roll is just building on the echo of that opening lick. Song two is the Kinks breakthrough track. You Really Got Me.

7:20

You really got me going. You got me. So I don't know what I'm doing now. Yeah, you really got me now You got me. So I guess sleep at night.

Alex Gadd: 7:32

If Johnny B. Good was the big bang of rock and roll guitar, then you really got me was the next big explosion. When this song hit in 1964, the world didn't quite know what to make of that jagged snarling guitar tone, but the kids sure did. It was raw, loud, and kind of sounded dangerous. Suddenly rock wasn't just about dancing and letting your hair down. It was about taking control and power. The legend goes that Kinks guitarist Dave Davies took a razor blade and sliced the speaker cone of his amplifier, then plugged that amp into a bigger amp to get that torn fuzzy sound. That accidental bit of destruction gave birth to the first true distorted power cord riff in rock history. What had been clean and polite suddenly became gritty and rebellious. It was a sound of frustration, attitude, and youth, all compressed into two chords and a sneer. Musically, You Really Got Me is beautifully simple, just a blunt repeating figure that punches straight through the mix, but it's the feel that really matters. When Ray Davies starts singing that riff keeps hammering underneath, driving the song like a piston, it's rhythm and riff locked together in perfect sync. The song doesn't build towards the riff. The riff really is the song, and here's what's wild. This one little riff changed everything again. You can draw a straight line from it through The Who, Led Zeppelin, Aerosmith, ac, CDC, guns N Roses, and every band that went looking for that overdriven distorted feel in their guitar playing. Edward Van Halen chose to rerecord the song in 1978 for Van Halen's debut album, and he put it immediately after his signature coming out party,"Eruption," basically taking one of the earliest guitar milestones and putting it after his own contribution to rock and roll guitar playing. You Really Got Me took the rebellious spirit of Chuck Berry and added muscle. So as we move through the evolution of the rock riff, this is the one that kicked open the door for the modern era. From this point on Rock and roll wasn't just about playing the song, it was about playing it loud and aggressive. the third song in this timeline of the most influential guitar riffs is, I Can't Get No Satisfaction by The Rolling Stones. By the summer of 1965, rock and Roll had found its swagger and nobody embodied that better than the Stones. With Satisfaction, they didn't just write a hit. They turned a three note guitar riff into a global anthem. Legend has it that Keith Richards came up with a riff, half asleep in a Florida motel room, recorded it on a cassette, and went back to bed. Forgot about it until the next morning when he listened to the tape and once he rediscovered what he had, that sleepy idea run through a fuzz box became the most instantly recognizable guitar track of the decade. Simple, gritty and hypnotic. That riff grabs you from the first note, and once the band joins in, the whole thing feels alive and just a little bit dangerous. It's no wonder Keith's nickname is the Human riff. He's written more classic guitar parts than almost anyone. Jumping Jack Flash, Honky Tonk Woman, gimme shelter, paint it black, start me up. But satisfaction's the one that changed everything. It's not complex, it's just attitude. The repetition is mechanical, like a pulse, pushing the song forward, and it kind of encapsulate the frustration of the lyrics about consumerism and sexual tension into the sound of the music. The riff is the thing that everyone remembers. The vocals serve the guitar part on this song, which is usually the other way around. Satisfaction picks up where You Really Got Me left off. It's the moment when the guitar riff stopped being background and became the song. Strip it away and the whole thing falls apart. This was new and it changed songwriting forever. Satisfaction made the Stones a household name, but more than that, it gave rock and roll its rebellious edge. So as we move through the evolution of the guitar riff, this is the one that took it from the garage to the front page. Chuck Berry invented the language. The Kinks added some distortion, and Keith Richards gave it its swagger In the fourth spot is the boundary breaking Purple Haze by Jimi Hendrix. Let's be honest, if you're talking about the most iconic guitar riffs in rock history, you can't get very far without bringing up Purple Haze. And here's the thing, it wasn't just another great riff, it was our first real introduction to Hendrix. Track one, side one of his debut album. Are You Experienced?. Think about that. The first sound the world ever heard from Jimi Hendrix wasn't a polite greeting. It was that snarling other worldly guitar line kicking down the door. That opening riff was a declaration. It was a shockwave. Almost like a musical UFO landed right in the middle of 1967. The riff itself isn't overly complicated. It's built around that now. Mythic Hendrix chord, the E seven sharp nine that became Hendrix's signature sound that somehow manages to sound both traditional and futuristic at the same time. But it's not just what he played, it's how he played it. The tone was wild, fuzzed out and dripping with distortion, like he'd somehow plugged his guitar straight into a lightning storm. He was bending notes and riding the feedback, and shaping noise into melody in a way no one had ever imagined before. Rock guitar had dabbled in rebellion up to then, but Hendrix took it to a whole new level, creating yet another new vocabulary, seemingly out of thin air, broadening the foundations of what was possible in a musical style that was still pretty new at that time, and that explosion changed everything again. Purple Haze lit the fuse for hard rock, heavy metal, funk, grunge, you name it. Every guitarist who came after Edward Van Halen, Stevie Ray Vaughn, Prince, Tom Morello all stood on the shoulders of that riff. Hendrix, showed that the guitar wasn't just an instrument, it was a magic wand that opened a portal to new sounds in a new way Rock and roll could make people feel. He made sound feel like something you could see taste or fall into. So when we talk about the greatest riffs in rock history, Purple Haze wasn't just a song, it was an arrival. The moment when Jimi Hendrix introduced himself to the world and in the same breath, reinvented the guitar forever. Guitar riffs song number five is LED Zeppelin's Whole Lotta Love.

14:22

You need.

Alex Gadd: 14:33

When you drop the needle on Whole Lotta Love, you can almost feel the air shift. That opening riff is thick, heavy, and unmistakable like a living, breathing force pushing through your speakers. Built around a simple blues pattern, played on a Les Paul through a Cranked Marshall Super lead. It's the sound of electricity flexing its muscles. And remember, this was still 1969. It was just after the summer of love before heavy metal was even a thing, but it was undeniably heavy. With Whole Lotta Love. Led Zeppelin took the work of Cream and Hendrix and completed the blueprint for what heavy rock could be. From the first bars, you know you're hearing something primal. Paige's tone is edgy, but focused. His playing is taut and precise. The space between those notes, those pauses that feel like someone's holding their breath before there's an explosion that makes it more powerful. John Paul Jones' bass locks into that groove, and I'm sure that for people who heard this for the first time, it sounded like the battle charge of the four horsemen of the apocalypse. And when Robert Plant comes in with that high wild wail and"you need cooling," followed by Bonzo's explosive drums, you're not just listening to a song, you're hearing a full on assault on the senses and the embodiment of late sixties rock excess, energy and confidence. Whole Lotta Love was more than just Zeppelin's breakout hit. It redefined what a RIF could do. It wasn't just a hook. It was architecture. It built the foundation for countless bands that followed. Aerosmith, van Halen, AC DC, Soundgarden all drew from the same well. And let's not forget that wild midsection breakdown, an echo drenched trip through psychedelic chaos that somehow makes the return to the main riff hit even harder. Decades later, that riff stands up as one of rock's most instantly recognizable moments. It's dirty, dangerous, and well, it's perfect. Jimmy Page, managed to take a simple blues idea and amplify it into a cultural thunder clap. Whole Lotta Love didn't just turn up the volume, it took it to 11. At number six is Smoke on the Water by Deep Purple. I know what you may be thinking. This one's been played to death. Every guitar shop in the world has that. No stairway, no smoke on the water energy. And yes, we've all heard this riff a thousand times, but you know why? Because it works, because it's unforgettable, because it might be the most instantly recognizable guitar riff ever written. And this list wouldn't be complete without it. In fact, if I was trying to rank all of these amazing riffs in terms of familiarity, I would probably put the smoke on the water riff at number one, and as with many of these all time great riffs. This one was developed in a moment of inspiration. In 1971, Deep Purple had gone to Montreaux in Switzerland to recordtheir next album at the Montreaux Casino. But just before they were about to start recording, Frank Zappa and the Mothers of Invention were playing a concert at the casino. Someone in the crowd fired a flare gun that caused the entire building to burn to the ground. So Deep Purple relocated to the Grand Hotel, and during the rehearsals before recording began, Richie Blackmore started playing around with a simple, repetitive riff based on a four note blue scale. He later said he was inspired by Beethoven, specifically the dramatic tension of Symphony Number five and Blackmore flipped the interval slightly to make it heavier and more rock oriented. He joked at one point that this was the jazz version of Beethoven's Fifth, so in classic rock and roll fashion, one of the most legendary riffs of all time came together quickly, casually, and almost by accident, just a great guitarist messing around during a jam session. But once it landed, they all knew what it was. As drummer Ian Pace once said, when Richie played that riff, we knew we had something special. And you know what? It turns out they were right. You hear the intro riff and your brain instantly goes, yeah, that's rock and roll. Here's the thing. It wasn't even supposed to be the single. It was buried on side two of their album Machine Head, but fans locked into the riff like a heat seeking missile. The song took on a life of its own. Smoke on the Water became deep purple signature track, and it's a rite of passage for every young guitarist with a cheap amp and a dream. So yeah, maybe it's overplayed. Maybe it's a little too familiar, but that doesn't take away from what it accomplished. This riff completed the connection between the first generation of rock and roll and the harder rock vibe that Cream Hendrix and Zeppelin had started exploring as the sixties came to an end. This riff is timeless. It's bulletproof. Hey, it's Smoke on the Water. Riff number seven is from Blitzkrieg Bop, the opening shot of the Ramones debut album. It's raw, relentless, and it's only three chords, but those three chords, they changed everything. Released in 1976, Blitzkrieg Bop took the unpolished energy of bands like The Stooges and the New York Dolls and boiled it down to its purest, most explosive form. in under two and a half minutes, The Ramones didn't just introduce themselves, they defined punk rock. The riff that kicks off the song is simple and repetitive, but that's the point. There's no fat on it. It doesn't build. It emerged fully formed like a sprint out of the gate. Johnny Ramone's downstroke guitar launched the track with machine-like attack laying the foundation for the chant. We all know, Hey ho, let's go. That riff is punk distilled. Fast, loud, stripped to the bone. It doesn't show off. It doesn't care what you think. It just is. What makes this riff one of the greatest in rock history isn't its technical complexity. It's just three power chords played over and over, but the cultural impact was seismic. The Ramones took the raw aggression and attitude of the stooges and the mc five and crystallized it. They turned it into a repeatable formula. There were no guitar solos, no bridges, no nonsense, just power chords, speed, and attitude. Blitzkrieg Bop set the mold for what punk would sound like for the next 40 years. It's the musical equivalent of a leather jacket. It's instantly recognizable, perfectly imperfect, and completely timeless. And let's be honest, it's a fun riff. It makes you move, it makes you shout along. It's impossible to hear it and not feel rebellious. That's what a great riff does. It pulls you in and shakes something loose. So yeah, Blitzkrieg Bop wasn't the first punk song I think that distinction goes to either Kick Out the Jams or I Wanna Be Your Dog. But Blitzkrieg Bop was the first one to package punk into a record you could take home, throw on the turntable, and instantly get it. The Ramones weren't trying to reinvent rock, but they did, and they did it with one of the most effective riffs ever recorded. Eighth on our list is ACD DC's Back in Black. The riff is tight, simple, perfectly paced, and absolutely unmistakable. And when you consider how many killer riffs Angus and Malcolm Young have written, I mean it's incredible Highway to Hell, Whole Lot of Rosie, Thunderstruck, Hell's Bells. It's a Long Way to the Top(If You Wanna Rock And Roll), For Those About to Rock On and on. You start to realize just how deep the well really goes with these two guys. And they didn't just write rifs, they channeled them. But even in a catalog that stacked, Back in Black stands atop the AC DC mountain of riffs, it opens with that iconic staccato groove. Just a few power cords played with surgical precision. No flash, no filler, just tone, rhythm, and swagger. It's blues at its core, but it's sharpened to a razor's edge. The riff doesn't rush, but it struts. It makes you want to crank the volume up until the windows shake, but the context of the song gives it a little extra weight. Their lead singer, Bon Scott, had just passed away the previous year, and ACDC was at a crossroads. Either they grieve and give up or grieve and move forward. They chose to go forward. They brought in a new vocalist, Brian Johnson. They hit the studio and dropped back in black. One year later, one of the greatest comeback albums of all time and one of the best selling albums of all time too. The title track wasn't just a tribute, it was a warning shot. ACDC weren't going anywhere. While lead guitarist, Angus Young gets the spotlight and he should, he is the mascot for the band. Let's be clear, Malcolm was really the architect. That pocket that Malcolm carves out those tiny spaces between the chords. That's what makes the riff swing. More than 40 years later, Back in Black is still blasting outta stadiums, bars, and bedrooms around the world. It's a rite of passage for anyone picking up the guitar. It's simple and unstoppable. Out of all the brilliant riffs the Young brothers have given us, this is the crown jewel, not just a riff. It's a legacy Song number nine is Sweet Child of Mine by Guns N Roses, one of the most unexpected and unforgettable riffs in rock history. What makes it even cooler? It started off as an afterthought. Apparently Slash was just messing around during rehearsal, playing what he referred to as a circus pattern. He didn't think it was anything but his band mate, Izzy Stradlin, heard something in it, started playing chords underneath. And Axl Rose, who was sitting off to the side, began writing lyrics on the spot. Within hours, they had the bones of what would become one of the biggest rock songs of the eighties. Sometimes the best riffs come when you're not even trying. That intro is pure magic. It doesn't punch like Back In Black or grind like a Whole Lotta Love. It kind of floats. It's clean and emotional. Kind of like a lullaby with attitude and that gentle shimmer sets up the explosive power that follows. The beauty of Sweet Child of Mine is that it showed a different side of Guns N Roses. This was the same band that opened their debut album with Welcome to The Jungle, which was raw, wild, and really sounded dangerous. And yet here they were seven or eight songs later, dropping a love song with a thoughtful melodic opening riff. It gave them depth and it gave the song a lasting impact. Once the full band comes in, it's all systems Go. Axel's vocals. Ride over the Wave building from tenderness to full-blown intensity, especially in the legendary, where do we go now? Breakdown and Slash's solo is a masterclass in feel it's melodic, expressive, never overplaying. Every note has its spot. Despite all of that, the opening riff has become one of the most recognizable guitar parts in rock history. You hear it in boom, you're back in the world of big hair leather jackets and MTV in its prime. It still hits today not because of the nostalgia, but because the song's just that good and the riff is a perfect doorway in. Sweet Child of Mine is proof that even the hardest rock bands have a heart, and sometimes the most iconic riffs come from total accidents. And now the 10th riff on our list smells like Teen Spirit by Nirvana. I don't care what era you grew up in. When you hear those four power cords, you know exactly what it is. That riff is the nineties. It's the moment everything shifted. Guns N Roses had started to erode the glam metal thing back in 1987, but they were doing it from within. They were part of the LA Rock and roll scene. Metallica had been toiling in the thrash metal underground throughout most of the eighties. When their 1991 self-titled album came out and became a huge hit, it was clear that hair metal was on its last legs. But once smells like Teen Spirit exploded onto the scene. The glam bands packed up their aquanet and left the stage, and it all started off with that riff. Kurt Cobain wasn't trying to reinvent rock. He even said he was just ripping off the pixies and trying to write a big dumb arena rock anthem like Boston or Motley Crewe. But what he ended up with was lightning in a bottle. That opening riff four fuzzy power cords drenched in distortion was simple. Sure, but it was really perfect. It had a gravity to it that was impactful as it was unexpected from a band who had released just one album previously called Bleach. And that album only sold 30,000 copies before Nevermind came out. But there's a reason this song exploded. The riff didn't just sound cool, it had meaning. It sounded like the pent up frustration felt by millions of kids who had grown up in the eighties and were getting bored of hair metal and pop music. It was a Gen X battle cry, and when the full band kicks in on the song it's like the whole thing shifts from black and white to full technicolor angst. So sure Nirvana didn't invent the quiet, loud, quiet dynamic. The Pixies had been doing it for years, so it led Zeppelin. But Teen Spirit was the first time that formula hit this hard and reached this many people. The riff set the tone for everything that came after it. Pearl Jam, Soundgarden, Alice in Chains. Even the next wave of punk, pop and emo. It was the reset button for an entire generation. And part of the brilliance is how much it does with so little. No finger tapping, no showing off. Just four cords pushed through a distorted amp. It wasn't about perfection, it was about feeling. That's what Kurt always brought to the table. His riffs felt like they were barely holding it together, but somehow they crushed everything in their path. And more than 30 years later, Smells Like Teen Spirit still sounds like a wake up call. It sold a million flannel shirts. I know. But more than that, it made people look at rock music in a whole new way. And there you have it. My top 10 Rock and roll guitar riffs, 10 riffs that didn't just sound cool. They changed the game and while these 10 are all time greats, there were so many more that I considered that I honestly can't believe, didn't make the list ready for this. Here are 20 of them. The Beatles Day. Tripper, I can't Explain. And Pinball Wizard by the Who? Cream. Sunshine of Your Love. Iron Man and Paranoid by Black Sabbath, Derek and the Domino's. Layla La Grange by ZZ Top. Skynyrd Sweet Home, Alabama. Walk this way by Aerosmith Clapton's version of JJ Kale's Cocaine Breakdown by Tom Petty, the Eagle's life in the fast lane. Harts Barracuda, Ozzy's crazy train. Michael Jackson's beat it. Rock You Like a Hurricane from the Scorpions. Money for Nothing by Dire Straits. Enter Sandman by Metallica and Seven Nation Army by the White Stripes. That's an alternative top 20. And I'm still just scratching the surface. Which ones do you think should be in the top 10? I'd love it if you'd share them with me in the comments. In the meantime, go crank these tracks up and let the power of the riff do what it's always done and move you. And that's it for this week's episode. Thank you for joining me. If you like what you heard today, I'd appreciate it if you would both like then either subscribe or follow to make sure you get notified about each new episode, and please tell your friends. Also a reminder, I release a playlist for every episode, so look for the Rock and Roll Show podcast playlist on Spotify and Apple Music every week, this week, featuring the songs that I mentioned here today and more. So check that out. As I said, I wanna know what you think. Please leave me a comment. I'll try to respond to every one of them. The Rock and Roll Show Podcast is a World Highway Media production. I'm your host, Alex Gadd, and until next time, remember that life is short. So get those concert tickets.