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Jimmy is the greatest originator of unforgettable riffs of all time. Listing favorites is very hard, but I'll have a go:

1. Heartbreaker: The ultimate. When I hear those awesome notes, I can easily imagine a Balrog stomping forth from the depths, or Sauron marching out to smash enemy hordes with his mace. :duel:

2. Achilles Last Stand: Utterly majestic, and my favorite Zep tune overall.

3. Immigrant Song: Thunderous, blood-stirring power. Makes me wanna drive my ships to new lands.

4. Communication Breakdown: Duh-duh-duh-duh-duh-duh-duh-duh-DUH! DUH! DUH!

5. Out on the Tiles

6. Bring it on Home

7. Black Dog

8. Battle of Evermore

9. When the Levee Breaks

10. Houses of the Holy

Then of course there's all his deathless acoustic stuff: Bron Y Aur, the intro to Over the Hills and Far Away, on & on & on....

Edited by LidlessEye
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Communication Breakdown

Whole Lotta Love


Moby Dick

Black Dog

The Rain Song

No Quarter

The Ocean

Ten Years Gone

Custard Pie


Achilles' Last Stand

We're Gonna Groove

...........so much for picking ONE! I still think there is more! :D

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Was in my art studio this afternoon under the influence of a couple of adult beverages.Hadn't listened to Out On The Tiles in some time, but that damn sure ranks as a riff worthy of this thread.

Mucho pardons in advance if this has been covered,In The Light, in my discerncening neophyte ears ,has to rank pretty damn high as well.Excellent,somewhat mysterious licks Page provides during Plant's vocals...but the resolution Page provides at the end of the song.Mimicking riffs playing of one another,until they somehow cohese at the end of the song.Fucking brilliant!

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Hey everyone

What about Custard Pie? :D

That opening riff and the whole song kicks ass.

Custard Pie? No question,one of Page's great riffs, along with Wanton Song.

My question...does anyone feel they sustained an adequate volume with these two songs?

I don't believe I've ever listened to them as LOUD as I've needed to.

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God he came up with at least two 'greatest riffs ever' in every song-I could never choose.....he's like Paul McCartney that way-Paul's songs have such strong melodies that you could take one or two of his secondary melodies and make a killer song out of it. Likewise with Jimmy he throws in such strong riffs that you could make two, three or four quite credible songs out one of his songs....

That being said I still think even after all this time that The Song remains the Same to be one of the most unique guitar pieces in rock history...well the whole song really, but as is often the case it all starts with the guitar....just brilliant and beyond!

Funny I've read him saying that his riffs are not what he would like to be remembered most for but God he was the King of riffs-in fact the term riff doesn't do justice to what he played.....

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For your life, pure sleazy rock at its best.

Houses of the Holy amazes me, imagine presenting that to a band and saying ok put bass drums and words to it! I think its a credit to the rest of the band that it actually works as a great song and turns an extremely odd riff into something special.

There is a bit in Guy Pratts book about playing bass with Page and him being amazed at how the songs were actually played because in theory he felt they shouldnt work.

As Brian May and Tony Iommi said on Planet Rock recently, Jimmy Page one of the greatest brains in rock music.................cant argue with that.

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Black Dog would be my favourite Zep riff of all time but since that's Jones's wonderful creation I'll probably have to go with the obvious Whole Lotta Love for Jimmy Page's greatest riff.

I'd also like to mention When The Levee Breaks as one of Page's best riffs, everyone remembers the drum beat but that slide riff is Page at his heavy, bluesy, dirty best!

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There are just too many fantastic riffs to choose from.. However, musically speaking, I think that Dancing Days is one of Page's greatest accomplishments. I don't anyone had ever attempted to integrate that type of dissonance and eastern tonality into a rock song previously - certainly many other rock bands played around with ragas, exotic instruments and exotics scales but Page synthesized it in a much more subtle and organic way, not solely as an exercise in "style" but as integral to the composition (The aforementioned "Friends" is also a good example of this) It sounds effortless and the connections that he drew between the blues and trance music were somewhat unprecedented. The W. Burroughs / Page interview from the early 70s delves into this a bit..

Great post. I love these, too.

Hey, any relation to that cool cat, Dexter "blood splatter analyst" Morgan? ;)


You see most other bands and "greats" and they have all the stage charisma of a wet, mildew-stricken bologny sandwich next to JP.


So true. B)

On the topic, the riff that turns me into a evil, slutty wench every time is No Quarter. I hold my breath in the second before it comes in, each time I hear it, doesn't matter how many times.

Speaking of, I've always liked "How Many More Times" too, seems like the prototypical riff for a lot of others.

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OK,here are some of his best:

Good Times,Bad Times

Dazed And Confused

Communication Breakdown

How Many More Times

Whole Lotta Love

Lemon Song


Living Loving Maid (She's Just A Woman)

Moby Dick

Bring It On Home

Immigrant Song

Celebration Day

Out On The Tiles


Black Dog

Rock And Roll

Misty Mountain Hop

Four Sticks

When The Levee Breaks

The Song Remains The Same

Over The Hills And Far Away

Dancing Days

D'Yer Mak'er

No Quarter

The Ocean (My Fav)

Custard Pie

In My Time Of Dying

Houses Of The Holy

Trampled Underfoot


Wanton Song

Sick Again

Achilles Last Stand

For Your Life

Nobody's Fault But Mine

Tea For One

In The Evening

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