Top 30 Rock Songs of 2024

In December 2024, Gene Simmons opined, fairly matter-of-factly, that rock was lifeless. The artists comprising our High 30 Rock Songs of 2024 would really like a phrase.

Because the 12 months attracts to an in depth, UCR seems to be again fondly on one other 12 months of heavyweight rock songs that reaffirmed our religion in the style. This 12 months noticed thundering releases from heavy steel juggernauts like Judas Priest and Bruce Dickinson; punchy blues-rock anthems from Jack White and Black Keys; heartfelt musings from Billy Joel and Stevie Nicks; and age-defying reunions from the Black Crowes and the Remedy. And that is simply scratching the floor.

Learn on to see our full listing of the High 30 Rock Songs of 2024.

30. James McCartney, “Primrose Hill”

From: Stunning Nothing

James McCartney made waves when he revealed that he’d co-written “Primrose Hill” with Sean Ono Lennon — and certainly, the music’s wistful melancholy evokes the work of their fathers. The folks-tinged acoustic ballad tells a easy however poignant story of fond remembrance and heartsick longing. “You disappear eternally / eternally’s an extended phrase / however by no means’s not lengthy sufficient / to be loving you,” McCartney sings. It is a flip of phrase most songwriters would kill to put in writing — he realized from the perfect, in any case.

29. Mike Campbell & the Soiled Knobs feat. Graham Nash, “Dare to Dream”

From: Vagabonds, Virgins & Misfits

After a long time of serving as Tom Petty’s right-hand man, former Heartbreakers guitarist Mike Campbell has spent his previous three solo albums discovering his personal voice as a singer and bandleader. He sounds assured in his new position on “Dare to Dream,” a languid, quasi-psychedelic rocker filled with droning guitar licks and Campbell’s nasally sneer, which sounds greater than just a little bit like his late companion’s. A visitor vocal from Graham Nash additional solidifies the music’s ’60s pop-rock bonafides.

28. The Darkness, “The Longest Kiss”

From: Goals on Toast

The cheeky lead single off the Darkness’ 2025 album leans closely on the band’s Queen affinity, filled with crunchy guitar harmonies and rhythmic keys that give it a uniquely British pomp and stomp. Lead singer Justin Hawkins provides a comparatively subdued vocal efficiency, exhibiting off his well-rounded mid vary whereas constructing anticipation for the head-voice histrionics that characterize the Darkness’ most iconic songs.

27. Joe Satriani and Steve Vai, “Sea of Emotion, Pt. 1”

It appears unbelievable that Joe Satriani and Steve Vai had by no means beforehand collaborated within the studio, however they make up for misplaced time on the sprawling “Sea of Emotion, Pt. 1.” Each guitar heroes hold the emphasis on melody and music construction, delivering a cool jam that is full of mini-hooks at each flip. It makes the payoff even higher after they each lower unfastened with their characteristically dizzying and esoteric solos.

26. Little Feat and Bonnie Raitt, “Lengthy Distance Name”

From: Lengthy Distance Name

Little Feat’s swampy rendition of Muddy Waters’ blues staple is a mixture of the acquainted and the novel. The band extends its decades-long historical past of collaborations with Bonnie Raitt, who duets evocatively with classic-era percussionist Sam Clayton in his first-ever vocal flip. You’d by no means comprehend it from his assured, gravelly, talk-sung efficiency — which, when mixed with Scott Sharrard’s scorching slide guitar, makes for a contemporary blues masterclass.

25. Melvins, “Working the Ditch”

From: Tarantula Coronary heart

“Working the Ditch,” the lead single off Melvins’ twenty seventh studio album Tarantula Coronary heart, finds the group working in a mode that is acquainted if not precisely accessible. The band’s sludge-metal cacophony reaches new long-form, experimental heights throughout the LP, and “Ditch” is anchored by grinding, hypnotic riffs and Buzz Osborne’s gruff, repetitive chants. The twin-drum assault of Dale Crover and Roy Mayorga concurrently provides density and looseness to their gurgling sonic stew.

24. Ozzy Osbourne, Billy Morrison and Steve Stevens, “Crack Cocaine”

From: The Morrison Venture

Certain, you can take Billy Morrison at his phrase and browse the lyrics to “Crack Cocaine” as a metaphor for a poisonous love affair — however provided that you possibly can divorce the monitor from Ozzy Osbourne’s legendarily debauched historical past. Nonetheless you interpret it, the music is a basic Ozzman stomper, filled with chugging, Zakk Wylde-approved riffs and a livid solo from Morrison’s Billy Idol bandmate Steve Stevens. Osbourne sounds fierce and lucid as he bellows a couple of pastime that always made him behave in a less-than-dignified method.

23. Billy Idol, “Finest Manner Out of Right here”

From: Insurgent Yell (Expanded Version)

“Seems like Steve [Stevens] was very influenced by Prince,” Billy Idol stated when he unveiled “Finest Manner Out of Right here,” a beforehand unreleased monitor from the Insurgent Yell periods. “It’s nearly like a Prince backing monitor with Billy Idol singing.” Certainly, Stevens’ funky guitar licks and the music’s heavy synths evoke the Purple One and different new wave contemporaries, whereas Idol’s scat-sung vocals really feel indebted to reggae — proof that the punk pinup was at his greatest when he embraced his pop instincts.

22. Dream Theater, “Night time Terror”

From: Parasomnia

Dream Theater thrilled followers after they introduced cofounding drummer Mike Portnoy’s return in 2023, they usually assuaged any lingering doubts about rekindling their outdated spark with “Night time Terror.” The ten-minute behemoth that previews 2025’s Parasomnia twists and turns with blistering precision, filled with head-spinning guitar solos and time signatures that change on a dime. Portnoy lends to the prog-metal mayhem, however his punishing fills and slick grooves remind listeners that he is a rocker at coronary heart. It is good to have him again.

21. Slash feat. Brian Johnson and Steven Tyler, “Killing Ground”

From: Orgy of the Damned

Twenty-five years after retiring Slash’s Blues Ball, the guitarist lastly dedicated his love of the style to report together with his all-star covers album Orgy of the Damned. He is squarely in his consolation zone on this cowl of Howlin’ Wolf’s electrical blues staple, ripping fast-and-loose solos and locking into an easy groove together with his bandmates. Brian Johnson delights with a soulful vocal showcasing his husky low register, and a visitor harmonica efficiency from Steven Tyler provides further grit and gravitas.

20. Sheryl Crow feat. Tom Morello, “Evolution”

From: Evolution

Sheryl Crow continues to be able to the identical easy cool that shot her to stardom within the ’90s, however she tackles headier subject material on “Evolution,” a moody rocker in regards to the risks of synthetic intelligence left unchecked. As a 30-year music trade veteran, Crow’s confusion and dismay over listening to “a music that gave the impression of one thing I wrote” on the radio ring particularly poignant. A futuristic solo from Tom Morello drives residence the purpose that some eccentricities cannot be manufactured.

19. Eddie Vedder, “Room on the High”

From: Dangerous Monkey soundtrack

Eddie Vedder had been protecting Tom Petty and the Heartbreakers’ “Room on the High” for years earlier than releasing a studio model for Apple TV+’s Dangerous Monkey soundtrack. His affection for the late rocker is clear in his plaintive vocal, and Andrew Watt’s punchy manufacturing provides the monitor a extra anthemic really feel. This mix of melancholy and muscle is second nature to Vedder. With mentors like Petty, it is simple to see why.

18. Ace Frehley, “Walkin’ on the Moon”

From: 10,000 Volts

On 10,000 Volts, Ace Frehley sticks largely to what he is aware of greatest: catchy, three-chord laborious rock with a chewy pop middle. “Walkin’ on the Moon” exemplifies this system with its swaggering cowbell groove, gigantic energy chords and a assured vocal efficiency from the Spaceman. Is this a part of Frehley’s private UFO testimony, or only a love letter to old school rock ‘n’ roll? Both manner, it soars.

17. MC5 feat. Tom Morello, “Heavy Lifting”

From: Heavy Lifting

MC5 posthumously launched Heavy Lifting a whopping 53 years after their sophomore album, 1971’s Excessive Time. That huge hole explains why Wayne Kramer’s newest star-studded endeavor typically bears little resemblance to the band’s glory days. However, the late bandleader sounds invigorated throughout the venture, particularly the Tom Morello-assisted title monitor, a raucous slab of metallic funk that evokes the sound and fury of each collaborators’ heydays. A becoming farewell to one in every of rock’s undisputed heavyweights.

16. Bruce Dickinson, “Rain on the Graves”

From: The Mandrake Venture

Far be it from Bruce Dickinson to take the trail of least resistance. The Iron Maiden frontman’s first solo album in 19 years, The Mandrake Venture, is one other high-concept epic about abuse, id, energy struggles and the occult. Pre-release single “Rain on the Graves” combines Dickinson’s operatic vocals and tongue-in-cheek theatrics with muscular riffs and propulsive grooves. In spite of everything this time, he nonetheless sounds out for blood.

15. The Smashing Pumpkins, “Sighommi”

From: Aghori Mhori Mei

The Smashing Pumpkins’ catalog is a examine in duality, alternating between explosive, metallic laborious rock and shimmering, experimental art-pop. “Sighommi,” the lead single off Aghori Mhori Mei, lands within the former class, filled with lithe grooves and bone-crunching guitar chugs. Billy Corgan’s melodic sneer is the cherry on prime, giving “Sighommi” an intangible sense of longing at the same time as its guitars crash like waves towards the rocky shore.

14. Mark Knopfler, “Forward of the Sport”

From: One Deep River

Mark Knopfler conquered the globe a long time in the past with Dire Straits, however on “Forward of the Sport,” he makes taking part in within the noisy again room of the neighborhood pub sound like probably the most superb endeavor on this planet. The singer and guitarist delivers his tried-and-true strand of laidback pop-rock, slick however removed from sterile, as he sprinkles in blues and nation licks with easy panache. “We’re worn out and weary, all of us / However we all know why we got here,” Knopfler croons, sounding like a person who is aware of some cosmic secret the remainder of us are nonetheless making an attempt to determine.

13. Billy Joel, “Flip the Lights Again On”

Non-album single

Billy Joel deserted pop music after 1993’s River of Goals, satisfied he had nothing left to say. Thirty-one years later, he returned with “Flip the Lights Again On,” a reflective piano ballad on which he brazenly wonders if he is missed his window of alternative. The music captures Joel in basic ’70s balladeering mode, his voice weathered however nonetheless strong. The rapturous reception to the music’s stay debut on the 2024 Grammys squashed any doubts whether or not the general public would nonetheless embrace him.

12. Stevie Nicks, “The Lighthouse”

Non-album single

Stevie Nicks wrote “The Lighthouse” shortly after Roe v. Wade was overturned, feeling compelled “to face up for the ladies of the USA and their daughters and granddaughters — and the boys that love them.” It is a rally name from the bounce, with Nicks exhorting ladies to embrace their scars and by no means let the villains of the world strip them of their energy. She sounds heat and alluring within the verses, a kindred spirit and nurturer. However when the refrain kicks in, a swap flips: She turns into a warrior and protector, imploring listeners to “see the long run and get mad.” Hell hath no fury like a rock goddess scorned.

11. Sebastian Bach, “Everyone Bleeds”

From: Little one Inside the Man

The titles of “Everyone Bleeds” and accompanying album Little one Inside the Man counsel that Sebastian Bach has gained some hard-earned knowledge and a recent perspective. However do not assume for a second that the previous Skid Row frontman has softened with age. “Everyone Bleeds” is a bludgeoning steel anthem, full of catchy riffs, titanic drums and Bach’s full-throttle screams. If everyone bleeds, burns and drowns ultimately, Bach sounds decided to go down swinging.

10. The Smile, “Good friend of a Good friend”

From: Wall of Eyes

Is it a copout to say “Good friend of a Good friend” sounds positively Beatlesque? The Radiohead offshoot did report its sophomore album at Abbey Highway Studios, and the album’s third single is a twisting art-rock odyssey, anchored by Tom Skinner’s lithe drumming and Thom Yorke’s lilting vocals. The lyrics had been impressed by footage of Italian folks singing on their balconies in the course of the COVID-19 lockdowns; the climactic string swells provide a cathartic rebuke to the concern and isolation wrought by the pandemic. But “Good friend of a Good friend” ends on a observe of uncertainty — a warning towards complacency and an interrogation of who advantages in occasions of world disaster.

9. Pearl Jam, “Darkish Matter”

From: Darkish Matter

The title monitor to Pearl Jam’s twelfth album goes straight for the jugular with martial percussion, fist-pumping riffs and savage call-and-response vocals from Eddie Vedder. It is a sweaty, breathless efficiency that harks again to the band’s mid-’90s heyday. Producer Andrew Watt provides the music a contemporary, gut-punching sheen, and Mike McCready’s scorching guitar solo proves the alt-rock giants have misplaced none of their chunk.

8. The Black Keys, “Stunning Individuals (Keep Excessive)”

From: Ohio Gamers

The Black Keys’ Dan Auerbach and Patrick Carney way back dropped the pretense of working as a duo, and “Stunning Individuals (Keep Excessive)” sounds like a big-budget alt-rock anthem befitting its seven credited co-writers, most notably Beck. That is not essentially a nasty factor: The “na na na” backing vocals and auxiliary brass and keyboard contributions elevate the music’s funky blues-rock strut. It is probably not a literal arena-sized banger, nevertheless it’s the work of a band that proudly busted out of the storage a very long time in the past.

7. Robert Plant and Alison Krauss, “When the Levee Breaks”

Non-album single

Few basic rock titans have found out tips on how to reinvent their outdated songs as successfully as Robert Plant. Along with Alison Krauss, the previous Led Zeppelin frontman gives one other tackle the Memphis Minnie blues tune, reimagining it as an unique, elemental dirge. Plant’s husky vocals lend an air of desperation to the efficiency, whereas Krauss’ evocative violin work nods briefly to Zeppelin’s “Buddies” earlier than propelling the music to a climactic rootsy stomp.

6. Inexperienced Day, “1981”

From: Saviors

Ever since 2004’s American Fool revitalized their profession, Inexperienced Day has fought (and infrequently succumbed to) the temptation to show each venture right into a massively bold endeavor. Even Saviors was touted as their long-awaited reunion with longtime producer Rob Cavallo, and the third installment in a non secular trilogy additionally comprising Dookie and American Fool. Fortunately, Inexperienced Day tamps down these outsize urges on the brash “1981,” a back-to-basics punk anthem filled with blunt-force energy chords and singalong choruses. It is Inexperienced Day identical to you keep in mind them — one model, at the least.

5. David Gilmour, “The Piper’s Name”

From: Luck and Unusual

“The Piper’s Name” is a cautionary story in regards to the perils of fame from anyone who’s spent greater than half a century maintaining the hounds at bay. The contemplative monitor begins with delicate acoustic guitar strums and a hushed vocal from David Gilmour, who warns that you simply “cannot undo the voodoo that you simply do” and implores listeners to “avoid snakes.” The music builds step by step and climaxes with a smoldering guitar solo — the proverbial North Star that is at all times righted Gilmour when the trade threatened to guide him astray.

4. Judas Priest, “The Serpent and the King”

From: Invincible Protect

In order for you progressive grandeur or epic balladry, there are many songs in Judas Priest’s catalog to satiate your urge for food. “The Serpent and the King” isn’t one in every of them. The Metallic Gods serve four-and-a-half minutes of unadulterated, ass-kicking heavy steel, anchored by rapid-fire riffs, double-kick drum commotion and Rob Halford’s siren-like wail. It is an epic story of fine versus evil, delivered with the venom of the serpent and the authority of the king.

3. Jack White, “That is How I am Feeling”

From: No Title

Jack White soared to stardom as a blues-rock revivalist, however his actual superpower has at all times been his capacity to imbue these garage-rock rave-ups with unabashed pop hooks. Working example: “That is How I am Feeling,” the lead single off his guerilla-released No Title. White’s feral yelp cuts via the jagged guitars, however the loud-soft dynamics and dance floor-ready beat give it an irresistible earworm high quality. White has no enterprise sounding this important 25 years after the White Stripes launched their debut album. However we’re not complaining.

2. The Black Crowes, “Wanting and Ready”

From: Happiness Bastards

There’s one thing exhilarating about a few seasoned professionals selecting up proper the place they left off and sounding no worse for put on. That is the case on “Wanting and Ready,” the lead single off Happiness Bastards, the Black Crowes’ first studio album in 15 years. Brothers Chris and Wealthy Robinson serve up their patented blues-rock boogie with soul and swagger, combining sassy vocals and scorching riffs with smoky keyboard prospers and poppy hand claps. Fellas, we beg you: Do not go away us wanting and ready for an additional 15 years.

1. The Remedy, “Alone”

From: Songs of a Misplaced World

The Remedy’s first album in 16 years takes its time getting began. “That is the top of each music that we sing,” Robert Smith croons three and a half minutes into opening monitor and lead single “Alone.” It is a majestic and introspective sluggish burn, teeing up an album that concurrently sums up the band’s profession whereas additionally pushing them into uncharted territory. Smith summons a “broken-voiced lament to name us residence,” however at 65, he sounds as craving and highly effective as ever.