Eddie Van Halen Guitar Riff

When Eddie Van Halen was once asked to describe his band’s music he responded by saying it sounds like “Godzilla waking up.”

The 1986 Van Halen album ‘5150’ is led by hit singles like “Why Can’t This Be Love”, “Best Of Both Worlds” and “Dreams” but it’s this title track which remains one of the standout guitar-driven songs of the Sammy Hagar era.

From the feverish opening riff to the gargantuan take-no-prisoners riff that follows, this one proved Eddie could tear it up no matter who was fronting the band.

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The melodious opening to “Hear About It Later” could have continued to play out as the perfect power ballad but, instead, Eddie shifted gears into a thick, flange-heavy rock ‘n’ roll riff that epitomized the Eddie Van Halen “Brown Sound”.

When Sammy Hagar first entered the studio to record the ‘5150’ album Eddie Van Halen had two riffs intended for the recently departed David Lee Roth. One ended up on the album’s opening track “Get Up” while the other for “Summer Nights”, a mighty riff set to an infectious groove reminiscent of Cream-era Eric Clapton.

Described as a “bump and grind” riff. Originally a demo called “Bring On The Girls” the title and lyrics were later re-worked. Talk about a guitar riff tailor made for David Lee Roth. This one has some serious swagger.

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“Cabo Wabo” is another phenomenal Eddie Van Halen riff from the Sammy era. Unfortunately, it’s one fans didn’t hear enough of live. After their 1988-’89 tour to support the ‘OU812’ album the band rarely, if at all, played this song in the tours that would follow.

The dark, aggressive tone of “Mean Street” was driven by Eddie’s mood at the time it was recorded. Feeling creatively stifled by both David Lee Roth and producer Ted Templeman, Eddie stuck around the studio after the others left. It was then he would release his frustrations with tapes rolling. Out from those secret sessions comes one of the nastiest riffs in rock history.

According to Eddie Van Halen himself, this riff was inspired by Angus Young of AC/DC. Eddie was amazed by the power of Young’s guitar playing in concert and wanted to come up with something that reflected that same force and intensity. He came up with “Panama”, featuring one of the most recognizable guitar riffs in rock history.

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Even Eddie Van Halen’s simplest efforts are lead to mind-blowing results. Intended to be a parody of the punk rock bands of the late 70s, this riff is based around two chords with an electric sitar added to the solo. Eddie thought so little of this riff that he waited six months before playing it for his band mates.

Led Zeppelin has their “Whole Lotta Love”, The Rolling Stones have their “Start Me Up”, Van Halen has their “Runnin’ With The Devil”. To steal a quote from David Lee Roth, this riff is as familiar to fans as the McDonald arches or the Nike swoosh.

Right out of the gate Eddie attacks the chords with blazing ferocity on this hard rock classic. After slowing things down just long enough for David Lee Roth’s “Hey man that is suit is you” moment he brings back the intensity, finishing with more of that killer guitar lick. This was Eddie’s chance to fly and he soared the entire way.If you’re compiling a list of the world’s greatest guitarists, then Eddie Van Halen should be at the top. Across the course of his band Van Halen’s 40-plus-year career, he took what could be done with the guitar to a level not see since Jimi Hendrix. Such is his importance in the evolution of the instrument that some guitar courses divide their syllabuses into pre- and post-Eddie eras. But which solos are his best? We’re glad you asked…

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Album, this is an overlooked gem of a solo. It wails in like an ecstatic ghost before Eddie’s fingers dance around the fretboard, his enthusiasm obvious and contagious. The second half of a solo takes things up a notch, before some funky sliding power chords take us to the fade.

, this was a searing return to form for the band and a reminder that Eddie remains the Dutch Master of the guitar. Fast, aggressive and in your face it’s like receiving multiple roundhouse kicks from Bruce Lee.

, this jaw-dropper was recorded in one take and given to Michael Jackson gratis. Eddie manages to showcase everything that makes him great in almost demo-like fashion, before the high note crescendo that almost sets the fretboard on fire.

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A gritty Western-inspired track demands a lightning fast gunslinger style of solo and that’s exactly what Eddie delivers on this track from

Track is easy to miss, but the solo is a clear and deep display of Eddie’s blues roots. Featuring practically all minor pentatonic based phrases, Eddie brilliantly stitches together a series of vibrant and aggressive licks, which effectively tells the story of the electric blues from Muddy Waters to Eric Clapton.

Showcases Eddie’s revolutionary harmonic sensibility, employing extensive use of the Floyd Rose here in his signature mix of tremolo and harmonic pitch change with the bar. The final ascending phrase (clearly worked out with great thought) is designed to give the driving and simple figure played by the rhythm guitar and bass underneath a perfect icing.

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, here Eddie grabs it by the throat and tears it a new arsehole. Lazy bends and descending harmonic runs begin the solo climbing up the neck into a tapping sequence before finishing it off with an outrageous bend and tap.

Van Halen’s debut album is positively crammed with stunning guitar work, but this is a deep cut for the more finely-tuned ear. Here, Eddie serves up two solos – the second is the killer, building intensity through a series of ascending phrases and and blues licks over a key change. The real treat is how the solo continues after the jazzy doo-wop vocal interlude, Eddie winding up his axe to the point of splitting.

The pivotal moment in the evolution of rock guitar playing. In 1 minute and 42 seconds Eddie completely redefines the sonic and technical capabilities of the instrument forever. The introduction is standard enough with a big glissando and opening power chord and some high speed runs. But when Eddie reveals his series of rapid two-handed tapping triads, jaws dropped, listeners said WTF and guitarists everywhere thought “Shit I gotta up my game.” It’s as if Bach himself has beamed in from the past, plugged his harpsichord into an FX rack and Marshall amp, blown our minds and then fucked back off again. Genius.Eddie Van Halen is rightfully spoken of as one of the great pioneering faces on the Mount Rushmore of all-time guitar legends. Alongside Les Paul, Jimmy Page and Jimi Hendrix, nobody else has come close to wielding the sheer world-changing influence of the Man from Amsterdam.

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Most of his glory seems to be centred around his revolutionary lead playing, and with good reason: the tapping, the harmonics, the whammy bar drops ‘n’ dives, the timing, the taste… it’s actually not that hard to spot a master when you hear one in this context. In fact, those last two reasons - his timing and sense of taste - play a major part in today’s blog.

Yes, today we want to discuss the most potent and powerful part of Eddie’s art: his rhythm and riff playing. Solos alone maketh not a master of the art, and Ed’s ability to create ultra-memorable riffs, hip-shaking rhythms and amazing sonic signatures are, we feel, the

Reason he was and is so revered. We love the solos but his riffs are just as much fun to play, and he had hands-down the

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, from the band’s debut record, nails three of Ed’s trademarks in one simple two bar phrase. Firstly, there’s the catchy, melodic yet attention-grabbing nature of the Am arpeggio which makes up most of the part. Secondly, there’s the simple/complex properties so indicative of his style (it sounds more elaborate than it is, yet it’s still pretty flashy). Lastly, this riff demonstrates Eddie’s game-changing attitude to effects use: the short delay on his signal adds depth and atmosphere, and the phaser - switched on for the last four notes only - reveals his superb taste for drama. Any more would be too much, and any less would lose the magic. Perfectly judged.

Keeping to the theme of genius effects pedal implementation, no one has put a flanger pedal to more badass use than Eddie did here on the

Riff. The man’s a tease, too: he performs one go-through of the riff with his straight (i.e. superb) amp tone, and then kicks in the flanger for the second go, using it only on his low D notes for a supersonic jet engine noise. There’s a reason the MXR EVH Flanger has an ‘Unchained’ button built into it: it’s the best setting EVER. Again, it’s his decision to use the effect only on certain notes that elevates this already good riff into something unforgettable.

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