Top 20 Keyboard and Synth Parts in Rock Songs

Top 20 Keyboard and Synth Parts in Rock




Welcome to WatchMojo, and today we’re counting down our picks for the recognizable or memorable keyboard sections from the world of rock music.

#20: “Kids” (2007)

MGMT

The prevalence of keyboards and synthesizers within the pop music landscape isn’t limited solely to the 70s and 80s. “Kids” from MGMT proved that cool musical licks of this sort could thrive within late millennial indie charts. The tune is catchier than kindergarten sneezes, thanks to an insistent, driving beat and one outstanding synth hook. That beep-boop of Ben Goldwasser’s synthesizer is instantly recognizable and practically dares audiences to dance. He even takes a righteous solo around the four-minute mark that’s very welcomed, indeed. MGMT sounds timeless on this track, with “Kids” existing within a wonderful conceptual vacuum between 80s art-pop and contemporary electronica.

#19: “November Rain” (1991)

Guns N’ Roses

There have been a lot of big, rock-star-type personalities that have come and gone within the lineups of Guns N’ Roses. Slash, Bumblefoot, and Buckethead all come to mind, but keyboardist Dizzy Reed has remained a GnR constant since 1990. His work with the group has always been good, and “November Rain” could’ve easily been a shining moment for Reed in the studio. However, it’s songwriter and singer Axl Rose who handles the dramatic piano flourishes [1] around the seven-minute mark, while Reed delivers backing choral vocals. This takes nothing away from the support Reed has given GnR, but Axl definitely deserves all of the flowers for composing this ‘90s rock classic.

#18: “Roundabout” (1971)

Yes

The “Fragile” album from Yes isn’t only the group’s finest musical hour, it’s also one of the finest examples of ‘70s prog rock, full stop. Each member puts on a clinic here, but keyboard legend Rick Wakeman went above and beyond with regard to his array of equipment. Hammond C3 organ, Minimoog synthesizer, and glorious Mellotron sounds all make appearances here, adding texture to “Roundabout’s” heady trip. Wakeman also takes a solo on that aforementioned Hammond, demonstratively showcasing his influence upon just about every prog keyboardist to emerge in his wake.

#17: “Runaway” (1961)

Del Shannon

It isn’t a foregone conclusion that every golden oldie fan familiar with Del Shannon’s “Runaway” also stuck around long enough to check out his 1968 experimental psych recordings. That said, perhaps it’s also fair to say that the decision to include a brief but memorable electric piano solo spoke to Shannon’s progressive songwriting aspirations. The lick, played by keyboardist Max Crook on his own invention, the Musitron, is a standout section of the song. In fact, the solo is so memorable that it stands on its own alongside Shannon’s iconic falsetto singing. And this was no mean feat!

#16: “Gypsy” (1970)

Uriah Heep

Britain’s Uriah Heep came roaring onto the international rock scene with this debut single, one that served as a harbinger for heavy metal. “Gypsy” opens up with Ken Hensley’s electrified organ and never looks back, crunching and flattening all with one hell of a steamroller riff. The single and album versions differ, in that the one taken from Heep’s iconic, “...Very 'Eavy ...Very 'Umble” debut features extended solo sections. Both are incredible, of course, but the real ones know that the studio version’s extended organ freakouts offer a view into Uriah Heep’s monolithic ‘70s sound.

#15: “Trampled Under Foot” (1975)

Led Zeppelin

Led Zeppelin's members brought a diverse set of musical influences. This helped Zep’s sound to flow through rivers of rock, folk…and even funk! “Trampled Under Foot” is a great example of the latter, a tune co-written by bassist John Paul Jones, who also handles the clavinet electric piano. Jazzy, funky, and soulful fusion permeates “Trampled Under Foot,” a fun tune influenced by Stevie Wonder’s “Superstition.” This inspiration is more than obvious, but “Trampled Under Foot” is infectious from the first note to the last, demonstrating just how much range this legendary band had.

#14: “The House of the Rising Sun” (1964)

The Animals


It wasn’t only the '70s and ‘80s that had a lock on important keyboard sounds. Eric Burdon and The Animals covered this folk standard in 1964 and immediately lent their own stamp to the tune. Their “House of the Rising Sun” is notable for Alan Price’s spooky organ sound, a long solo run that adds tons of atmosphere. The proto-psychedelic sound of The Animals is prevalent here, while Price’s playing feels both mournful and melancholic. Overall, however, “The House of the Rising Sun” is a group effort, a timeless classic rock tune where every member feels important.

#13: “Magic Man” (1975)

Heart

Radio edits have, historically speaking, never been the place for extended instrumental jams. This is generally why they shorten these sections for commercial airplay. The version of “Magic Man” on Heart’s debut album, “Dreamboat Annie,” features even longer guitar soloing and Minimoog synth performances that really highlight the tune’s ‘70s origins. Some detractors may claim that these analog synth flourishes date the song, but we couldn’t disagree more. In fact, we’d dare to argue that the album version is the definitive one, a smokin’ cut that deserves investigation if you’ve only ever heard the radio version.

#12: “Fanfare for the Common Man” (1975)

Emerson, Lake & Palmer
Keith Emerson was no stranger to complex keyboard gymnastics - case in point ELP's "Benny the Bouncer." The musician would outdo himself, however, on this reworking of a piece from the early ‘40s. The track was originally composed by Aaron Copland in 1942 but was reworked by the band for their 1977 opus “Works Vol. 1,” with Emerson taking center stage on the keyboard. Emerson and the group would transpose Copland's piece into a shuffling, bluesy number to huge success, resulting in a fan favorite ELP track, which followed the band throughout their career..

#11: “Love Will Tear Us Apart” (1980)

Joy Division
The keyboard melody of this entry may be comparatively minimalistic, but it's no less powerful or influential. "Love Will Tear Us Apart" is arguably the most enduring track from British post-punk band Joy Division’s tragically brief career. Guitarist Bernard Sumner takes to the keyboards and echoes Peter Hook's riffy, melodic bassline while adding sweeps and swells of his own to make an already dramatic song even more so. It may not be a grand, complex part but the keyboard's cold, haunting tone is perfectly suited to the song and is a perfect match for Ian Curtis' pained, vulnerable vocals.

#10: “Subdivisions” (1982)

Rush
This song, from Canadian rock legends Rush, goes for the synthesizer glory right from the get-go with a solo performance from singer and bassist Geddy Lee. "Subdivisions" is taken from the band's 1982 album Signals, which itself signaled a turning point of sorts for the progressive rock outfit. The track showcased a streamlined and melodic sensibility new to the Rush sound, anchored by Lee's forward approach to using the synthesizer as a lead instrument. Indeed, the guitar work of Alex Lifeson and Neil Peart's[a] drumming is almost restrained against the stirring and emotional melody line delivered by Lee in this massively influential Rush song.

#9: “Separate Ways (Worlds Apart)” (1983)

Journey
With its iconic opening keyboard melody, “Separate Ways” grabs your attention right from the start. Journey's Jonathan Cain possesses a striking tone to his chosen instrument, as his driving lick is quickly bolstered by guitarist Neal Schon's heavy staccato riffing. The keyboards then take a supporting role in "Separate Ways" as the song weaves its tale of a lonely lover promising devotion to his former flame, despite their separation. Cain's keyboards return for haunting effect near the end of Schon's guitar solo, then lead into a collaboration with singer Steve Perry to bring it all home for the song's epic finale.

#8: “Foreplay / Long Time” (1976)

Boston
A Hammond M3 organ is the star of this early Boston classic, serving as one of the most memorable tracks from this arena rock band's multi-platinum debut. It's "Foreplay" which serves as the most keyboard-centric section of the 1-2-combo, an instrumental track that hinges upon the quick arpeggio melody lines for primary effect. The song then segues into "Long Time," a more traditional Boston track that utilizes the keyboards as a more understated but mood-setting accompaniment to Tom Scholz's layered guitar symphonies and Brad Delp’s powerful vocals. Place them together, and you have a tasty sandwich of keyboard goodness, performed in that bombastic 70s style.

#7: “The Final Countdown” (1986)

Europe


It’s perhaps one of the most famous keyboard parts of the 1980s and one that was actually written by Europe’s lead singer, Joey Tempest. “The Final Countdown’ is super slick, radio-ready glam metal from a group that proved their stuff way back during the earlier part of the decade. Early Europe may be heavier, speedier stuff, but “The Final Countdown” was tailor-made for stadium rockin’. The song’s entire structure is based around Tempest’s insanely memorable Korg keyboard lick, a decision at which the rest of Europe initially balked. It was, however, via Tempest’s insistence that “The Final Countdown” was born, and ‘80s metal history was forged.

#6: “Space-Dye Vest” (1994)

Dream Theater


The Kevin Moore-era of Dream Theater was truly something special for fans of this progressive metal powerhouse. “Space-Dye Vest” might be one of the most emotional-sounding tunes of this era, and proof that the keyboard doesn’t necessarily need to sound clinical or distant. The song is impressively experimental, utilizing spoken word and movie samples in a manner that Moore would further develop later in his career. The keys are 100 percent the star of the show, but vocalist James LaBrie is also a big part of the song’s success. Meanwhile, the instrumental coda, featuring the entire band, just sends shivers down our spines every time.

#5: “Jump” (1983)

Van Halen
The Van Halen of 1984 was a band going through some serious changes. Not only were tensions between the band and vocalist David Lee Roth becoming worse and worse, but the hard rock band's sound was evolving into one that was increasingly incorporating keyboards, as opposed to the riff and two-hand-tapped guitar work that defined their early work. "Jump" summed up this new sound, propelling guitarist Eddie Van Halen's commercially friendly and catchy keyboard melodies into the Billboard charts. It's a driving and infectious ditty indeed, and fans responded in droves, making "Jump" a number-one smash in countries around the world.

#4: “Shine On You Crazy Diamond” (1975)

Pink Floyd
Talk about epic! "Shine On You Crazy Diamond" is a nine-part, twenty-five-minute opus from Pink Floyd on their 1975 concept album "Wish You Were Here." Split into two chunks which bookend the album, the song was composed as a spiritual ode to former member Syd Barrett and serves as a fine example of Floyd at their most emotional and atmospheric. Particular attention should be paid to keyboardist Richard Wright, whose adept sense at creating mood makes it easy for lead guitarist David Gilmour to work his magic over the top. It's simply a match made in musical heaven.

#3: “Highway Star” (1972)

Deep Purple


Moving on to something substantially less restrained, Deep Purple songs like “Burn” and "Highway Star" just might epitomize absolute, pedal-to-the-metal perfection. Much of “Highway Star’s” success can be attributed to the band's keyboardist Jon Lord, and his insane runs on the Hammond organ. Lord trades off classically inspired solos against his Purple bandmate Ritchie Blackmore. fiery runs that meet Blackmore note for note. Both musicians drum up dizzying, technical flourishes, right on through the song's crash-and-burn finale. Lord and Blackmore would go on to co-perform on the comparatively mid-paced "Perfect Strangers" in 1984 but it was "Highway Star" that sealed the deal for many fans some twelve years prior.

#2: “Light My Fire” (1967)

The Doors
It's a classic rock mainstay that is recognizable almost immediately, thanks to keyboardist Ray Manzarek and his intense musical skills. Manzarek was so talented with his chosen instrument, that the Doors rarely ever used a bassist when performing live, with the keyboardist filling that role via a Fender Rhodes Piano Bass. It's the Vox Continental organ here, however, that provides the song's most memorable attributes, from the unending middle solo to the playful riff that hooks us in from the get-go. Manzarek also flirts with the melody while supporting Robbie Krieger's inquisitive and quasi-flamenco guitar solo, before driving hard back into one of rock's most memorable musical moments.

#1: “Baba O’Riley” (1971)

The Who
Pete Townshend and The Who are no strangers to composing rousing, epic keyboard melodies, as evidenced by their iconic 1971 track, "Won't Get Fooled Again”. It was the opening track to that same album, Who's Next? which would go on to cement the band as certifiable rock gods. "Baba O'Riley" is famous for the repetitive, layered synthesizer tracks that serve as an undercurrent for Townshend's windmill guitar riffs and frontman Roger Daltrey's soaring vocals. The driving synth lines are then further expanded upon during the Townshend-sung bridge, as sparse melodic notes are used to accentuate the song's overt dramatic atmosphere. The result? A classic rock masterpiece that still retains all of its original power.






Do you feel that piano, synth or organ flourishes add a lot to rock music, or could you do without them? Let us know in the comments!

CTA:

“Tuesday’s Gone”
Lynyrd Skynyrd
Audio
https://www.youtube.com/watch?v=LJrFxnvcWhc&pp=ygUOdHVlc2RheSdzIGdvbmU%3D

CTA:

“Astronomy”
Blue Oyster Cult
Audio
https://www.youtube.com/watch?v=U0t_wb0lUW0