The list of greatest rhythm guitarists would be, like any “best of” list, a long and contested one. From early innovators like Bo Diddley, Chuck Berry, Don Everly, and Lonnie Donegan to more recent players including James Hetfield, Ani DiFranco, Ed O’Brien, and Johnny Marr, rhythm guitar has its representative star players in every genre, every decade. So what makes a great rhythm guitarist? What attributes transcend genre, style, and time and solidify players in the pantheon of “the greats”? Let’s take a look.

First and foremost, great rhythm players have to have, well, rhythm. Not just any rhythm, but impeccable, flawless, insane rhythm. They aren’t playing in a vacuum. They are playing along with the bass and drums, the engine that drives any song, so they must be able to lock in on the beat, stay in the pocket, and make it sound effortless, natural, and most importantly, rockin’. Sounds simple. But during a live performance, when the tempo sometimes shifts, even if just a few beats, great rhythm players feel it, sense the change, and adjust in what is often a literal split second.

In the world of metal, where tempos are fast and ferocious, where slight fluctuations during live shows are not uncommon, James Hetfield, Scott Ian, and Dave Mustaine stand out as great rhythm players who can chunk and churn power chords with boundless energy and rock-solid timing. In rock, Johnny Ramone, Rudolf Schenker, and Nancy Wilson are held up as great rhythm players with an uncanny knack for killer musical timing.

Nancy Wilson with Heart “Barracuda” 2016
When a player is solo, rhythm can be much more fluid, expressive, and free of the constraints of playing along with the bass and drums. Solo rhythm players are able to set their own tempos, roll with their own fluctuations, and use variation to create a unique style. Kaki King and Ani DiFranco are superb examples of this.

If you want to see incredible solo rhythm playing, the kind that mesmerized a crowd of nearly a million, there is one performance of the past 50 years that stands out from just about any other: Richie Havens playing “Freedom” at Woodstock in 1969. Lucky for us, there were several cameramen on hand to capture this seminal moment. The soulful, sweaty intensity of Haven’s rhythm is truly moving — and the entire song was improvised on the spot!

Richie Havens “Freedom” Woodstock 1969
This leads us nicely to another attribute of great rhythm guitarists: style. It’s not enough to just be able to keep a beat. Excellent rhythm players also bring their own unique spin to their playing. Using a variety of right-hand and left-hand techniques, these rhythm players use palm-mutes, hammer-ons, and pull-offs to add melodic texture to their rhythm playing. While lead guitarists make their name by laying down complex, note-heavy solos, exceptional rhythm guitarists use spare but tasty licks to complement their playing.

Hundreds of rhythm players have made a name for their unique style over the decades. Bo Diddley was one of the earliest true innovators who brought Sub-Saharan African rhythm into his playing and subsequently built the bridge between blues and rock ‘n’ roll. The Bo Diddley beat, as it came to be known, would influence countless players into the 1960s, including Buddy Holly and a young Keith Richards.

Bo Diddley “Bo Diddley” 1997
When it comes to style, Keith Richards is a true standout. Often employing open tunings, he is a master of the rhythmic hammer-on and pull-off as he slides up and down the neck, forming the soulful, tasty barre chords on classics like “Brown Sugar,” “Honky Tonk Women,” and “Start Me Up,” and giving them that extra something by way of hooky licks: 3-, 4-, and 5-note runs that are forever etched in our collective ears, instantly recognizable, and now part of pop music lore.

Keith Richards “Brown Sugar” 1972
But perhaps the greatest rhythmic stylist in recent memory is none other than Pete Townshend. The sheer abandon he brought to his rhythm playing is nothing short of jaw-dropping: leaping, frenetic, mad-ballet movements during chord changes; a windmilling right arm landing perfectly in time against the strings and in unison with Keith Moon’s smashing tom and snare hits; and perhaps most impressive, the powerful pocket he found in the controlled chaos of Moon’s crashing, careening drumming and John Entwistle’s nonstop, cascading bass lines. Within this churning sea, Townshend stayed locked, loaded, and loud and inspired countless players for generations to come.

Pete Townshend “Won’t Get Fooled Again” 1977
Finally, a rhythm player is connected to the lead guitarist in a way that transcends definition. It’s a connection that goes far beyond practicing together to “get it right.” It’s alchemical. It just happens. Sometimes it happens gradually; other times it happens instantly. When that connection is there, it comes through in the music, and the listener hears it, feels it, and is infinitely moved by it.

There have been any number of rhythm-lead pairings over the years that exemplify this connection. But if you ask a host of players, most end up pointing to one particular tandem as transcending all others: Malcolm and Angus Young. Malcolm’s hard-hitting rhythm perfectly complemented the hyperkinetic lead playing of his younger brother and arguably was the central force that shaped the iconic sound of AC/DC.

Standing stage right, his feet parted just so, right leg shaking to the beat, his diminutive 5′ 3″ frame mostly hidden behind his 1963 Gretsch Jet Firebird, Malcolm punched out powerful, perfectly timed chords in unison with Phil Rudd’s kick drum and Cliff Williams’ thudding bass lines. And most importantly, he provided the rhythmic foundation that gave Angus the freedom to fly back and forth on the stage, head bobbing furiously, as he tore through his Chuck-Berry-on-steroids leads.

Malcolm also had insane rhythm and style galore. Listen to tracks like “Gimme a Bullet,” “If You Want Blood,” and “Jailbreak” and you hear it. You’ll hear that incredible rhythmic connection between Malcolm and his brother, as well as a band at the height of its incendiary talent.

AC/DC “It’s a Long Way to the Top” 1976
Malcolm Young will forever be remembered for his incredible rhythm guitar, his insatiable spirit, and his love for pure, unfettered rock ‘n’ roll. And for that, he tops the list that we never planned to create. Great rhythm guitarists like Malcolm, as well as the other players mentioned above and the hundred or so that didn’t get mentioned, move us to do the unpredictable. They create the rhythms that stir the soul and move the feet. And for that we salute them.

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