The debate rages on among music lovers and guitar aficionados: what truly constitutes the greatest guitar solo of all time? Comparing the soulful bends of “Comfortably Numb” to the blistering speed of “Crazy Train,” or the anthemic build of “Stairway to Heaven” against the sophisticated coolness of “Sultans of Swing” feels like comparing apples and oranges. Each solo is a unique expression, a moment in time captured in sound. Yet, the court of public opinion is always in session, tastes evolve, and new favorites emerge.
To tap into the current pulse, we at guitarplayers.net asked our readers to weigh in: Which guitar solos reign supreme today? The results are in, and we’re excited to present your top 20 Greatest Guitar Solos Of All Time. Join us as we delve into the stories behind these iconic tracks, exploring the magic that makes each of these guitar breaks truly exceptional, with insights from guitar heroes like Brian May, Kirk Hammett, Michael Schenker, and more.
20. Gary Moore | “Still Got the Blues”
GUITARIST: Gary Moore (1990)
The quintessential blues guitar ballad.
Gary Moore Still Got the Blues YouTube
“Still Got the Blues,” the title track from Gary Moore’s 1990 album, became an unexpected anthem for the guitar virtuoso as he transitioned into a bluesman. This melancholic masterpiece in A minor showcases Moore’s raw emotion and technical prowess. A pivotal moment in the solo reveals Moore switching from the warm neck humbucker to the biting bridge pickup on his cherished 1959 Les Paul Standard, nicknamed “Stripe.” From there, he masterfully navigates the A minor pentatonic scale, adding touches of Aeolian and harmonic minor scales to create a solo that’s both familiar and breathtakingly original.
Moore’s setup was equally crucial to his tone: his prototype Marshall JTM-45 reissue head paired with Marshall’s Guv’nor distortion pedal. Over three decades later, “Still Got the Blues” endures as a benchmark of blues expression, capturing Moore’s passionate struggle and ultimate triumph through his guitar.
19. Metallica | “Fade To Black”
GUITARIST: Kirk Hammett (1984)
Metallica’s ballad breakthrough, featuring Hammett’s epic guitar work.
Metallica Fade To Black YouTube
Recorded during the frigid February and March of 1984 at Flemming Rasmussen’s Sweet Silence Studios in Copenhagen, Ride the Lightning, Metallica’s sophomore effort, signaled a significant evolution from the pure thrash of Kill ’Em All. “Fade to Black” epitomizes this shift, incorporating acoustic guitars and a more progressive song structure reminiscent of “Stairway to Heaven.” However, it’s Kirk Hammett’s hauntingly melodic solo that truly marks a turning point in his playing. The signature element of the final solo is his masterful use of two-string arpeggios.
In an interview with Total Guitar, Hammett shares insights into his improvisational approach: “For the very last solo, I know how I want to start it, but then I am in an area where I can improvise for 16, 18 or 24 bars… and then [drummer] Lars [Ulrich] will hit a certain fill, which means that it’s up and it’s time for the arpeggio part.” He emphasizes the two-string arpeggio technique, a popular style of the 1980s predating the sweep-picking craze. For guitarists looking to learn this solo, Hammett recommends mastering the B natural minor scale and the B Phrygian mode, providing the foundation for the initial 30 bars. He improvises this section live, drawing from these scales as his musical palette.
18. Steely Dan | “Kid Charlemagne”
GUITARIST: Larry Carlton (1976)
Mesmerizing guitar work with “Kid” Charlemagne.
Steely Dan Kid Charlemagne YouTube
Steely Dan’s discography is a treasure trove of sophisticated guitar solos, but Larry Carlton’s performance on The Royal Scam‘s “Kid Charlemagne” consistently earns accolades as a standout. Carlton crafts a sequence of exquisitely tasteful phrases that dance around the complex chord changes, seamlessly blending inside and outside playing. The result is a solo that is both intellectually stimulating and emotionally resonant.
Carlton’s approach was surprisingly spontaneous. “I was pretty familiar with the tune, so I just improvised,” he revealed to Guitar Player. “People think I’m kidding when I say that, like I had worked the solo out beforehand, but I didn’t. It was straight improv, and it worked.” The improvisation worked incredibly well, sparking more discussion and analysis than perhaps the song itself. Despite the widespread acclaim, Carlton remains humble, stating, “When the record came out, there was a wonderful review of the tune in Billboard and they raved about the solo… I put the record on and listened to it with my wife, and at the end of it I said, ‘I don’t know. It just sounds like me.’”
17. Cream | “Crossroads”
GUITARIST: Eric Clapton (1968)
The ultimate rock and roll rendition of a blues classic.
Cream Crossroads YouTube
“Crossroads” began as Robert Johnson’s acoustic blues lament, “Cross Road Blues,” but transformed into a roaring rock anthem in the hands of a 22-year-old Eric Clapton. Clapton’s reimagining for Cream cemented his legendary status, already earning him the moniker “God.”
Recorded live at San Francisco’s Fillmore West for Cream’s Wheels of Fire album, Clapton’s “Crossroads” retains the raw emotion of Johnson’s original while injecting it with a high-octane energy for a new generation. The performance is a showcase of Clapton’s virtuosity, soulfulness, and undeniable stage presence.
Interestingly, Clapton himself is critical of the performance. He points out that the band lost the “one” beat in the first verse of his second solo, disrupting his phrasing. This perfectionism is revealing, but for most listeners, this four-minute explosion of blues-rock brilliance remains captivating over half a century later.
16. Eric Johnson | “Cliffs Of Dover”
GUITARIST: Eric Johnson (1990)
Texan tone mastery, pure and ethereal.
Eric Johnson Cliffs Of Dover YouTube
This instrumental masterpiece earned Eric Johnson a Grammy Award, not only for its technically stunning guitar playing but also for its otherworldly, pristine tones. For the recording, Johnson primarily used his early ’60s ES-335, opting for his 1964 “Virginia” Stratocaster for the opening lead and sections of the main solo. His signal chain involved a 100-watt Marshall Super Lead amp, an Echoplex delay, and a BK Butler Tube Driver, all contributing to his signature smooth, violin-like sustain.
Joe Bonamassa vividly recalls his first encounter with Johnson’s playing: “I first heard him in 1986 on Live at Austin City Limits,” Bonamassa recounted in 2015. “It was ‘Cliffs of Dover,’ and it was just terrifyingly good guitar playing. I wasn’t even sure if it was real! Then I saw him live, and his tones were the best I’d ever heard. I wondered how this guy was getting all of these sounds out of his Strat. I’d never seen anybody have such a forward-thinking rig like that.”
15. Prince | “Purple Rain”
GUITARIST: Prince (1984)
The Purple One’s defining guitar moment of majesty.
Prince Purple Rain YouTube
The extended outro solo of “Purple Rain,” consuming nearly two-thirds of the song’s duration, stands as Prince’s most iconic guitar statement. Wailing in G minor pentatonic, he tastefully incorporates modal nuances, such as the minor 6th, and a recurring motif built around the 2nd and minor 3rd intervals.
Simplicity is key here. Prince opts for spacious phrasing, emphasizing powerful hooks over flashy licks. This approach builds anticipation for the vocal melody that re-enters towards the song’s conclusion. In live performances, Prince would often stretch the solo to an epic 15 minutes. His legendary Super Bowl halftime show in 2007, performed amidst a downpour in Miami, remains a definitive rendition, capturing the raw emotion and drama inherent in the song.
14. Deep Purple | “Highway Star”
GUITARIST: Ritchie Blackmore (1972)
Racing with the devil on a fretboard highway.
Deep Purple Highway Star YouTube
Ritchie Blackmore meticulously crafted his unforgettable solo for “Highway Star” just a week before recording. “I wrote that out note for note about a week before we recorded it,” Blackmore explained. “And that is one of the only times I have ever done that. I wanted it to sound like someone driving in a fast car, for it to be one of those songs you would listen to while speeding. And I wanted a very definite Bach sound, which is why I wrote it out – and why I played those very rigid arpeggios across that very familiar Bach progression – D minor, G minor, C major, A major. I believe that I was the first person to do that so obviously on the guitar, and I believe that that’s why it stood out and why people have enjoyed it so much.”
Blackmore’s fusion of classical arpeggios and rock energy created a groundbreaking sound. He maintained the solo’s structure consistently throughout the years, though live performances often became increasingly frantic. “Over the years, I’ve always played that solo note for note, but it just got faster and faster onstage because we would drink more and more whisky. [Keyboardist] Jon [Lord] would have to play his already difficult part faster and faster, and he would get very annoyed about it.”
13. Guns N’ Roses | “Sweet Child O’ Mine”
GUITARIST: Slash (1988)
A solo of two distinct, electrifying halves.
Guns N' Roses Sweet Child O' Mine YouTube
Slash’s solo in “Sweet Child O’ Mine,” Guns N’ Roses’ breakthrough hit, is a masterclass in rock guitar dynamics. The first half is relaxed and modal, centered around the Eb minor scale with hints of major 7ths for a harmonic minor flavor. The second half explodes with bluesy aggression, primarily using position one of the pentatonic scale an octave higher in the same key. The bends become wider, the vibrato more intense.
Slash’s gear choices enhance the solo’s character. He uses the neck pickup for the initial warm, thick tones, then switches to the bridge pickup with a Cry Baby wah pedal for increased bite in the second section. His improvisational feel and seamless transitions are hallmarks of a truly great solo. Interestingly, despite Slash’s riff being the song’s genesis, he initially wasn’t enthusiastic about “Sweet Child O’ Mine”. “We were a pretty hard driving band, and that was sort of an uptempo ballady type of a thing,” he admitted. “So it’s grown on me over the years.”
12. Ozzy Osbourne | “Crazy Train”
GUITARIST: Randy Rhoads (1980)
Rhoads’ fretboard fireworks ignite Ozzy’s comeback.
Ozzy Osbourne Crazy Train YouTube
Ozzy Osbourne credits Randy Rhoads with revitalizing his career, and the solo in “Crazy Train” makes it clear why. Rhoads’ neoclassical and modal approach, a departure from Tony Iommi’s blues-based style, established him as an innovator in his own right.
A distinctive section towards the solo’s end conjures the sound of a train derailing, achieved through a chromatically ascending trill followed by a descending run in key. Rhoads concludes with a rapid F# minor pentatonic phrase and a blistering Aeolian legato run, culminating in a powerful bend on the 19th fret.
Rhoads performed this iconic solo using his customized Jackson guitar, plugged into a Marshall amp and 4×12 cabinets, while positioned in the control room. Engineer Max Norman described the recording process: “We’d plug the guitar directly into the console,” Norman recalls. “We’d preamp it in the console and send it down to the amp from there. That way we could control the amount of gain that hit the amp.”
11. Michael Jackson | “Beat It”
GUITARIST: Eddie Van Halen (1982)
An unlikely pairing yields breathtaking guitar brilliance.
Michael Jackson Beat It YouTube
When Michael Jackson sought a guitarist for his Thriller album, Pete Townshend declined but suggested Eddie Van Halen. Jackson and producer Quincy Jones embraced the idea, bringing Van Halen on board for the “Beat It” solo. Upon hearing the track, Van Halen felt the chord changes were lacking and, with the engineer’s help, audaciously re-edited the tape to create a more suitable harmonic foundation.
Van Halen anticipated Jackson’s potential surprise, even displeasure. “So I warned him before he listened,” Van Halen told CNN in 2012. “I said, ‘Look, I changed the middle section of your song.’ Now in my mind, he’s either going to have his bodyguards kick me out for butchering his song, or he’s going to like it. And so he gave it a listen, and he turned to me and went, ‘Wow, thank you so much for having the passion to not just come in and blaze a solo but to actually care about the song and make it better.’” Van Halen’s contribution, a landmark moment of rock guitar in pop music, was offered completely free of charge.
10. The Beatles | “While My Guitar Gently Weeps”
GUITARIST: Eric Clapton (1968)
“Slowhand” makes an uncredited, unforgettable guest appearance with The Beatles.
The Beatles While My Guitar Gently Weeps YouTube
By 1968, George Harrison’s songwriting was reaching the heights of Lennon and McCartney’s. “While My Guitar Gently Weeps” was a testament to this, but the other Beatles lacked enthusiasm for the track. To inject energy into the session, Harrison invited his friend Eric Clapton, knowing his presence would motivate the band.
Using Harrison’s 1957 “Lucy” Gibson Les Paul through a Fender Deluxe amp, Clapton’s solo doesn’t simply echo the song’s melancholic melody; it becomes a poignant narrative within the song itself. His weeping bends, release notes, and signature vibrato are emotionally charged, building to a cathartic climax. Despite being uncredited, Clapton’s contribution is integral to the song’s enduring power.
9. Chicago | “25 OR 6 TO 4”
GUITARIST: Terry Kath (1969)
Wah-drenched guitar ecstasy, bridging jazz and rock.
Chicago 25 OR 6 TO 4 YouTube
Guitar Player magazine once aptly described Terry Kath’s “25 or 6 to 4” solo as “Wes Montgomery meets Jimi Hendrix,” reflecting Kath’s diverse influences, spanning jazz and hard rock. As a founding member of Chicago, Kath’s guitar work was central to the band’s sound until his tragic accidental death in 1978.
While Kath’s brilliance is evident across Chicago’s early work, including tracks like “Introduction” and “Free Form Guitar” from their debut album, his solo on “25 or 6 to 4” is undeniably potent. Kath’s generous use of a wah pedal amplifies the emotional intensity of his lines, creating moments of both frenzy and despair.
Kath likely played his Gibson SG Standard, visible on Chicago Transit Authority‘s album sleeve. He favored a unique string setup, using a high E string from a tenor guitar set and a standard set for the rest, shifted down one position.
8. Lynyrd Skynyrd | “Free Bird”
GUITARIST: Allen Collins (1974)
The definitive “Bird” is the word in epic guitar solos.
Lynyrd Skynyrd Free Bird YouTube
The legendary four-minute-and-24-second guitar solo that concludes “Free Bird” was initially conceived to give vocalist Ronnie Van Zant a break during Lynyrd Skynyrd’s demanding tour schedule. At 143 bars (effectively 286 due to doubling), it’s the longest solo on this list and a true epic of rock guitar.
Featured on their 1973 self-titled debut album, Allen Collins delivered this marathon solo on his 1964 Gibson Explorer. As Gary Rossington of Lynyrd Skynyrd told Guitar World: “The whole long jam was Allen Collins himself. He was bad. He was super bad! He was bad-to-the-bone bad. When we put the solo together, we liked the sound of the two guitars, and I could’ve gone out and played it with him. But the way he was doin’ it, he was just so hot! He just did it once and did it again, and it was done.”
7. Dire Straits | “Sultans Of Swing”
GUITARIST: Mark Knopfler
Understated guitar heroics through fingerpicked finesse.
Dire Straits Sultans Of Swing YouTube
As Eddie Van Halen ascended as the new guitar king, Mark Knopfler emerged with a contrasting style, rooted in rockabilly, blues, and jazz. Knopfler proved that guitar virtuosity didn’t require walls of distortion to captivate audiences.
Knopfler initially composed “Sultans of Swing” on a National steel guitar, finding it “dull” until he switched to a Stratocaster, which brought the song to life. Using a clean Fender Twin amp and his signature fingerpicking technique, Knopfler delivers not one, but two remarkable solos.
The first solo is a lyrical exploration, reminiscent of Chet Atkins, with elegant single-note lines and chordal bends that evoke dreamy romance. The outro solo is the true showstopper, building to a dazzling display of sixteenth-note arpeggios—clean, precise, and consistently thrilling.
6. The Jimi Hendrix Experience | “All Along The Watchtower”
GUITARIST: Jimi Hendrix (1968)
The greatest solo in a cover that eclipsed the original.
The Jimi Hendrix Experience All Along The Watchtower YouTube
Hendrix’s rendition of “All Along the Watchtower” routinely tops lists of covers that surpass the original. Many guitarists refer to it as a “Hendrix song” rather than a Bob Dylan cover, a testament to Hendrix’s transformative interpretation. Beyond the four guitar solos, Hendrix’s rhythm playing is astonishing, particularly in the intro and the intricate chord-melody work during the verses.
The solo at the 2:20 mark is a focal point. Following an octave run, Hendrix launches into a blues-infused C# minor pentatonic improvisation. At 2:32, the solo explodes into a signature blend of rhythm and lead, punctuated by funky muted-string scratches. Practicing these scratches, focusing on a relaxed wrist and consistent strumming, provides valuable insight into Hendrix’s groove and feel.
To emulate Hendrix’s sound, select a bridge single-coil pickup, dial in a 350ms delay, add compression for sustain, and engage a Vox wah pedal or similar. Prepare for the sonic winds to howl.
5. Eagles | “Hotel California”
GUITARISTS: Don Felder & Joe Walsh (1977)
Twin-guitar harmonies that elevated “Hotel California” to iconic status.
Eagles Hotel California YouTube
“Hotel California,” the title track from the Eagles’ fifth album and arguably their signature song, consistently ranks high in greatest guitar solo polls. The solo section begins at 4:20, extending as a coda, where guitarists Don Felder and Joe Walsh trade licks before uniting for the unforgettable harmonized lines at 5:39.
The harmony lines, while iconic, are based on a relatively simple concept. Felder and Walsh arpeggiate each chord, with one guitar consistently playing a note one step lower within the chord. For instance, on a Bm chord (B, D, F#), if the higher guitar plays F#, the lower guitar will play D.
This knowledge provides a key to understanding and even learning these descending arpeggios. While mastering it by ear is challenging, familiarity with the song’s chords allows for jamming along and grasping the harmonic interplay.
4. Queen | “Bohemian Rhapsody”
GUITARIST: Brian May (1975)
Possibly the biggest rock song ever, punctuated by May’s melodic brilliance.
“Bohemian Rhapsody,” following Freddie Mercury’s passing in 1991 and its resurgence in 1992’s Wayne’s World, became a global anthem for Queen. Their enduring popularity continued into the 21st century with the We Will Rock You musical and their collaboration with Adam Lambert, introducing their music to new generations.
“Bohemian Rhapsody,” Queen’s most recognized song, features a concise yet impactful nine-bar solo, serving as a melodic bridge between verses and the operatic section. The song’s unconventional structure—lacking a traditional chorus and built on contrasting sections—defies conventional songwriting, yet it works brilliantly. Brian May’s solo is perfectly tailored to this unique structure.
May’s phrasing is fluid and natural, shifting across the beat rather than adhering to a rigid grid. His fast licks are expressive bursts, not repetitive exercises. His articulate pre-bend and vibrato techniques showcase his exceptional touch. Within the complex framework of “Bohemian Rhapsody,” May’s solo is perfectly crafted.
3. Led Zeppelin | “Stairway To Heaven”
GUITARIST: Jimmy Page (1971)
A stairway to guitar solo heaven, divinely inspired.
Led Zeppelin Stairway To Heaven YouTube
From the opening run on Jimmy Page’s ’59 Fender Telecaster to the final wailing bend, the “Stairway to Heaven” solo is widely considered guitar solo perfection—a compositional masterpiece. Rather than aimless noodling, Page creates a song within a song.
The initial phrases set the atmosphere, with Page adding notes to the pentatonic scale to complement the song’s final chord progression. A rapid repeating lick mid-solo intensifies the momentum, followed by a haunting question-and-answer section with an overdubbed guitar, leading to the climactic flurry and bend. The solo’s genius lies in its composition: licks that follow the chord changes, melodic contour, and pacing that takes the listener on a journey.
Three takes were recorded, all improvised (with Page reportedly having pre-planned the opening line). While the other takes remain in the Zeppelin vaults, the released solo has become iconic, unlikely to be surpassed.
2. Van Halen | “Eruption”
GUITARIST: Eddie Van Halen (1978)
The earth-shattering solo that redefined guitar playing.
Van Halen Eruption YouTube
“Eruption,” Eddie Van Halen’s groundbreaking instrumental solo, with its blend of legato hammer-ons and pull-offs, pinched harmonics, whammy bar dives, and two-hand tapping, ignited a generation of guitar heroes. While the tapping technique is often highlighted, Van Halen’s tone, fluid legato, and inventive note choices are equally crucial. Amidst the virtuosity, he maintained a raw rock and roll energy.
Despite its legendary status, Van Halen was never fully satisfied with the recording. “I didn’t even play it right,” he told Guitar World. “There’s a mistake at the top end of it. Whenever I hear it, I always think, Man, I could’ve played it better.”
Technical imperfections aside, “Eruption” is a technical tour de force. The opening eight bars have a bluesy feel, with legato licks reminiscent of Jimmy Page’s “Whole Lotta Love” breakdown solo. Van Halen develops this theme, incorporating chromatics from major and minor pentatonic scales.
The tapping finale is perhaps the most analyzed solo section in rock history. Van Halen’s taps are often off-beat, creating rhythmic complexity as he shifts between tapping on different sextuplet notes. From beginning to end, “Eruption” remains a masterpiece, a benchmark of guitar innovation.
1. Pink Floyd | “Comfortably Numb”
GUITARIST: David Gilmour (1979)
Gilmour’s guitar greatness in waves of emotion and tone.
Pink Floyd Comfortably Numb YouTube
In a 1992 interview, David Gilmour agreed with Keith Richards’ theory that songs and solos are “just out there in the air and you sort of grab them.” Gilmour elaborated, “I think he’s right. They sort of appear as if they are out there in the air. But I don’t know how they get there.” He noted that the best ones “just happen,” while others require hard work.
Gilmour’s two solos in “Comfortably Numb” are undeniably among his finest, and our readers have voted them as number one. Whether focusing on the first or second solo (though many favor the first), the song’s top position is undeniably justified.
Gilmour’s tone is legendary. His setup included his iconic black Strat (with a DiMarzio FS-1 bridge pickup at the time), a HiWatt DR103 amp, and the essential EHX Ram’s Head Big Muff pedal. The FS-1’s thickness and Big Muff’s smoothness eliminated harsh Strat treble. Combined with an MXR Dyna Comp, Gilmour achieved near-infinite sustain. Live, he blended a WEM 4×12 cab with a Yamaha rotary speaker for subtle modulation, with delay added in the mix.
The first solo, in D major, uses the Strat’s neck and bridge pickups together. Its phrasing is more unconventional, featuring arpeggios and slides. Gilmour’s vibrato, achieved with a shortened tremolo arm, distinguishes him from typical blues players, inspiring fusion guitarists. His raking technique at the start of phrases, similar to Brian May, maximizes the expressiveness of each note.
The outro solo’s licks are more conventional, with echoes of Hendrix. Passages at 4:57 and 5:12 could be reminiscent of “All Along the Watchtower” or “Foxey Lady,” but in this context, they feel entirely original. Gilmour achieved this balance of familiarity and innovation by compiling the final solo from the best sections of five or six takes. The result is meticulously structured yet sounds spontaneous, building excitement over two minutes. The Hendrix-esque blues lick returns at 5:27, more developed than before. Aggressive double-stops emerge at 5:15, evolving into a motif by 5:35.
For the climax, Gilmour ascends an octave, then descends, incorporating a spectacular three-fret bend, and concludes with another iteration of the double-stop motif. It captures both the energy of improvisation and the structure of careful composition. Both solos showcase Gilmour’s rhythmic mastery, seamlessly integrating triplets, sextuplets, 16th, and 32nd notes within single phrases. The effect at 5:10, where a 16th-note lick is immediately repeated and expanded in sextuplets, exemplifies this. A great solo may excel in tone, rhythm, melody, or expression, but “Comfortably Numb” achieves brilliance in all these aspects to an unparalleled degree.
