The debate over the greatest guitar solo of all time is as old as rock and roll itself. Comparing the emotive bends of “Comfortably Numb” with the furious shredding of “Crazy Train,” or the bluesy storytelling of “Stairway to Heaven” against the sophisticated coolness of “Sultans of Swing” feels almost impossible. Musical tastes are subjective, and every guitar solo is a unique expression. However, to get a sense of the current pulse, we at guitarplayers.net conducted a poll amongst our readers to discover which solos they currently consider the pinnacle of guitar artistry.
The results are in, and we’re excited to present your top 20 All Time Greatest Guitar Solos. We’ll delve into the stories behind these iconic songs, exploring the elements that elevate these guitar breaks to legendary status through insights and analysis. Join us as we celebrate the fretboard mastery of Brian May, Kirk Hammett, Michael Schenker, and many more.
20. Gary Moore | “Still Got the Blues”
GUITARIST: Gary Moore (1990)
The quintessential blues-rock ballad solo.
Released as the title track of his 1990 album, “Still Got the Blues” became Gary Moore’s signature song, marking his successful transition to blues music after years in rock. This minor key ballad in A minor features a solo that is a masterclass in blues phrasing and emotional intensity. Around the midpoint of the solo, you can distinctly hear Moore switch from the neck humbucker to the bridge pickup on his treasured 1959 Les Paul Standard, nicknamed “Stripe.” This tonal shift signals a change in dynamics as he moves away from the main melodic theme, primarily navigating the A minor pentatonic scale, enriched with notes from the Aeolian and harmonic minor scales for added depth and color.
Moore’s setup for this iconic solo was straightforward yet potent: his prototype Marshall JTM-45 reissue head paired with the then-new Guv’nor distortion pedal. More than three decades later, “Still Got the Blues” remains a benchmark for raw, expressive blues guitar playing. Moore’s performance is characterized by a visceral quality, as if he’s wrestling with his instrument, yet always in service of delivering a solo that is both technically brilliant and deeply moving.
YouTube 
Gary Moore Still Got the Blues Guitar Solo
19. Metallica | “Fade To Black”
GUITARIST: Kirk Hammett (1984)
Kirk Hammett’s epic ballad solo marks a turning point for Metallica.
Recorded during the Ride the Lightning sessions at Sweet Silence Studios in Copenhagen in early 1984, “Fade to Black” showcased Metallica’s evolving musical landscape. Their sophomore album was more ambitious and diverse than the pure thrash of Kill ’Em All, and “Fade to Black” exemplified this growth. Featuring acoustic guitars and a song structure reminiscent of “Stairway to Heaven,” it was a departure for the band. However, it’s Kirk Hammett’s melodic and emotionally charged guitar solo that truly signaled a stylistic evolution in his playing. A key element of the final solo is his masterful use of arpeggios.
“I have been playing that song for so long now,” Kirk Hammett explained to Total Guitar. “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. And then I just slide right into those arpeggios.” Hammett emphasizes that these are two-string arpeggios, a technique popular in the 1980s before the rise of sweep-picking. “When guitar players first started incorporating arpeggios into their playing, before the whole Yngwie sweep-picking thing, arpeggios were played on two strings – not three or four strings,” he clarifies. “And that was what the vogue was at the time in the 1980s, so I have been playing those for a long time. I use my middle finger just to anchor my position on the neck.”
For guitarists looking to learn this solo, Hammett points to two essential scales: the B natural minor scale and the B Phrygian mode. These scales form the foundation for the first 30 bars of the solo. While much of the solo is rooted in the natural minor scale, the Phrygian mode is briefly introduced around bar 20 with the inclusion of the C note. Hammett improvises this section live, drawing upon these scale shapes as his framework. The 16th-note two-string arpeggios that follow demand speed and precision (at 142 bpm). Hammett employs pull-offs to facilitate these rapid runs, suggesting experimentation with hammer-ons as well for those still developing their technique.
Kirk Hammett Fade To Black Scale Diagrams
(Image credit: Future)
YouTube Metallica Fade To Black Guitar Solo
18. Steely Dan | “Kid Charlemagne”
GUITARIST: Larry Carlton (1976)
Larry Carlton’s improvisation elevates Steely Dan’s sophisticated jazz-rock.
Steely Dan’s discography is a treasure trove of exceptional guitar work, but Larry Carlton’s solo on “Kid Charlemagne” from The Royal Scam consistently earns accolades as the most celebrated. Carlton’s solo is a masterclass in improvisational phrasing, seamlessly navigating the complex chord changes with a blend of inside and outside playing. It’s a solo that is both technically dazzling and emotionally resonant.
“I was pretty familiar with the tune, so I just improvised,” Carlton told 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.” Indeed, it worked exceptionally well. In fact, Carlton’s solo has garnered so much attention that it has, in some circles, overshadowed the song itself.
Despite the widespread acclaim, Carlton remains characteristically modest. “When the record came out, there was a wonderful review of the tune in Billboard and they raved about the solo,” he recalls. “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.’” This understated perspective belies the brilliance that has captivated guitarists for decades.
YouTube Larry Carlton Kid Charlemagne Guitar Solo
17. Cream | “Crossroads”
GUITARIST: Eric Clapton (1968)
Eric Clapton’s raw energy transforms a blues classic into a rock anthem.
Originally a blues song, “Cross Road Blues” by Robert Johnson, was reimagined by Eric Clapton and Cream into “Crossroads,” a blistering rock and roll rendition that showcased Clapton’s phenomenal talent at just 22 years old. This cover solidified Clapton’s burgeoning legend, further earning him the moniker “God.”
Famously recorded live at the Fillmore West in San Francisco for Cream’s Wheels of Fire album, Clapton’s arrangement retains the soulful essence of Johnson’s original while injecting it with a high-octane energy that resonated with a contemporary rock audience. The performance is a testament to Clapton’s virtuosity, soulfulness, and captivating stage presence.
Interestingly, Clapton himself is critical of his performance. He reportedly laments that the band lost the “one” beat in the first verse of his second solo break, disrupting his phrasing. This self-critique highlights Clapton’s relentless pursuit of perfection. However, for most listeners, this four-minute explosion of blues-rock brilliance remains endlessly fascinating more than half a century later.
YouTube Eric Clapton Crossroads Guitar Solo
16. Eric Johnson | “Cliffs Of Dover”
GUITARIST: Eric Johnson (1990)
Eric Johnson’s signature tone and technique shine in this instrumental masterpiece.
“Cliffs Of Dover” is an instrumental track that earned Eric Johnson a Grammy Award, celebrated for its impeccable guitar playing and breathtakingly pure, violin-like tone. For the recording, Johnson primarily used his early 1960s ES-335, though he switched to his 1964 “Virginia” Stratocaster for the opening lead lines and portions of the main solo. His guitar signal chain included a 100-watt Marshall Super Lead, an Echoplex delay, and a BK Butler Tube Driver, all contributing to his smooth sustain and warm, singing tone.
Joe Bonamassa recounted his first encounter with Johnson’s playing in 2015: “I first heard him in 1986 on Live at Austin City Limits. 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.” Johnson’s pursuit of tone perfection and his innovative approach to guitar playing are on full display in this iconic instrumental.
YouTube Eric Johnson Cliffs Of Dover Guitar Solo
15. Prince | “Purple Rain”
GUITARIST: Prince (1984)
Prince’s emotive solo elevates “Purple Rain” to legendary status.
The extended outro solo in “Purple Rain,” consuming almost two-thirds of the song’s total length, showcases Prince’s exceptional guitar artistry. His soulful wailing in G minor pentatonic, punctuated with modal nuances like the minor 6th, creates a powerful emotional arc. The repeating motif, based around the 2nd and minor 3rd intervals, adds a signature melodic hook to the solo.
Prince’s solo is characterized by its simplicity and effectiveness. Rather than overwhelming the listener with complex licks, he prioritizes space and impactful melodic phrases, building towards the vocal melody that re-enters towards the song’s conclusion. It’s a masterclass in less-is-more guitar playing.
In live performances, Prince frequently extended the “Purple Rain” solo to upwards of 15 minutes, showcasing his improvisational prowess. Among the many live renditions, his halftime performance at the 2007 Super Bowl in Miami stands as a legendary example. Shredding amidst a downpour, Prince seemed to embody the very essence of the song in that electrifying moment.
YouTube Prince Purple Rain Guitar Solo
14. Deep Purple | “Highway Star”
GUITARIST: Ritchie Blackmore (1972)
Ritchie Blackmore blends Bach-inspired precision with rock intensity.
“I wrote that out note for note about a week before we recorded it,” Ritchie Blackmore revealed about his unforgettable solo in “Highway Star.” “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 intention was to capture the feeling of speed and motion in his solo, and his Bach-inspired approach achieved just that. The rigid arpeggios over the classical chord progression were groundbreaking for rock guitar at the time, setting a new standard for technicality and melodic sophistication.
“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.” Blackmore’s commitment to replicating the studio solo live, even at increasingly breakneck speeds, speaks to its integral role in the song’s identity.
YouTube Ritchie Blackmore Highway Star Guitar Solo
13. Guns N’ Roses | “Sweet Child O’ Mine”
GUITARIST: Slash (1988)
Slash’s iconic solo is a study in contrasts, from melodic to aggressive.
Slash’s solo in Guns N’ Roses’ breakthrough hit, “Sweet Child O’ Mine,” is a definitive example of rock guitar soloing. It’s effectively divided into two distinct halves. The first section is melodic and modal, built around the Eb minor scale with the subtle inclusion of major 7ths for a harmonic minor flavor. This gives it a sophisticated and slightly melancholic feel. The second half shifts gears dramatically, becoming more aggressive and blues-infused, primarily utilizing position one of the pentatonic scale, an octave higher in the same key. This shift in register intensifies the bends and vibrato, adding to the raw emotion.
Slash employs a strategic pickup switch, using the neck pickup for the first half to achieve a thick, warm tone, before moving to the bridge pickup for increased bite and presence in the second, more aggressive section. He also engages his Cry Baby wah pedal to further shape the tone and dynamics. What truly sets this solo apart is Slash’s innate sense of feel and his ability to seamlessly connect these contrasting sections into a cohesive and captivating whole. Interestingly, despite Slash’s riff being the genesis of the song, 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.” The solo, however, remains a timeless testament to his guitar prowess.
YouTube Slash Sweet Child O' Mine Guitar Solo
12. Ozzy Osbourne | “Crazy Train”
GUITARIST: Randy Rhoads (1980)
Randy Rhoads’ virtuosic solo ignited Ozzy’s comeback.
Ozzy Osbourne frequently credits Randy Rhoads as the guitarist who revitalized his career, and listening to the solo in “Crazy Train,” it’s easy to understand why. Rhoads’ classically influenced and modal approach was a departure from Tony Iommi’s blues-based style, but like Iommi, Rhoads was a true innovator.
A particularly memorable section of the solo features a chromatically ascending trill that evokes the sound of a train derailing, before descending back down in key. Rhoads concludes the solo with a rapid-fire F# minor pentatonic phrase followed by a fast Aeolian legato run, culminating in a powerful bend on the 19th fret. The solo is a showcase of Rhoads’ incredible technique and musicality.
Rhoads recorded the solo using his customized Jackson guitar, plugged into a Marshall amplifier and a pair of 4×12 cabinets, while positioned in the control room. Engineer Max Norman recalls the unique recording setup: “We’d plug the guitar directly into the console. 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.” This meticulous approach to tone shaping contributed to the solo’s iconic sound.
YouTube Randy Rhoads Crazy Train Guitar Solo
11. Michael Jackson | “Beat It”
GUITARIST: Eddie Van Halen (1982)
Eddie Van Halen’s unexpected collaboration creates guitar history.
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, and Van Halen was brought in to play the solo on “Beat It.” However, upon hearing the section designated for his solo, Van Halen felt the chord changes were lacking. He boldly took the initiative to have the engineer edit the tape, creating a new chord progression that he felt better suited his vision.
Van Halen was aware that Jackson might be surprised, or even displeased, with his unsolicited alteration. “So I warned him before he listened,” Van Halen recounted in a 2012 CNN interview. “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, given freely, became a defining moment in the song and a testament to his artistry.
YouTube Eddie Van Halen Beat It Guitar Solo
10. The Beatles | “While My Guitar Gently Weeps”
GUITARIST: Eric Clapton (1968)
Eric Clapton’s uncredited guest solo elevates a Beatles classic.
By 1968, George Harrison’s songwriting was reaching parity with Lennon and McCartney. “While My Guitar Gently Weeps” was a testament to his growing talent, but the other Beatles weren’t giving it the attention it deserved. Harrison invited his friend Eric Clapton to play on the track, hoping Clapton’s presence would motivate the band.
Using Harrison’s 1957 “Lucy” Gibson Les Paul through a Fender Deluxe amplifier, Clapton’s solo transcends mere accompaniment. It’s a haunting, aching counter-melody that becomes a song within a song. His descending bends, release notes, and signature vibrato are emotionally charged, weaving a dramatic narrative that builds to a powerful climax. Clapton’s uncredited contribution transformed the song and cemented its place in guitar solo history.
YouTube Eric Clapton While My Guitar Gently Weeps Guitar Solo
9. Chicago | “25 OR 6 TO 4”
GUITARIST: Terry Kath (1969)
Terry Kath’s wah-drenched solo blends jazz and rock influences.
This magazine once described Terry Kath’s “25 or 6 to 4” solo as “Wes Montgomery meets Jimi Hendrix,” a fitting description for Kath’s eclectic style, influenced by both jazz and hard rock. As a founding member of Chicago, Kath’s guitar work was integral to the band’s sound until his tragic accidental death in 1978.
While Kath’s superb playing is evident across Chicago’s early work, including tracks like “Introduction” and “Free Form Guitar” from their debut album The Chicago Transit Authority, his solo on “25 or 6 to 4” remains a standout. Kath’s generous use of the wah pedal adds a deeply expressive quality to his lines, conveying a sense of urgency and passion.
Kath likely used his Gibson SG Standard, as pictured on Chicago Transit Authority’s inner sleeve. He was known for his unique string setup, using the high E string from a tenor banjo set and a standard set for the rest, shifted down one position (e.g., high E for the B string, B for the G string, and so on). This unconventional approach may have contributed to his distinctive tone.
YouTube Terry Kath 25 or 6 to 4 Guitar Solo
8. Lynyrd Skynyrd | “Free Bird”
GUITARIST: Allen Collins (1974)
Allen Collins’ epic “Free Bird” solo is a southern rock institution.
The iconic four-minute and 24-second guitar solo that concludes “Free Bird” was initially conceived as a way to give vocalist Ronnie Van Zant a vocal break during Lynyrd Skynyrd’s demanding tour schedule. At 143 bars in length (effectively 286 bars due to doubling), it’s the longest solo on this list and a true epic of rock guitar.
Featured on the band’s self-titled debut album in 1973, the solo was performed by Allen Collins on his 1964 Gibson Explorer. As Lynyrd Skynyrd’s Gary Rossington 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.” Collins’ performance is a raw, spontaneous burst of southern rock brilliance.
YouTube Allen Collins Free Bird Guitar Solo
7. Dire Straits | “Sultans Of Swing”
GUITARIST: Mark Knopfler
Mark Knopfler’s understated fingerstyle mastery redefines guitar heroism.
Just as Eddie Van Halen was being hailed as the new guitar king, Mark Knopfler emerged, a seemingly unassuming figure steeped in rockabilly, blues, and jazz. Knopfler demonstrated that guitar virtuosity didn’t require walls of distortion to captivate audiences.
Knopfler initially composed “Sultans Of Swing” on a National steel guitar, but found it sounded “dull.” However, upon switching to a Stratocaster, the song “came alive.” Using a clean Fender Twin amplifier and his signature fingerpicking style, Knopfler delivers not one, but two exceptional solos.
The first solo is lyrical and elegant, reminiscent of Chet Atkins, featuring single-note lines and chordal bends that exude a dreamy romanticism. While this solo alone would be impressive, the outro solo is the true showstopper. Knopfler builds to a dazzling display of 16th-note arpeggios, executed with remarkable cleanliness, precision, and rhythmic drive, making it endlessly captivating.
YouTube Mark Knopfler Sultans Of Swing Guitar Solo
6. The Jimi Hendrix Experience | “All Along The Watchtower”
GUITARIST: Jimi Hendrix (1968)
Jimi Hendrix’s cover surpasses the original with groundbreaking guitar work.
Jimi Hendrix’s rendition of “All Along The Watchtower” is universally recognized as a cover that eclipses the original Bob Dylan version. Guitarists often refer to it as a “Hendrix song,” highlighting how completely he transformed it. Hendrix’s rhythm playing, both in the intro and the verse’s chord-melody work, is astounding. And then there are the four guitar solos. Hendrix, considered by many to be the greatest guitarist of all time, maximizes his Stratocaster and Marshall amplifier setup. The solo at the 2:20 mark is particularly noteworthy. Following an opening octave run, he launches into a blues-based minor pentatonic improvisation in C#.
At 2:32, the solo explodes into a signature Hendrix blend of lead and rhythm playing, incorporating funky scratches on muted strings. Practicing these scratches, focusing on a loose wrist and consistent down-up strumming, offers valuable insight into Hendrix’s groove and feel. To capture Hendrix’s tone, select a bridge single-coil pickup, add delay around 350ms, compression for sustain, and a wah pedal like a Vox. The result is a sonic landscape where, as the song suggests, “the wind begins to howl.”
YouTube Jimi Hendrix All Along The Watchtower Guitar Solo
5. Eagles | “Hotel California”
GUITARISTS: Don Felder & Joe Walsh (1977)
Twin guitar harmonies elevate “Hotel California” to iconic status.
“Hotel California,” the title track from the Eagles’ fifth album, is arguably their most enduring song and consistently tops “greatest guitar solo” polls. The solo begins at 4:20, forming an extended coda, featuring Don Felder and Joe Walsh trading licks before uniting for the iconic harmonized lines at 5:39.
The harmonized lines are built on a relatively simple principle: Felder and Walsh play arpeggios of each chord, with one guitar consistently playing a note one step lower in the chord than the other. For example, in a Bm chord (B, D, F#), if the higher guitar plays F#, the lower guitar will play D.
This understanding provides a valuable framework for learning these descending arpeggios. While mastering them by ear might be challenging, knowing the song’s chords makes jamming along and deciphering the parts significantly more accessible than many other solos on this list. The “Hotel California” solo is a testament to the power of twin guitar harmonies in rock music.
YouTube Eagles Hotel California Guitar Solo
4. Queen | “Bohemian Rhapsody”
GUITARIST: Brian May (1975)
Brian May’s melodic solo perfectly complements a rock masterpiece.
Following Freddie Mercury’s passing in 1991 and its resurgence in the 1992 film Wayne’s World, “Bohemian Rhapsody” became a global symbol of Queen’s enduring legacy. Their 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” remains Queen’s most recognized song, and its concise nine-bar guitar solo serves as a melodic bridge between verses, leading into the song’s operatic section. The song’s unconventional structure, lacking a traditional chorus and built on contrasting sections, shouldn’t work on paper. Yet, it undeniably does, and Brian May’s solo is a key element of its success, providing a perfectly crafted melodic interlude.
May’s phrasing is relaxed and natural, often playing slightly behind the beat. His fastest runs are expressive bursts rather than repetitive exercises, and his articulate pre-bend and vibrato techniques showcase his exceptional touch. Within the complex framework of “Bohemian Rhapsody,” this solo is perfectly tailored to the song’s unique needs.
3. Led Zeppelin | “Stairway To Heaven”
GUITARIST: Jimmy Page (1971)
Jimmy Page’s “Stairway To Heaven” solo is a journey in itself.
From the opening phrase on his ’59 Fender Telecaster to the final wailing bend, Jimmy Page’s solo in “Stairway To Heaven” is widely considered guitar solo perfection – a compositional masterpiece. Rather than aimless improvisation, Page creates a miniature song within the larger song structure.
The opening phrases establish the mood, with Page adding notes to the pentatonic scale to follow the song’s evolving chord progression. A rapid repeating lick in the middle of the solo raises the intensity, followed by a haunting call-and-response with an overdubbed guitar, leading to the final flurry of notes and the concluding bend. The solo’s brilliance lies in its composition: licks that mirror the chord changes, the melodic contours, and the pacing of the faster passages, all taking the listener on an emotional journey.
Three takes of the solo were recorded (two allegedly still exist in Led Zeppelin’s vaults), all improvised, though Page has mentioned pre-planning the opening line. While the other takes are undoubtedly intriguing, the released version has become so deeply ingrained in musical consciousness that it’s hard to imagine any alternative being superior.
YouTube Jimmy Page Stairway To Heaven Guitar Solo
2. Van Halen | “Eruption”
GUITARIST: Eddie Van Halen (1978)
Eddie Van Halen’s “Eruption” redefined guitar virtuosity.
With its revolutionary blend of fast legato hammer-ons and pull-offs, pinched harmonics, whammy bar dives, and two-hand tapping, Eddie Van Halen’s instrumental solo “Eruption” ignited a generation of guitar heroes. While tapping often steals the spotlight, his tone, blistering legato technique, and inventive note choices are equally crucial elements. Beneath the virtuosity, Eddie’s playing retains a joyous rock and roll spirit.
Despite its iconic status, Eddie Van Halen was never entirely satisfied with the released 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.” This perfectionism is characteristic of Van Halen’s relentless pursuit of innovation.
“Eruption” is a technical tour-de-force. The opening eight bars have a bluesy foundation, with legato licks that perhaps echo Jimmy Page’s breakdown solo in Led Zeppelin’s “Whole Lotta Love.” Eddie expands on this theme in the following eight bars, incorporating chromatics and drawing from major and minor pentatonic scales. The tapping finale remains one of the most analyzed and imitated solo sections in rock history. Eddie’s taps are often syncopated, creating rhythmic complexity as he shifts between tapping on the first and fourth sextuplet notes to the third and sixth. “Eruption” is a masterpiece that represents a lifetime’s worth of guitar mastery condensed into under two minutes.
YouTube Eddie Van Halen Eruption Guitar Solo
1. Pink Floyd | “Comfortably Numb”
GUITARIST: David Gilmour (1979)
David Gilmour’s “Comfortably Numb” solos are the pinnacle of emotive guitar playing.
In a 1992 interview with MTV’s Ray Cokes, David Gilmour responded to Keith Richards’ theory that songs, lyrics, and guitar solos are “just out there in the air and you sort of grab them.” Gilmour agreed, “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 added that the best solos often emerge spontaneously, while others require significant effort. Gilmour’s two solos in “Comfortably Numb” exemplify this blend of inspiration and craftsmanship.
YouTube David Gilmour Comfortably Numb Guitar Solo
Gilmour’s “Comfortably Numb” solos are undeniably among his finest work, and it’s easy to see why our readers voted them number one in our poll. While fans often debate whether the first or second solo is superior, both offer ample justification for the song’s top ranking.
Gilmour’s tone is legendary. His signal chain involved his iconic black Stratocaster, then equipped with a DiMarzio FS-1 bridge pickup, into a HiWatt DR103 amplifier, with the essential EHX Ram’s Head Big Muff fuzz pedal. The FS-1’s thickness and the Big Muff’s smoothness eliminated the harshness often associated with Stratocasters. Combined with an MXR Dyna Comp compressor, Gilmour achieved incredible sustain, allowing him to hold notes indefinitely. Similar to his live setup, he blended a WEM 4×12 cabinet with a Yamaha rotary speaker, subtly adding modulation. The expansive delay was added during mixing.
The first solo, in D major, utilizes the Strat’s neck and bridge pickups together, enabled by custom switching. Its phrasing is more unconventional, featuring arpeggios and sliding passages. Gilmour’s use of the vibrato bar, with its shortened tremolo arm, further distinguishes his style from typical blues players, inspiring countless fusion guitarists. His raking technique at the beginning of many phrases, reminiscent of Brian May, extracts maximum expressiveness from each note.
In contrast, the outro solo’s licks are more traditional, with echoes of Hendrix. Passages at 4:57 and 5:12 hint at “All Along the Watchtower” or “Foxey Lady,” yet within the context of this epic track, the connection is subtle. The solo sounds simultaneously masterful and improvised. Gilmour has revealed that he achieved this impression by compiling the final solo from the best sections of five or six recorded takes. The result is remarkably well-structured, with a balance of repetition and development that sustains excitement for its two-minute duration. The Hendrix-style blues licks reappear at 5:27, longer and more intricate than before. Aggressive double-stops emerge at 5:15, evolving into a recurring motif by 5:35.
For the climax, Gilmour ascends an octave just when it seems he has exhausted every expressive possibility from his maple neck. He descends, incorporating a signature three-fret bend, and concludes with another iteration of the double-stop motif. It possesses the energy of a live improvisation and the coherence of a meticulously crafted composition. Both solos demonstrate Gilmour’s exceptional rhythmic awareness, seamlessly integrating triplets, sextuplets, 16th notes, and 32nd notes within single phrases. Notably, at 5:10, he plays a lick in 16th notes, immediately repeating and expanding it in sextuplets. While a great solo might excel in tone, rhythm, melody, or expression, “Comfortably Numb” showcases all these qualities to an unparalleled degree, solidifying its place as the all time greatest guitar solo.
YouTube David Gilmour Comfortably Numb Outro Guitar Solo
