The debate around the greatest guitar solo is endless and passionate. Comparing the soulful bends of “Comfortably Numb” to the high-octane shredding in “Crazy Train,” or the bluesy storytelling of “Stairway to Heaven” against the sophisticated phrasing of “Sultans of Swing” feels almost impossible. Musical taste is subjective, yet certain guitar solos resonate across generations, consistently appearing in “best of” lists.
To get a current pulse on public opinion, GuitarPlayer.net conducted a poll asking readers to identify their favorite guitar solos. The results are in, and we’re excited to present the top 20 Good Guitar Solos as voted by our readers. We’ll delve into what makes each solo exceptional, exploring the stories behind the songs and the techniques that guitar legends like Brian May, Kirk Hammett, Michael Schenker, and others employed to create these unforgettable moments in music history.
20. Gary Moore | “Still Got the Blues”
GUITARIST: Gary Moore (1990)
The quintessential blues guitar ballad, showcasing raw emotion and masterful technique.
“Still Got the Blues,” the title track from Gary Moore’s 1990 album, became his signature song, marking his successful transition to a blues-focused career. This melancholic masterpiece in A minor features a solo that’s a masterclass in blues expression. Around the midpoint of the solo, you can distinctly hear Moore switch from the neck humbucker to the bridge pickup on his beloved 1959 Les Paul Standard, affectionately nicknamed “Stripe.” This shift in tone marks a departure from the main theme, as Moore expertly navigates the A minor pentatonic scale, incorporating touches of Aeolian and harmonic minor scales to add depth and complexity.
Moore’s setup for this iconic track involved his prototype Marshall JTM-45 reissue head paired with the then-new Guv’nor distortion pedal. Even decades later, “Still Got the Blues” remains a benchmark for raw and emotionally charged blues guitar playing. Moore’s performance is characterized by a passionate intensity, almost a struggle with his instrument, yet he consistently delivers melodic phrases that are both technically brilliant and deeply moving. It’s a prime example of a good guitar solo that elevates the song to another level.
YouTube 
Gary Moore Still Got the Blues solo
19. Metallica | “Fade To Black”
GUITARIST: Kirk Hammett (1984)
Kirk Hammett’s epic and melodic solos mark a turning point in Metallica’s sound.
“Fade To Black,” from Metallica’s 1984 album Ride the Lightning, signaled a significant evolution in the band’s musical style. Recorded at Sweet Silence Studios in Copenhagen, Ride the Lightning was more ambitious and diverse than their thrash-heavy debut, Kill ’Em All. “Fade to Black” exemplifies this shift, incorporating acoustic guitars and a song structure reminiscent of classic rock epics like “Stairway to Heaven.” However, it’s Kirk Hammett’s emotionally charged and melodic guitar solos that truly highlight this stylistic growth. A key element of his final solo is the masterful use of arpeggios.
In an interview with Total Guitar, Hammett explains his 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.” These aren’t just any arpeggios; Hammett emphasizes they are played on two strings, a technique popular in the 1980s before the rise of sweep-picking. This two-string arpeggio approach adds a unique texture and articulation to his playing, making this solo instantly recognizable as a good guitar solo within the metal genre.
To learn this solo, Hammett recommends mastering two essential scales: the B natural minor scale and the B Phrygian mode. These scales provide the foundation for the opening 30 bars of the solo, a substantial portion of the music. While the natural minor scale dominates, the Phrygian mode adds a touch of exotic flavor, particularly around bar 20 where the C note appears. Hammett emphasizes the improvisational nature of this solo in live performances, relying on these scale shapes as his framework. The 16th-note two-string arpeggios, played at a tempo of 142 bpm, demand precision and speed. Hammett employs pull-offs to navigate these rapid licks, and suggests experimenting with hammer-ons for those still developing their technique. “Fade to Black” showcases Hammett’s ability to blend technicality with emotion, creating a truly iconic and good guitar solo.
Scale diagrams for Fade To Black solo
YouTube Metallica Fade To Black solo
18. Steely Dan | “Kid Charlemagne”
GUITARIST: Larry Carlton (1976)
Larry Carlton’s improvised solo on “Kid Charlemagne” is a masterclass in jazz-rock fusion.
Steely Dan’s discography is renowned for its sophisticated compositions and exceptional musicianship, and “Kid Charlemagne” from The Royal Scam is a prime example. Larry Carlton’s guitar solo on this track is widely celebrated as a highlight, even within Steely Dan’s impressive catalog. Carlton constructs a series of elegant phrases that seamlessly weave through the complex chord changes, blending “inside” and “outside” playing with breathtaking technical skill and emotional depth.
Carlton describes his approach as purely improvisational: “I was pretty familiar with the tune, so I just improvised. 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 solo’s spontaneous nature contributes to its organic feel and conversational quality. Its brilliance is so undeniable that it has arguably garnered more attention than the song itself.
Despite the widespread acclaim, Carlton remains humble about his achievement. He recounts a Billboard review that lauded the solo, but upon listening to it with his wife, his reaction was simply, “I don’t know. It just sounds like me.” This understated perspective highlights Carlton’s natural talent and his ability to create a good guitar solo that is both technically masterful and deeply personal, effortlessly fitting within Steely Dan’s intricate musical landscape.
YouTube Steely Dan Kid Charlemagne solo
17. Cream | “Crossroads”
GUITARIST: Eric Clapton (1968)
Eric Clapton’s explosive “Crossroads” cover redefined the blues-rock power trio.
Originally a blues song, “Cross Road Blues” by Robert Johnson, “Crossroads” as reimagined by Cream and Eric Clapton, became a defining moment in rock history. Clapton, at just 22 years old, transformed the acoustic blues tune into a showcase of virtuosity, soulfulness, and raw energy, solidifying his reputation and 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 honors the spirit of Johnson’s original while injecting it with a high-octane rock sensibility. The performance is characterized by dazzlingly fast, passionate musicianship perfectly suited for a contemporary audience eager for electrifying live music. This rendition is a clear example of a good guitar solo that takes a classic blues song and injects it with a new, powerful energy.
Interestingly, Clapton himself is critical of his performance, pointing out that the band lost the “one” in the first verse of his second solo break, disrupting his phrasing. This self-critique reveals his perfectionism. However, for most listeners, this four-minute track remains a captivating and influential performance over half a century later, a testament to the enduring power of Clapton’s playing and a truly good guitar solo in a live setting.
YouTube Cream Crossroads solo
16. Eric Johnson | “Cliffs Of Dover”
GUITARIST: Eric Johnson (1990)
Eric Johnson’s “Cliffs of Dover” showcases unparalleled tone and technical precision.
“Cliffs Of Dover” is an instrumental masterpiece that earned Eric Johnson a Grammy Award, celebrated for its exquisite guitar playing and breathtakingly pure tones. For the recording, Johnson primarily used his early 1960s ES-335, switching to his 1964 “Virginia” Stratocaster for the opening lead and parts of the main solo. His guitar signal flowed into a 100-watt Marshall Super Lead amplifier, enhanced by an Echoplex and BK Butler Tube Driver to achieve his signature smooth, violin-like tones and warm sustain. This combination of gear and technique results in a truly good guitar solo with an incredibly distinctive sound.
Joe Bonamassa vividly recalls his first encounter with Johnson’s playing: “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.” Bonamassa’s reaction encapsulates the awe Johnson’s playing inspires in fellow musicians and listeners alike. “Cliffs of Dover” is more than just a technically impressive piece; it’s a sonic journey, showcasing a good guitar solo that is both technically brilliant and emotionally resonant.
YouTube Eric Johnson Cliffs Of Dover solo
15. Prince | “Purple Rain”
GUITARIST: Prince (1984)
Prince’s “Purple Rain” outro solo is a masterclass in emotional and melodic guitar playing.
The extended outro solo in “Purple Rain,” consuming nearly two-thirds of the song’s duration, stands as a pinnacle of Prince’s guitar work. Wailing in G minor pentatonic, with occasional modal excursions including the minor 6th, Prince crafts a solo that is both emotionally charged and melodically captivating. The repeating motif, centered around the 2nd and minor 3rd intervals, adds a memorable hook to the solo’s structure. This simplicity is deliberate and effective, creating space for the vocal melody to re-enter towards the song’s conclusion. It’s a testament to how a good guitar solo doesn’t always need to be complex to be impactful.
Prince’s approach in “Purple Rain” emphasizes feeling and space over technical complexity. He consciously leaves space between phrases, focusing on creating memorable melodic hooks rather than a barrage of licks. In live performances, Prince would often extend this solo to an astonishing 15 minutes, showcasing his improvisational prowess and deep connection to the music. His legendary Super Bowl halftime performance in 2007, shredding amidst a downpour, perfectly embodied the raw emotion and dramatic intensity of “Purple Rain.” This performance cemented the song’s iconic status and highlighted the power of a truly good guitar solo to capture a moment in time.
YouTube Prince Purple Rain solo
14. Deep Purple | “Highway Star”
GUITARIST: Ritchie Blackmore (1972)
Ritchie Blackmore’s “Highway Star” solo blends classical precision with rock and roll energy.
Ritchie Blackmore meticulously crafted his iconic solo for “Highway Star” just a week before recording. “I wrote that out note for note about a week before we recorded it,” he explained. “And that is one of the only times I have ever done that.” His intention was to evoke the sensation of speed and driving, creating a soundtrack for fast cars. He deliberately incorporated a Bach-inspired sound, utilizing rigid arpeggios over a recognizable Bach progression – D minor, G minor, C major, A major. Blackmore believes he was the first guitarist to so explicitly integrate this classical influence into rock guitar, contributing to the solo’s enduring appeal. This fusion of classical structure and rock energy is a key element of what makes this a good guitar solo.
Blackmore’s commitment to the composed solo extended to live performances, where he consistently played it note for note. However, the tempo would often escalate as the band indulged in whisky, pushing keyboardist Jon Lord to play his already challenging part faster and faster, much to his annoyance. Despite the potential for drunken chaos, the “Highway Star” solo remains a testament to Blackmore’s compositional skill and his ability to create a good guitar solo that is both technically demanding and instantly recognizable.
YouTube Deep Purple Highway Star solo
13. Guns N’ Roses | “Sweet Child O’ Mine”
GUITARIST: Slash (1988)
Slash’s “Sweet Child O’ Mine” solo is a masterfully constructed blend of melodic phrasing and raw rock energy.
Slash’s solo in Guns N’ Roses’ breakthrough hit “Sweet Child O’ Mine” is a quintessential example of great rock guitar playing, effectively dividing into two distinct halves. The first section is relaxed and modal, built around the Eb minor scale with the addition of major 7ths for a harmonic minor flavor, creating a melodic and slightly exotic feel. The second half explodes with aggression and bluesy intensity, primarily sticking to 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 solo’s dramatic impact. This dynamic contrast is a key feature of what makes this a good guitar solo.
Slash utilizes pickup and effects changes to further enhance the solo’s dynamics. He employs the neck pickup for the first section’s warmth and thickness before switching to the bridge pickup for the second half’s increased bite, engaging his Cry Baby wah pedal for added expression. What truly sets this solo apart is Slash’s innate sense of feel and how he seamlessly connects these contrasting sections, a hallmark of any truly great guitar solo. Ironically, despite Slash’s riff being the song’s genesis, he initially disliked the song. “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.” Despite his initial reservations, the “Sweet Child O’ Mine” solo has become one of the most beloved and instantly recognizable good guitar solos in rock history.
YouTube Guns N' Roses Sweet Child O' Mine solo
12. Ozzy Osbourne | “Crazy Train”
GUITARIST: Randy Rhoads (1980)
Randy Rhoads’ “Crazy Train” solo is a high-octane display of neoclassical shredding.
Ozzy Osbourne credits Randy Rhoads with revitalizing his career, and the “Crazy Train” solo immediately demonstrates why. Rhoads’ classically influenced, modal approach starkly contrasted with Tony Iommi’s blues-based style in Black Sabbath, yet Rhoads, like Iommi, was a true innovator. His “Crazy Train” solo is packed with fretboard fireworks, showcasing his unique and technically dazzling style.
A memorable section towards the end of the solo cleverly imitates the sound of a train derailing, achieved through a chromatically ascending trill followed by a descent in key. Rhoads concludes with a rapid F# minor pentatonic phrase and a blistering Aeolian legato run, culminating in a soaring bend on the 19th fret. This blend of musicality and technicality defines a good guitar solo, and Rhoads delivers it in spades.
Rhoads recorded the solo using his customized Jackson guitar, plugged into a Marshall amplifier and 4×12 cabinets, while positioned in the control room. Engineer Max Norman explains their recording technique: “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 and technique resulted in a good guitar solo that is both technically astounding and sonically powerful, cementing Randy Rhoads’ legacy as a guitar icon.
YouTube Ozzy Osbourne Crazy Train solo
11. Michael Jackson | “Beat It”
GUITARIST: Eddie Van Halen (1982)
Eddie Van Halen’s surprise “Beat It” solo is a groundbreaking fusion of rock and pop.
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 uninspired and boldly requested the engineer to edit the tape, creating a new chord progression more conducive to his soloing style. This audacious move paid off spectacularly, resulting in a truly good guitar solo that transcended genre boundaries.
Van Halen was aware that Jackson might be taken aback by his unsolicited alteration. “So I warned him before he listened,” Van Halen recounted to 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.’” Jackson’s enthusiastic response validated Van Halen’s artistic instincts. Remarkably, Van Halen contributed this iconic solo for free, purely for the artistic challenge and the unexpected fusion of rock guitar into a pop context. The “Beat It” solo remains a testament to Van Halen’s genius and the power of a good guitar solo to elevate a song to global phenomenon status.
YouTube Michael Jackson Beat It solo
10. The Beatles | “While My Guitar Gently Weeps”
GUITARIST: Eric Clapton (1968)
Eric Clapton’s uncredited “While My Guitar Gently Weeps” solo adds soulful depth to a Beatles classic.
By 1968, George Harrison’s songwriting prowess was reaching new heights, rivaling Lennon and McCartney. “While My Guitar Gently Weeps” was a testament to this, but the other Beatles initially lacked enthusiasm for the track. To inject energy and focus into the recording session, Harrison invited his friend Eric Clapton to contribute, knowing his presence would command the band’s attention. This collaboration resulted in a truly good guitar solo that added a layer of emotional depth to the song.
Using Harrison’s 1957 “Lucy” Gibson Les Paul through a Fender Deluxe amplifier, Clapton’s solo doesn’t merely mimic the song’s melancholic melody; it creates a poignant song within a song. His descending bends, release notes, and signature vibrato are on full display, evoking a tearful narrative that builds to a shattering climax. Clapton’s uncredited appearance and his emotionally charged playing transformed “While My Guitar Gently Weeps” into a Beatles masterpiece, showcasing the transformative power of a good guitar solo.
YouTube The Beatles While My Guitar Gently Weeps solo
9. Chicago | “25 OR 6 TO 4”
GUITARIST: Terry Kath (1969)
Terry Kath’s wah-drenched “25 or 6 to 4” solo is a fusion of jazz sensibility and rock energy.
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 rooted in jazz and later, hard rock. As a founding member of Chicago, Kath’s guitar work was integral to the band’s jazz-rock fusion sound until his tragic accidental death in 1978.
While Kath’s exceptional playing graced numerous Chicago tracks, including “Introduction” and “Free Form Guitar” from their debut album The Chicago Transit Authority, his solo on the early hit “25 or 6 to 4” is particularly impactful. Kath liberally employs a wah pedal to inject emotion into his lines, creating a sense of frenetic urgency and despair. This expressive use of the wah pedal is a key element of what makes this a good guitar solo.
Kath likely played his Gibson SG Standard, as seen on Chicago Transit Authority‘s inner sleeve. He was known for his unique string setup, using the high E string from a tenor set and a standard set for the rest, shifted down one position (high E for the B string, B for the G string, etc.). This unconventional string choice, combined with his jazz-influenced phrasing and rock energy, contributed to Kath’s distinctive sound and made his “25 or 6 to 4” solo a standout example of a good guitar solo in the jazz-rock genre.
YouTube Chicago 25 or 6 to 4 solo
8. Lynyrd Skynyrd | “Free Bird”
GUITARIST: Allen Collins (1974)
Allen Collins’ epic “Free Bird” solo is a southern rock institution.
The legendary four-minute-and-24-second guitar solo that concludes “Free Bird” was initially intended to give singer Ronnie Van Zant a vocal break during Lynyrd Skynyrd’s demanding tour schedule. Spanning 143 bars (or 286 bars due to doubling), it is by far the longest solo on this list and an epic in its own right. Its sheer length and dynamic build are hallmarks of a good guitar solo that tells a story.
Featured on the band’s 1973 self-titled debut album, the solo was performed by Allen Collins on his 1964 Gibson Explorer. Lynyrd Skynyrd’s Gary Rossington recounted to 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’ raw talent and improvisational brilliance are captured in this iconic solo, making it a cornerstone of southern rock and a prime example of a good guitar solo born from spontaneous creativity.
YouTube Lynyrd Skynyrd Free Bird solo
7. Dire Straits | “Sultans Of Swing”
GUITARIST: Mark Knopfler
Mark Knopfler’s “Sultans of Swing” solos showcase understated virtuosity and fingerstyle mastery.
Just as Eddie Van Halen was being hailed as the new guitar king, Mark Knopfler emerged, offering a contrasting style rooted in rockabilly, blues, and jazz. Knopfler demonstrated that guitar brilliance didn’t require walls of distortion to captivate audiences. His fingerstyle technique and clean tone became his signature, and “Sultans of Swing” is a perfect example of a good guitar solo achieved through finesse rather than sheer volume.
Knopfler initially composed “Sultans of Swing” on a National steel guitar, finding it “dull.” However, the song came alive when he switched to a Stratocaster. Using a clean Fender Twin amplifier, devoid of distortion, he delivers not one but two exceptional solos. The first solo is lyrical and elegant, featuring Chet Atkins-inspired single-note runs and chordal bends that evoke 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, played with remarkable cleanliness, precision, and energy. These solos showcase Knopfler’s unique fingerstyle approach and his ability to create good guitar solos that are both technically impressive and deeply musical.
YouTube Dire Straits Sultans Of Swing solo
6. The Jimi Hendrix Experience | “All Along The Watchtower”
GUITARIST: Jimi Hendrix (1968)
Jimi Hendrix’s “All Along the Watchtower” cover features a solo considered the greatest in a cover song.
Jimi Hendrix’s rendition of Bob Dylan’s “All Along The Watchtower” is widely regarded as surpassing the original. Guitarists often refer to it as a Hendrix song rather than a Dylan cover, highlighting the extent to which Hendrix made it his own. His rhythm playing is extraordinary, from the iconic intro to the intricate chord-melody work in the verses. And then there are the four guitar solos. Hendrix, often hailed as the greatest guitarist of all time, maximizes his Stratocaster and Marshall rig to full effect. The solo at the 2:20 mark is particularly noteworthy. Following an octave run, he transitions into a blues-based minor pentatonic approach in C#. This foundation allows him to create a good guitar solo that is both familiar and uniquely his own.
At 2:32, the main solo explodes into a signature Hendrix combination of lead and rhythm playing, incorporating funky scratching on muted strings. Practicing the scratches in time with the solo, focusing on a loose wrist and consistent strumming, is highly instructive for understanding Hendrix’s groove and feel. To emulate Hendrix’s tone, select a bridge-position single-coil pickup, add delay around 350ms, compression for sustain, and a Vox wah pedal or similar. This setup, combined with Hendrix’s innovative techniques, results in a good guitar solo that is both technically groundbreaking and deeply expressive.
YouTube Jimi Hendrix All Along The Watchtower solo
5. Eagles | “Hotel California”
GUITARISTS: Don Felder & Joe Walsh (1977)
Don Felder and Joe Walsh’s “Hotel California” twin-guitar harmonies are iconic and unforgettable.
“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 around 4:20, forming an extended coda where guitarists Don Felder and Joe Walsh trade licks before uniting in those iconic harmonized lines at 5:39. This extended and harmonized section is a defining characteristic of a good guitar solo that elevates a song to legendary status.
The harmony lines, while sounding complex, are based on a relatively simple principle. Felder and Walsh play arpeggios of each chord, with the harmony created by one guitar consistently playing a note one step lower in the chord. For instance, in a Bm chord (B, D, F#), if the higher guitar plays F#, the lower guitar plays D, and so on. This understanding simplifies the process of learning these descending arpeggios. While mastering it by ear is challenging, knowing the song’s chords makes jamming along and understanding the solo’s structure more accessible. The “Hotel California” solo is a testament to the power of twin-guitar harmonies and a prime example of a good guitar solo that is both technically impressive and instantly recognizable.
YouTube Eagles Hotel California solo
4. Queen | “Bohemian Rhapsody”
GUITARIST: Brian May (1975)
Brian May’s “Bohemian Rhapsody” solo is perfectly crafted within a rock masterpiece.
Following Freddie Mercury’s passing in 1991 and its resurgence in popular culture via Wayne’s World in 1992, “Bohemian Rhapsody” became a global anthem, solidifying Queen’s legendary status. Its enduring popularity continues with the We Will Rock You musical and the band’s ongoing performances with Adam Lambert. “Bohemian Rhapsody” remains Queen’s most iconic song, and its concise nine-bar guitar solo is a perfectly placed musical interlude, bridging the verses to the song’s operatic section. Its brevity and melodicism are key aspects of what makes this a good guitar solo.
The song’s unconventional structure, lacking a traditional chorus and relying on minimal repetition, shouldn’t logically work, yet it undeniably does. Brian May’s solo is integral to this success, providing a melodic break that complements the song’s complex arrangement. His phrasing is natural and loose, moving across the beat rather than rigidly adhering to it. The fastest licks are expressive bursts rather than repetitive noodling, and his articulate pre-bend and vibrato techniques showcase his exceptional touch. Within the intricate structure of “Bohemian Rhapsody,” May’s solo is perfectly tailored, a testament to his melodic sensibility and ability to create a good guitar solo that serves the song perfectly.
3. Led Zeppelin | “Stairway To Heaven”
GUITARIST: Jimmy Page (1971)
Jimmy Page’s “Stairway to Heaven” solo is a journey in itself, a masterpiece of composition and improvisation.
From the opening phrase played on his ’59 Fender Telecaster to the final wailing bend, Jimmy Page’s “Stairway to Heaven” solo is widely considered guitar solo perfection. It’s not merely a collection of licks; it’s a song within a song, a masterfully constructed musical narrative. Rather than aimless wandering, Page creates a solo that is both improvisational and meticulously composed, a hallmark of a truly good guitar solo.
The opening phrases set the scene, as Page subtly adds notes to the pentatonic scale, mirroring the song’s final chord progression. A rapid repeating lick in the middle of the solo raises the intensity, followed by a question-and-answer interplay with a haunting overdubbed guitar, culminating in the final flurry of notes and the sustained bend. The solo’s brilliance lies in its composition: licks that follow the chord changes, melodic contour, and pacing of the faster passages all combine to take the listener on an emotional journey.
Three takes of the solo were recorded, all improvised (with Page reportedly having pre-planned the opening line). While the other takes remain legendary artifacts locked away in the Led Zeppelin vaults, the released version is undeniably iconic. It’s a testament to Page’s improvisational genius and compositional skill, creating a good guitar solo that is both spontaneous and perfectly structured, a benchmark for generations of guitarists.
YouTube Led Zeppelin Stairway To Heaven solo
2. Van Halen | “Eruption”
GUITARIST: Eddie Van Halen (1978)
Eddie Van Halen’s “Eruption” solo revolutionized guitar playing and inspired a generation.
With its groundbreaking fusion of fast legato hammer-ons and pull-offs, pinched harmonics, whammy bar dives, and two-hand tapping, Eddie Van Halen’s instrumental solo “Eruption” sent shockwaves through the guitar world. It inspired countless guitarists and redefined the boundaries of rock guitar technique. While the tapping technique garnered significant attention, Van Halen’s tone, blistering legato, and innovative note choices are equally crucial to the solo’s impact. Amidst the virtuosity, Van Halen’s playing is infused with a joyous rock and roll abandon, making it a good guitar solo that is both technically dazzling and infectiously energetic.
Remarkably, Van Halen was never fully satisfied with the recorded version. “I didn’t even play it right,” he confessed to 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.” Despite his self-criticism, “Eruption” is a technical tour de force. The opening eight bars have a bluesy feel, with legato licks reminiscent of Jimmy Page’s breakdown solo in Led Zeppelin’s “Whole Lotta Love.” Van Halen develops this theme over the next eight bars, incorporating notes from major and minor pentatonic scales and adding chromatics.
The tapping finale remains one of the most analyzed and emulated solo sections in rock history. Van Halen’s taps are often off the beat, creating rhythmic complexities as he shifts between tapping the first and fourth sextuplet notes to the third and sixth notes. “Eruption” is a masterpiece from beginning to end, a good guitar solo that would take most guitarists a lifetime to master and a pivotal moment in guitar history.
YouTube Van Halen Eruption solo
1. Pink Floyd | “Comfortably Numb”
GUITARIST: David Gilmour (1979)
David Gilmour’s “Comfortably Numb” solos are masterpieces of tone, phrasing, and emotional depth.
In a 1992 MTV interview with Ray Cokes, David Gilmour resonated with Keith Richards’ theory that songs, lyrics, and guitar solos are “just out there in the air and you sort of grab them.” Gilmour agreed, stating, “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 “just happen,” while others require hard work and struggle. Gilmour’s two solos in “Comfortably Numb” exemplify this duality, feeling both spontaneous and meticulously crafted, making them undeniably good guitar solos.
YouTube Pink Floyd Comfortably Numb solo
Gilmour’s “Comfortably Numb” solos are consistently cited among his finest work, and our readers’ poll confirms their status as number one. Whether you favor the first or second solo (though many prefer the first), both are undeniably deserving of the top spot. The tone is legendary, achieved with Gilmour’s iconic black Stratocaster (then equipped with a DiMarzio FS-1 bridge pickup), a HiWatt DR103 amplifier, and the crucial EHX Ram’s Head Big Muff pedal. The FS-1’s thickness and the Big Muff’s smoothness eliminate the harsh treble often associated with Strats. Combined with an MXR Dyna Comp, Gilmour achieved remarkable sustain, allowing him to hold notes indefinitely. His live setup incorporated a WEM 4×12 cabinet and a Yamaha rotary speaker subtly mixed in for modulation. The expansive delay was added during mixing.
The first solo, in D major, utilizes the Strat’s neck and bridge pickups in combination, enabled by custom switching. Its phrasing is more unconventional, featuring arpeggios and sliding passages. Gilmour’s use of the whammy bar for vibrato, aided by its shortened tremolo arm, distinguishes him from typical blues players and inspired numerous fusion guitarists. His raking technique at the beginning of phrases, similar to Brian May, extracts maximum expressiveness from each note.
In contrast, the outro solo’s licks are more traditional, echoing Hendrix-style phrasing. Passages at 4:57 and 5:12 bear resemblance to “All Along the Watchtower” or “Foxey Lady,” yet within the epic scope of “Comfortably Numb,” these connections are subtle. The solo sounds both masterful and improvised, an effect Gilmour achieved by compiling the final version from the best segments of five or six takes. The result is a solo that is both meticulously constructed and full of spontaneous energy. The Hendrix-esque blues lick reappears at 5:27, longer and more intricate than before. Aggressive double-stops emerge at 5:15, evolving into a motif by 5:35.
For the climax, Gilmour ascends an octave, seemingly exceeding the expressive limits of his maple neck. He descends, incorporating a spectacular three-fret bend, and concludes with a final iteration of the double-stop motif. The solo possesses the excitement of improvisation and the structure of careful composition. Both solos demonstrate Gilmour’s exceptional rhythmic awareness, seamlessly incorporating triplets, sextuplets, 16th, and 32nd notes within single phrases. The effect at 5:10, where he plays a 16th-note lick followed by a sextuplet expansion, is particularly noteworthy. A good solo may excel in tone, rhythm, melody, or expression, but “Comfortably Numb” achieves brilliance by mastering all these elements to an unparalleled degree, solidifying its place as the number one good guitar solo.
YouTube Pink Floyd Comfortably Numb outro solo
