The age-old debate of the greatest guitar solo is a contentious one, and rightfully so. Every solo is a unique expression, making comparisons across genres and styles a near-impossible task. How can you truly weigh the emotive storytelling of “Comfortably Numb” against the high-octane energy of “Crazy Train,” or the bluesy elegance of “Sultans of Swing” with the epic grandeur of “Stairway to Heaven”? Yet, the court of public opinion constantly evolves, and we sought to discover which solos currently resonate most powerfully with guitar enthusiasts.
We conducted a poll on GuitarPlayer.com, inviting our readers to cast their votes and determine the ultimate guitar solos. The results are in, and we’re excited to present the definitive countdown. Join us as we delve into the stories behind these iconic songs, exploring the elements that elevate these lead guitar breaks to legendary status, 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 solo.
“Still Got the Blues,” the title track from Gary Moore’s 1990 album, became his signature song, marking a significant shift in his career as he embraced the blues genre. This melancholic masterpiece in A minor showcases Moore’s incredible ability to blend technical prowess with raw emotion. In the solo, you can distinctly hear the moment the Belfast legend switches from the warm neck humbucker to the brighter 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 thematic and improvisational.
Moore’s setup for this iconic track was equally crucial to its sound. He plugged into his prototype Marshall JTM-45 reissue head, enhanced by one of Marshall’s newly developed Guv’nor distortion pedals. Even after three decades, “Still Got the Blues” remains a benchmark for raw and expressive blues guitar playing, capturing Moore’s passionate struggle with his instrument while consistently delivering musical brilliance.
Gary Moore Still Got The Blues live performance
19. Metallica | “Fade To Black”
GUITARIST: Kirk Hammett (1984)
Kirk Hammett’s epic guitar solo in Metallica’s first power ballad.
Recorded during February and March 1984 at Flemming Rasmussen’s Sweet Silence Studios in Copenhagen, Ride the Lightning, Metallica’s sophomore album, displayed a significant evolution from the pure thrash assault of their debut, Kill ’Em All. “Fade to Black” perfectly exemplifies this progression, incorporating acoustic guitars and a more nuanced song structure reminiscent of the “Stairway to Heaven” approach to songwriting. However, it’s Kirk Hammett’s timelessly melodic guitar solo that truly signals a stylistic transformation in his playing. Arpeggios become a signature element, particularly in the final, soaring solo.
“I have been playing that song for so long now,” Kirk shared with 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 arpeggios are played on two strings, a technique common in the 1980s before the rise of Yngwie Malmsteen’s sweep-picking dominance. “When guitar players first started incorporating arpeggios into their playing… arpeggios were played on two strings – not three or four strings,” he explains. “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 iconic solo, Hammett suggests focusing on 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.
Kirk Hammett Fade To Black scale diagrams
(Image credit: Future)
The natural minor scale forms the core of the solo, with the Phrygian mode briefly appearing around bar 20, introducing the C note. Hammett often improvises this section live, relying on these scale shapes as his guide. The two-string arpeggios that follow are played in rapid 16th notes at 142 bpm, a considerable tempo. To manage this speed, Hammett employs pull-offs to streamline the fast runs, suggesting that aspiring players experiment with this technique, or even incorporate occasional hammer-ons for further ease.
Metallica Fade To Black live performance
18. Steely Dan | “Kid Charlemagne”
GUITARIST: Larry Carlton (1976)
Larry Carlton’s celebrated solo on Steely Dan’s “Kid Charlemagne.”
Steely Dan’s discography is rich with exceptional guitar solos, but Larry Carlton’s masterful contribution to “Kid Charlemagne” from The Royal Scam consistently earns the highest praise. Carlton crafts a series of sophisticated phrases that seamlessly navigate the complex chord changes, blending inside and outside playing with technical brilliance and emotional depth.
“I was pretty familiar with the tune, so I just improvised,” Carlton 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.” Indeed, it worked exceptionally well. Carlton’s solo has garnered so much attention that it arguably overshadows the song itself in some discussions.
Despite the widespread acclaim, Carlton remains modest about his achievement. “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.’”
Steely Dan Kid Charlemagne official audio
17. Cream | “Crossroads”
GUITARIST: Eric Clapton (1968)
Eric Clapton’s iconic rock and roll cover of Robert Johnson’s blues classic.
Originally a blues tune titled “Cross Road Blues” by Robert Johnson, “Crossroads” was transformed by a 22-year-old Eric Clapton into a defining moment of virtuosity, soul, and stage presence. Clapton’s reimagining of the song with Cream cemented his legendary status, further solidifying the “God” nickname he had earned.
Famously recorded at San Francisco’s Fillmore West for Cream’s Wheels of Fire album, Clapton’s arrangement honors the soul and spirit of Johnson’s original while injecting it with a contemporary energy that resonated with audiences eager for dynamic and passionate musicianship.
Interestingly, Clapton himself is not entirely satisfied with the performance. He famously points out that the band lost the “one” beat in the first verse of his second solo break, disrupting his phrasing. This exemplifies Clapton’s perfectionism. However, for most listeners, this four-minute track remains a captivating and influential piece of music, more than half a century later.
Cream Crossroads live performance
16. Eric Johnson | “Cliffs Of Dover”
GUITARIST: Eric Johnson (1990)
Eric Johnson’s heavenly guitar tones on “Cliffs Of Dover.”
This instrumental masterpiece earned Eric Johnson a Grammy Award, celebrated for its exquisite guitar playing and breathtaking tones. During the recording sessions, Johnson primarily used his early 1960s ES-335, but opted for his 1964 “Virginia” Stratocaster for the opening lead and parts of the main solo. These guitars were plugged into a 100-watt Marshall Super Lead, enhanced with an Echoplex and BK Butler Tube Driver to achieve those signature smooth, violin-like tones and warm sustain.
Joe Bonamassa recounted his first encounter with Johnson’s playing 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 tone and technique on “Cliffs of Dover” remain a benchmark for guitarists seeking pristine and expressive sound.
Eric Johnson Cliffs Of Dover official video
15. Prince | “Purple Rain”
GUITARIST: Prince (1984)
Prince’s defining guitar solo moment in “Purple Rain.”
The epic outro solo in “Purple Rain,” which constitutes nearly two-thirds of the song’s length, stands as a pinnacle of Prince’s guitar artistry. Wailing in G minor pentatonic, with occasional modal notes like the minor 6th, the solo also features a recurring motif built around the 2nd and minor 3rd intervals.
Its simplicity is its strength, creating a powerful foundation for the vocal melody that enters towards the end. Far from being a busy or overly technical solo, Prince opted for spacious phrasing, emphasizing memorable hooks over flashy licks.
In live performances, Prince would often extend this solo to an astounding 15 minutes. Among the many incredible live renditions, his halftime performance at the 2007 Super Bowl in Miami is legendary. Shredding amidst a downpour, Prince seemed to embody the very essence of the song in that iconic moment.
Prince Purple Rain Super Bowl XLI halftime show
14. Deep Purple | “Highway Star”
GUITARIST: Ritchie Blackmore (1972)
Ritchie Blackmore’s Bach-inspired solo on Deep Purple’s “Highway Star.”
“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 meticulous approach and classical influences are evident in the solo’s structure and precision. “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.” This anecdote highlights the evolving nature of live performance and Blackmore’s commitment to the solo’s intricate arrangement.
Deep Purple Highway Star official video
13. Guns N’ Roses | “Sweet Child O’ Mine”
GUITARIST: Slash (1988)
Slash’s contrasting solo sections in Guns N’ Roses’ “Sweet Child O’ Mine.”
Slash’s solo in “Sweet Child O’ Mine,” Guns N’ Roses’ breakthrough hit, is a masterclass in rock guitar dynamics. The solo unfolds in two distinct halves. The first section is relaxed and modal, built around the Eb minor scale with major 7ths subtly incorporated for a harmonic minor flavor. In contrast, the second half explodes with aggression and bluesy intensity, primarily utilizing position one of the pentatonic scale an octave higher in the same key. The bends become wider, and the vibrato more pronounced, amplifying the emotional impact.
Slash employs a strategic pickup switch, starting on the neck pickup for a thicker, warmer tone in the first section, then transitioning to the bridge pickup for increased bite and edge in the second, engaging his Cry Baby wah pedal for added expression. What truly sets this solo apart is Slash’s innate sense of feel and his seamless ability to weave these contrasting sections together, a hallmark of a truly great guitar solo. Interestingly, despite Slash’s riff being the genesis of the song, he initially wasn’t particularly fond of “Sweet Child O’ Mine.” “We were a pretty hard driving band, and that was sort of an uptempo ballady type of a thing,” he said. “So it’s grown on me over the years.”
Guns N' Roses Sweet Child O' Mine official video
12. Ozzy Osbourne | “Crazy Train”
GUITARIST: Randy Rhoads (1980)
Randy Rhoads’ fretboard fireworks on Ozzy Osbourne’s “Crazy Train.”
Ozzy Osbourne frequently credited Randy Rhoads with revitalizing his career, and the solo in “Crazy Train” makes it clear why. While Rhoads’ classical and modal influences differed from Tony Iommi’s blues-based style, he shared Iommi’s inventive spirit.
A standout moment is the section towards the solo’s end that vividly evokes a train derailing, achieved through a chromatically ascending trill that then descends in key. Rhoads concludes the solo with a rapid-picked F# minor pentatonic phrase, followed by a swift Aeolian legato run culminating in a dramatic bend on the 19th fret.
Rhoads recorded this blistering solo using his customized Jackson guitar through a Marshall amp and a pair of 4×12 cabinets, positioned in the control room. Blizzard of Ozz engineer Max Norman recalls their 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 technique allowed for precise control over Rhoads’ dynamic and powerful tone.
Ozzy Osbourne Crazy Train official video
11. Michael Jackson | “Beat It”
GUITARIST: Eddie Van Halen (1982)
Eddie Van Halen’s unexpected and iconic solo on Michael Jackson’s “Beat It.”
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 section designated for his solo, Van Halen felt the chord changes were inadequate and took the initiative to have the engineer re-edit the tape, creating a new progression that better suited his vision.
Anticipating Jackson’s potential surprise, Van Halen recounted his conversation with Jackson to CNN in 2012: “So I warned him before he listened,” he said. “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.’” Remarkably, Van Halen contributed his groundbreaking solo pro bono, driven by his artistic passion.
Michael Jackson Beat It official video
10. The Beatles | “While My Guitar Gently Weeps”
GUITARIST: Eric Clapton (1968)
Eric Clapton’s uncredited guest solo with The Beatles on “While My Guitar Gently Weeps.”
By 1968, George Harrison’s songwriting prowess was reaching the level of Lennon and McCartney. “While My Guitar Gently Weeps” was a testament to his evolving talent, yet the other Beatles were initially less enthusiastic about the track. To inject energy into the session, Harrison invited his friend Eric Clapton to play, knowing it would galvanize the band.
Using Harrison’s 1957 “Lucy” Gibson Les Paul through a Fender Deluxe amp, Clapton’s solo transcends mere accompaniment. Instead, it acts as a poignant song within a song, echoing and amplifying the main melody’s haunting and sorrowful mood. His signature descending bends, release notes, and inimitable vibrato are prominently featured, creating a tear-jerking narrative that builds to a powerful and emotional climax. Clapton’s contribution, though uncredited at the time, is now recognized as an integral part of this Beatles classic.
The Beatles While My Guitar Gently Weeps official video
9. Chicago | “25 OR 6 TO 4”
GUITARIST: Terry Kath (1969)
Terry Kath’s wah-drenched guitar solo on Chicago’s “25 or 6 to 4.”
This publication once aptly described Terry Kath’s “25 or 6 to 4” solo as “Wes Montgomery meets Jimi Hendrix,” a fitting description reflecting Kath’s diverse influences, ranging from jazz to hard rock. As a founding member of the jazz-rock band Chicago, Kath was the band’s guitarist until his tragic accidental death in 1978.
While Kath’s exceptional playing graces numerous Chicago tracks, including “Introduction” and “Free Form Guitar” from their 1969 debut, The Chicago Transit Authority, his solo on the early hit “25 or 6 to 4” stands out for its sheer power and emotion. Kath masterfully employs his wah pedal to inject raw feeling into his lines, sometimes evoking a sense of frenetic despair.
Kath likely played his Gibson SG Standard, as seen on Chicago Transit Authority’s inner sleeve. He was known for his unique string setup, as revealed to GP: utilizing the high E string from a tenor guitar set and a standard set for the remaining strings, shifted down one position (e.g., high E for the B string, B for the G string, and so on). This unconventional setup likely contributed to his distinctive tone.
8. Lynyrd Skynyrd | “Free Bird”
GUITARIST: Allen Collins (1974)
Allen Collins’ epic “Free Bird” guitar solo.
The legendary four-minute and 24-second guitar solo that concludes “Free Bird” was initially conceived to provide singer Ronnie Van Zant vocal respite during Lynyrd Skynyrd’s demanding tour schedule. Spanning an impressive 143 bars (or 286 bars due to doubling), it is by far the longest solo on this list, a true epic in rock history.
Featured on the band’s self-titled debut album in 1973, guitarist Allen Collins delivered this monumental solo 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’ raw talent and improvisational brilliance are captured perfectly in this iconic solo.
Lynyrd Skynyrd Free Bird live at Knebworth
7. Dire Straits | “Sultans Of Swing”
GUITARIST: Mark Knopfler
Mark Knopfler’s understated fingerpicked solo in Dire Straits’ “Sultans of Swing.”
Just as Eddie Van Halen was being hailed as the new guitar king, Mark Knopfler emerged, a seemingly unassuming figure schooled in rockabilly, blues, and jazz. Knopfler demonstrated that guitar virtuosity didn’t require walls of distortion to captivate audiences.
Knopfler initially composed this pub-rock classic on a National steel guitar, finding it sounded “dull.” However, upon switching to a Stratocaster, the song “came alive.” Using a clean Fender Twin amp with no overdrive, he fingerpicks not one, but two remarkable 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 steals the show. Knopfler builds to a dazzling display of rapid 16th-note arpeggios – impeccably clean, precise, and consistently exhilarating with each listen. Knopfler’s unique fingerpicking style and clean tone set him apart in an era dominated by high-gain shredding.
Dire Straits Sultans Of Swing official video
6. The Jimi Hendrix Experience | “All Along The Watchtower”
GUITARIST: Jimi Hendrix (1968)
Jimi Hendrix’s definitive cover solo in “All Along The Watchtower.”
This rendition of “All Along The Watchtower” frequently tops lists of covers that surpass the original. Guitarists often refer to it as a Hendrix song rather than a Bob Dylan cover, a testament to Hendrix’s transformative interpretation. Jimi’s rhythm guitar work is astounding, both in the intro and the intricate chord/melody interplay in the verses. And, of course, there are four distinct guitar solos to analyze. The man often hailed as the greatest guitarist of all time maximizes his Stratocaster and Marshall rig, but it’s his solo at the 2:20 mark that truly captivates. Following an opening octave run, he launches into a blues-infused minor pentatonic improvisation in C#.
At 2:32, the main solo erupts into a signature Hendrix blend of lead and rhythm playing, punctuated by funky scratching on muted strings. Practicing along with these scratches, focusing on a relaxed wrist and consistent down-up strumming, is highly instructive for understanding Hendrix’s groove and feel.
To emulate Hendrix’s tone, select a bridge-position single-coil pickup, dial in a delay around 350ms, add compression for sustain, and use a Vox wah pedal or similar. With these elements in place, you’ll hear the iconic howling wind of Hendrix’s guitar.
Jimi Hendrix All Along The Watchtower official video
5. Eagles | “Hotel California”
GUITARISTS: Don Felder & Joe Walsh (1977)
The iconic twin-guitar harmony solos in Eagles’ “Hotel California.”
The title track from the Eagles’ fifth album, “Hotel California,” is arguably the band’s most enduring song and a frequent chart-topper in greatest guitar solo polls. The solo section commences at 4:20, forming an extended coda where guitarists Don Felder and Joe Walsh exchange licks before uniting to play those unforgettable harmonized lines at 5:39.
The harmony lines, while sounding complex, are based on a relatively simple principle. Felder and Walsh play an arpeggio of each chord, with the harmony created by one guitar consistently playing a note one step lower within the chord. For example, in a Bm chord (B, D, and F#), if the higher guitar plays an F#, the lower guitar will play a D, and so forth.
Understanding this fundamental approach makes mastering those descending arpeggios more accessible. While learning by ear is challenging, knowing the song’s chords makes jamming along and deciphering the solos significantly more feasible than many other solos on this list. The “Hotel California” solos are celebrated for their melodic beauty and masterful interplay between two guitarists.
Eagles Hotel California official video
4. Queen | “Bohemian Rhapsody”
GUITARIST: Brian May (1975)
Brian May’s perfectly crafted solo in Queen’s “Bohemian Rhapsody.”
Following Freddie Mercury’s passing in 1991 and its memorable appearance in the 1992 film Wayne’s World, “Bohemian Rhapsody” triggered a global wave of affection and respect for Queen. Their resurgence continued into the new millennium with the We Will Rock You musical and their collaboration with Adam Lambert, introducing their music to a new generation.
“Bohemian Rhapsody” remains Queen’s signature song, and its concise nine-bar solo is a perfectly placed musical interlude, bridging the verses and leading into the iconic “operatic section.” The song’s unconventional structure, lacking a traditional chorus and built on contrasting sections, defies conventional songwriting rules, yet works brilliantly. Brian May’s solo is an essential element of this success, providing a melodic and emotional break within the complex arrangement.
May’s phrasing is loose and natural, subtly playing with the backbeat rather than adhering to a rigid rhythmic grid. His fastest licks are expressive bursts, not repetitive patterns, and his articulate pre-bend and vibrato techniques showcase his exceptional touch. Within the intricate framework of “Bohemian Rhapsody,” May’s solo feels custom-made for the song.
3. Led Zeppelin | “Stairway To Heaven”
GUITARIST: Jimmy Page (1971)
Jimmy Page’s heaven-sent guitar solo in Led Zeppelin’s “Stairway To Heaven.”
From the opening phrase played on Jimmy Page’s ’59 Fender Telecaster to the final flurry of notes and wailing bend, the “Stairway to Heaven” solo is widely considered guitar solo perfection—a compositional masterpiece. Rather than aimless improvisation, Page crafts a song within a song.
The opening phrases establish the mood, with Page adding notes to the pentatonic scale to mirror the song’s concluding chord progression. A rapid repeating lick mid-solo elevates the intensity, followed by a call-and-response section with a haunting overdubbed guitar, leading into the climactic flurry and bend. The genius of this solo lies in its composition: licks that follow the chord changes, the melodic contour, and the pacing of the faster passages all guide the listener on an emotional journey.
Three takes of the solo were recorded (with rumors of the other two existing in a Led Zeppelin vault), all improvised, although Page has mentioned pre-planning the opening line. While the prospect of hearing these alternate takes is enticing, the released solo has become so iconic and beloved that it’s hard to imagine any alternative surpassing it.
Led Zeppelin Stairway To Heaven live at Earls Court
2. Van Halen | “Eruption”
GUITARIST: Eddie Van Halen (1978)
Eddie Van Halen’s revolutionary solo “Eruption.”
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” ignited a generation of guitar heroes. While the tapping technique often steals the spotlight, his tone, blistering legato, and inventive note choices are equally crucial to its impact. Amidst this display of virtuosity, Van Halen maintained a joyous rock and roll spirit.
Remarkably, Van Halen was never completely satisfied with the released recording. “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-critique, “Eruption” remains a technical landmark. 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 chromaticism.
His tapping finale is perhaps one of the most analyzed and imitated 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. From beginning to end, “Eruption” is a masterpiece that represents a lifetime of dedication to guitar mastery.
Van Halen Eruption official audio
1. Pink Floyd | “Comfortably Numb”
GUITARIST: David Gilmour (1979)
David Gilmour’s iconic and emotive solos in Pink Floyd’s “Comfortably Numb.”
In a 1992 MTV interview with 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 concurred, 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,” although sometimes requiring significant effort and refinement.
Pink Floyd Comfortably Numb live at Pompeii
Gilmour’s two solos in “Comfortably Numb” are undeniably among his finest work, and it’s clear why readers voted them to the top spot. While debates persist about which of the two solos is superior (many favor the first), both are undeniably deserving of the song’s number one ranking.
Gilmour’s tone is legendary. His signal chain for these solos involved his iconic black Stratocaster, then equipped with a DiMarzio FS-1 bridge pickup, running into a HiWatt DR103 amp, with the essential EHX Ram’s Head Big Muff pedal. The FS-1’s thickness and the Big Muff’s smoothness eliminated the harsh treble often associated with Stratocasters. Combined with an MXR Dyna Comp, Gilmour achieved near-infinite 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 in combination, made possible by custom switching. Gilmour’s phrasing in this solo is more unconventional, featuring arpeggios and sliding passages. His use of the tremolo bar for vibrato, facilitated by its shortened arm, distinguishes him from typical blues guitarists and inspired countless fusion players. He often rakes into the beginning of phrases, a technique shared with Brian May, extracting maximum expressiveness from each note.
In contrast, the outro solo features more conventional blues-based licks, with phrases reminiscent of Hendrix. Passages at 4:57 and 5:12 echo “All Along the Watchtower” or “Foxey Lady,” yet within the epic scale of “Comfortably Numb,” these connections are subtle. The solo sounds both masterful and spontaneous. Gilmour has explained that he achieved this effect by recording five or six takes and compiling the final solo from the best sections of each. The result is remarkably well-structured, with a blend of repetition and development that sustains excitement for its two-minute duration. 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 recurring motif by 5:35.
For the climax, Gilmour ascends an octave, just when it seems he has exhausted every ounce of expression from his maple neck. He then descends, incorporating one of his signature three-fret bends, and concludes with another iteration of the double-stop motif. It possesses the raw energy of an improvised performance and the refined structure of a meticulously composed piece.
Both solos are marked by brilliant rhythmic awareness. Gilmour seamlessly integrates triplets, sextuplets, 16th, 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 good solo might excel in tone, rhythm, melody, or expression, only a work of rare genius, like Gilmour’s “Comfortably Numb” solos, embodies all these qualities to such an exceptional degree.
