Guitar solos are the heart and soul of countless legendary songs, moments where musicians transcend vocals and lyrics to speak directly to our emotions through pure instrumental brilliance. A truly great guitar solo isn’t just about technical skill; it’s about storytelling, feeling, and leaving a lasting impact on the listener. From bluesy bends to blistering shredding, the Best Guitar Solos have defined genres, inspired generations of players, and become instantly recognizable musical landmarks. In this list, we dive into ten of the most exceptional guitar solos ever recorded, exploring what makes each one a masterpiece of its kind.
10. Crazy Train – Ozzy Osbourne (Guitarist: Randy Rhoads, 1980)
Ozzy Osbourne himself has often credited Randy Rhoads as the guitarist who revitalized his career, and listening to the explosive solo in Crazy Train, it’s easy to understand why. Rhoads was a unique force, distinct from Tony Iommi’s blues-based style in Black Sabbath. Rhoads brought a more classical and modal approach to hard rock, becoming a true innovator in the process.
The Crazy Train solo is a masterclass in dynamics and technique, but it’s perhaps most famous for a particular section near its end. Rhoads conjures a sound eerily reminiscent of a train derailing, using a chromatically ascending trill that then dramatically descends in key. This inventive passage showcases Rhoads’ ability to translate sonic imagery into his playing, making the solo not just a display of skill but a vivid auditory experience.
Following this train-like effect, Rhoads transitions to a fast-picked F# minor pentatonic phrase, injecting a dose of raw energy. He then seamlessly shifts into a rapid Aeolian legato run, demonstrating his fluidity and control across the fretboard. The solo culminates in a powerful big bend on the 19th fret, leaving a lasting impression of virtuosity and musicality. Tragically, Randy Rhoads’ career was cut short, as he passed away in a plane crash at the young age of 25, after recording only two studio albums with Ozzy. However, his contribution to guitar playing, exemplified by Crazy Train, remains timeless and deeply influential.
Randy Rhoads playing guitar with Ozzy Osbourne
9. Beat It – Michael Jackson (Guitarist: Eddie Van Halen, 1982)
When pop icon Michael Jackson and legendary producer Quincy Jones were crafting the groundbreaking Thriller album, they sought to inject a hard rock edge into the track Beat It. Enter Eddie Van Halen, the guitar virtuoso who was invited to the studio and given an unusual instruction: “Just play whatever you want.”
Van Halen, known for his revolutionary two-handed tapping and high-energy style, took this open brief and ran with it. In a mere 20 minutes and just two takes, he completely transformed the song’s solo section, imbuing it with his signature fiery and innovative playing. “I was just finishing the second solo when Michael walked in,” Van Halen recounted to CNN in 2012. “So I warned him before he listened. I said, ‘Look, I changed the middle section of your song.’ He gave it a listen, 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.'”
Van Halen’s Beat It solo is a testament to his ability to seamlessly blend into diverse musical landscapes while still injecting his unique personality. His iconic tapping technique, blistering speed, and melodic phrasing elevated Beat It to another level, bridging the gap between pop and rock and contributing to the song’s massive crossover appeal and enduring legacy.
8. Free Bird – Lynyrd Skynyrd (Guitarist: Allen Collins, 1974)
Spanning an epic 143 bars, the guitar solo in Lynyrd Skynyrd’s Free Bird is by far the longest featured on this list, and arguably one of the most expansive and iconic in rock history. (In fact, due to doubling, it’s technically 286 bars of recorded guitar brilliance!). Featured on their debut album in 1973, this sprawling instrumental section was delivered entirely by guitarist Allen Collins on his trusty 1964 Gibson Explorer.
The Free Bird solo is not just about length; it’s a journey in itself. It evolves through various phases, starting with soulful, blues-infused melodies and gradually building into soaring, passionate crescendos. The interplay between Collins’ guitar and the rhythm section creates a dynamic and immersive experience that perfectly complements the song’s emotional depth.
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.” This quote highlights the raw talent and improvisational nature of Collins’ performance, capturing a moment of pure musical inspiration that became a cornerstone of Southern rock guitar playing.
7. Sultans Of Swing – Dire Straits (Guitarist: Mark Knopfler, 1977)
The inspiration for Dire Straits’ classic Sultans Of Swing struck guitarist Mark Knopfler on a cold, rainy night in 1977. He wandered into a pub in Deptford and witnessed a band of older musicians playing Dixieland jazz to a largely indifferent crowd. As they finished their set, they announced themselves as “the Sultans Of Swing.”
The name, so grand and evocative, contrasted sharply with the mundane pub setting, sparking Knopfler’s imagination. Initially composed on his National steel guitar, the song truly came alive when Knopfler plugged his 1961 Stratocaster into bassist John Illsley’s Fender Vibrolux amp. It was then that he realized he had captured something special with this now-iconic track.
Sultans Of Swing is celebrated for its distinctive, fast fingerpicked guitar solo. The outro licks, while seemingly complex, are built upon repeating four-note arpeggios. Knopfler’s efficient picking technique, employing a thumb-pick and finger-picking combination, is key to achieving the solo’s fluid and rapid delivery. The technique involves thumb-picking the first string, executing a pull-off, thumb-picking the second string, and then finger-picking the first string. This approach allows the thumb to operate at half-speed, preventing fatigue and enabling the player to maintain the solo’s relentless pace. With careful timing and practice, this seemingly intricate solo becomes surprisingly accessible, a testament to Knopfler’s masterful and economical playing style.
6. Sweet Child O’ Mine – Guns N’ Roses (Guitarist: Slash, 1988)
Slash’s guitar solo in Guns N’ Roses’ breakthrough hit Sweet Child O’ Mine is indelibly etched in rock history as a quintessential example of rock guitar at its finest. It’s a solo that embodies feeling, melody, and raw energy, perfectly encapsulating the spirit of Guns N’ Roses at their peak.
The solo unfolds in two distinct halves. The first section is characterized by a laid-back, modal feel, built around the Eb minor scale with touches of major 7ths, adding a hint of harmonic minor flavor. This section is played with a warm, thick tone, utilizing the neck pickup for a smooth and melodic character.
The second half of the solo explodes with aggression and bluesy intensity. Slash shifts to the bridge pickup, engaging his Cry Baby wah pedal for added bite and expressiveness. He primarily utilizes position one of the pentatonic scale, an octave higher on the neck, unleashing wider bends and more pronounced vibrato. This contrast in tone and approach creates a dynamic and captivating solo that builds in intensity and emotional impact.
Perhaps even more remarkable than the technical aspects is Slash’s incredible feel and phrasing. The solo sounds spontaneous and improvised, rather than overly composed, giving it a raw and authentic edge. His ability to seamlessly weave together these contrasting sections, adding layers of color and dimension, exemplifies the hallmarks of a truly exceptional guitar solo – one that elevates the song and leaves an unforgettable impression.
Slash playing guitar with Guns N' Roses
5. Hotel California – Eagles (Guitarists: Don Felder, Joe Walsh, 1977)
The title track from the Eagles’ iconic Hotel California album is undoubtedly their signature song, and its legendary guitar solo frequently tops “greatest guitar solo” polls. This extended instrumental section is a showcase of guitar artistry, featuring interplay between guitarists Don Felder and Joe Walsh that is both intricate and instantly recognizable.
The Hotel California solo begins with 24 bars of traded licks between Felder and Walsh, setting the stage for the song’s dramatic climax. Then, at the 5:39 mark, the iconic harmonized guitar lines enter, creating a rich and layered sonic tapestry.
The harmony structure of the solo, while sounding complex, is based on a relatively simple principle. Both guitars play arpeggios based on the underlying chord progression. The harmony is created by one guitar consistently playing a note one step lower within each chord. For instance, in a Bm chord (notes B, D, and F#), if the higher guitar plays an F#, the lower guitar will play a D, and so on. This technique, while conceptually straightforward, results in the beautifully interwoven and cascading harmony lines that define the Hotel California solo. Understanding this underlying structure provides a valuable insight into mastering these descending arpeggios, allowing guitarists to appreciate and even recreate this iconic solo.
4. Stairway To Heaven – Led Zeppelin (Guitarist: Jimmy Page, 1971)
From the very first notes of Jimmy Page’s solo in Led Zeppelin’s Stairway To Heaven, played on his 1959 Fender Telecaster (famously not a Les Paul!), to the final soaring bend, it is widely considered a pinnacle of guitar solo perfection. More than just a solo, it’s a meticulously crafted “song within a song,” demonstrating Page’s compositional genius and his ability to build atmosphere and emotion through his guitar playing.
Rather than aimlessly wandering on the fretboard, Page constructs a solo that follows the song’s dynamic arc, mirroring its gradual build-up in intensity. The opening phrases establish the mood, with Page adding notes outside the pentatonic scale to harmonize with the song’s chord progression. A rapid, repeating lick in the middle of the solo elevates the energy before a haunting, overdubbed guitar “question and answer” section leads into the final flurry of notes and the concluding wailing bend.
Page’s mastery lies in his composition: licks that respond to the chord changes, the melodic contour, and the pacing of the faster passages all combine to take the listener on a sonic journey. Reportedly, three takes of the solo were recorded (with the other two rumored to be locked away in a Led Zeppelin vault). While all were improvised, Page has mentioned that he had pre-conceived the opening line, indicating a blend of spontaneity and pre-planning. While the curiosity surrounding these alternate takes is understandable, the released version of the Stairway To Heaven solo remains a definitive and untouchable masterpiece of guitar playing.
3. Comfortably Numb – Pink Floyd (Guitarist: David Gilmour, 1979)
Pink Floyd’s Comfortably Numb is unique in featuring not one, but two iconic guitar solos by David Gilmour, either of which could justify the song’s inclusion on this list. The fact that Gilmour crafted both within the same track is a testament to his exceptional musicality and creative genius.
The tone of the Comfortably Numb solos is legendary in itself. Gilmour employed his iconic black Stratocaster, equipped with a DiMarzio FS-1 bridge pickup at the time, plugged into a Hiwatt DR103 amplifier, and crucially, the Electro-Harmonix Ram’s Head Big Muff fuzz pedal. The FS-1 pickup’s thickness and the Big Muff’s smooth distortion effectively eliminated the harsh treble often associated with Strats, creating a rich and sustaining tone. Further enhanced by an MXR Dyna Comp compressor, Gilmour achieved near-infinite sustain, allowing him to hold notes for extended periods. In his live setup, he combined a WEM 4×12 cabinet with a Yamaha rotating speaker, subtly adding modulation to his sound. The signature epic delay was added during the mixing process, further enhancing the atmospheric quality of the solos.
The first solo, in D major, utilizes the Strat’s neck and bridge pickups in combination, made possible by a custom switching configuration. Gilmour’s phrasing in this solo is more unconventional, incorporating arpeggios and sliding passages that still sound remarkably futuristic and unique. His distinctive use of the whammy bar for vibrato, facilitated by his shortened tremolo arm, sets him apart from typical blues-based guitarists and has inspired countless fusion players. He often rakes into the beginning of phrases, a technique reminiscent of Brian May, extracting maximum expression from each note.
Randy Rhoads playing guitar with Ozzy Osbourne
In contrast, the outro solo in Comfortably Numb features more classic blues-rock phrasing. Many of the licks are reminiscent of Jimi Hendrix’s style, but Gilmour’s genius lies in placing these familiar blues phrases within a progressive rock context, making them sound completely fresh and original. Licks at the 4:57 and 5:12 marks could easily be from All Along the Watchtower or Foxey Lady, yet within the epic scope of Comfortably Numb, these connections become subtle and integrated into a larger, masterful soundscape. The solo sounds both meticulously crafted and spontaneously improvised, a duality that Gilmour achieved by recording multiple takes (five or six, he has explained) and compiling the final solo from the best sections of each. The result is a solo that is stunningly well-composed, with a perfect balance of repetition and development, building excitement and emotional intensity over its two-minute duration.
The Hendrix-esque 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 as it seems he has wrung every ounce of expression from his maple neck. He then descends, incorporating a spectacular three-fret bend, and concludes with another iteration of the double-stop motif. The solo possesses the energy of a live improvisation and the structure of a carefully written composition. Both Comfortably Numb solos showcase Gilmour’s exceptional rhythmic awareness, seamlessly incorporating triplets, sextuplets, 16th notes, and 32nd notes, sometimes within a single phrase – a prime example being the lick at 5:10, where he plays a phrase in 16th notes and immediately repeats and expands it in sextuplets. A truly great solo might excel in tone, rhythm, melody, or expression, but Comfortably Numb achieves brilliance by mastering all these elements to an unparalleled degree.
2. Eruption – Van Halen (Guitarist: Eddie Van Halen, 1978)
Back in 1978, Van Halen’s self-titled debut album unleashed Eruption, a mind-blowing instrumental guitar solo that redefined guitar playing and inspired a generation of aspiring guitar heroes. Nothing as revolutionary had been heard since Jimi Hendrix, with Eruption‘s groundbreaking blend of fast legato hammer-ons and pull-offs, pinched harmonics, whammy bar dives, and, most famously, two-hand tapping.
While the tapping technique grabbed the headlines, the true brilliance of Eruption lies in its totality. Eddie Van Halen’s tone, blistering legato phrasing, and incredibly creative note choices are equally vital components. Amidst all the virtuosity, Eddie played with infectious rock ‘n’ roll abandon, making Eruption appeal to listeners far beyond the typical “shred” guitar instrumental audience.
Remarkably, Eruption was never intended to be on the album. Eddie explained to Guitar World, “I showed up at the recording studio one day and started to warm up. I had a gig that weekend and wanted to practice my solo guitar spot. Our producer, Ted Templeman, happened to walk by and he asked, ‘What is that? Let’s put it on tape!’ So I took one pass at it and they put it on the record. I didn’t even play it right. There’s a mistake at the top end of it. To this day, whenever I hear it, I always think, ‘Man, I could’ve played it better.’”
Despite Eddie’s self-deprecating comment, Eruption is a technical tour-de-force that warrants being broken down into sections to fully appreciate its magnitude. The opening eight bars have a bluesy foundation, though not in a traditional BB King style. Instead, these virtuoso legato licks evoke the raw energy of Jimmy Page’s breakdown solo in Led Zeppelin’s Whole Lotta Love. Eddie develops this theme over the subsequent eight bars, drawing notes from both major and minor pentatonic scales to create a chromatic and harmonically rich sound.
Slash playing guitar with Guns N' Roses
Eddie’s tapping finale in Eruption is arguably one of the most famous, beloved, and yet least understood solo sections in rock history. Examining a tablature of this iconic outro reveals that it’s far more than simply tapping out repeating sextuplet licks (although that’s a good starting point for practicing bite-sized phrases!). Eddie’s taps are not always rhythmically aligned with the beat, creating subtle but significant timing shifts as he transitions from tapping the first and fourth sextuplet notes to the third and sixth. Mastering this requires slowing down considerably to internalize the feel and timing nuances. Eddie taps using his index finger, anchoring his thumb on the neck for stability. While some guitarists prefer a middle finger tapping technique while holding the pick, either method necessitates meticulous muting of the bass strings. Eruption stands as a true masterpiece, a solo that could take a lifetime to truly perfect and a benchmark for guitar innovation.
1. Bohemian Rhapsody – Queen (Guitarist: Brian May, 1975)
Could Bohemian Rhapsody be the greatest rock song of all time? Many would argue yes, and it’s certainly a worthy recipient of the top spot in any “greatest guitar solos” list. Following Freddie Mercury’s tragic passing and the song’s resurgence in popularity after its iconic appearance in the movie Wayne’s World in 1992, Bohemian Rhapsody became a global anthem, triggering a wave of affection and respect for Queen. Their enduring popularity has continued into the 21st century, with the We Will Rock You musical and their collaborations with Adam Lambert introducing their music to new generations.
And at the heart of Bohemian Rhapsody lies its brief but perfect nine-bar guitar solo by Brian May. This solo serves as a melodic interlude, seamlessly bridging the verses and leading into the song’s operatic section. The very notion of an “opera section” within a rock song might seem unconventional, even illogical. Bohemian Rhapsody defies traditional song structures: it lacks a conventional chorus, and beyond the initial verses, there’s minimal repetition. Yet, it works, and it works brilliantly. Brian May’s solo is the ideal melodic counterpoint, a moment of pure guitar expression within this complex and groundbreaking musical tapestry.
May’s phrasing is loose and natural, playing slightly behind the beat rather than rigidly adhering to a strict grid. His fastest licks are expressive bursts of energy, not repetitive or mechanical noodling. His articulate pre-bend and vibrato techniques showcase his exceptional touch and feel. Within the intricate and unconventional structure of Bohemian Rhapsody, Brian May’s guitar solo is not just an addition; it’s an essential element, perfectly complementing the song’s grandeur and emotional depth, solidifying its place as the best guitar solo of all time for many.
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