Joan Jett famously declared, “My guitar is not a thing, it is an extension of myself. It is who I am.” This sentiment resonates deeply within the world of music, highlighting the guitar as more than just an instrument. It’s a universal voice, primal in its appeal, and profoundly expressive. While anyone can strum a few chords relatively quickly, mastering the guitar and unlocking its vast potential is a lifelong journey. This enduring quality is what makes the discussion of who might be considered the Greatest Guitar Player Ever so captivating.
Rolling Stone’s compilation of the “250 Greatest Guitarists” offers a fascinating landscape of talent and influence. Initially curated in 2011 by a panel of seasoned musicians, the list has been expanded and reimagined by the magazine’s editors and writers to reflect a broader spectrum of guitar artistry. This updated list goes beyond the usual suspects of mythic guitar gods like Jimmy Page, Brian May, and Eddie Van Halen. It aims to showcase the expansive evolution of the guitar, from early pioneers like folk icon Elizabeth Cotten (born in 1893) to contemporary innovators like indie-rock prodigy Lindsey Jordan (born in 1999).
The list is remarkably diverse, encompassing genres from rock and jazz to reggae, country, folk, blues, punk, metal, disco, funk, bossa nova, bachata, Congolese rumba, and flamenco. It celebrates both peerless virtuosos such as Pat Metheny, Yvette Young, and Steve Vai, and raw, primal players like Johnny Ramone and Poison Ivy of the Cramps. It recognizes superstars like Prince, Joni Mitchell, and Neil Young alongside the often-unsung heroes like Memphis soul maestro Teenie Hodges and smooth-rock architect Larry Carlton. Acknowledging the power of collaboration, the list also includes dynamic duos like Kim and Kelley Deal of the Breeders and Adrian Smith and Dave Murray of Iron Maiden. The primary criterion for inclusion was being a six-string player, focusing on those who have channeled their unique gifts into creating impactful songs and albums, not just technical prowess.
As modern blues visionary Gary Clark Jr. aptly put it, the journey of a great guitarist is about exploration: “I don’t know if I want to get too far off the path — I don’t want to get lost in the forest — but I like to wander out a bit and adventure.” This spirit of adventure, innovation, and deeply personal expression is what truly defines the greatest guitar player ever. Let’s delve into some examples from this list to explore what makes these musicians stand out.
Andy Summers
Andy Summers of The Police performing live on stage playing Fender Telecaster guitar
Image Credit: Graham Wiltshire/Redferns/Getty Images
The Police emerged as a groundbreaking power trio, largely due to the distinctive approach of Andy Summers. Moving swiftly beyond punk’s limitations, Summers reimagined jazz chords and reggae rhythms within a rock & roll framework. His playing was characterized by its sparseness and precision, constructing concise, twitchy riffs or expansive, dub-infused washes of sound, ensuring ample sonic space for Sting’s vocals and Stewart Copeland’s drumming. Alex Lifeson of Rush noted, “His tone and style were just absolutely perfect — he left space around everything. And he can handle anything from beautiful acoustic playing to jazz to hybrid kinds of stuff.” Summers’ ability to blend genres and create a signature sound with economy and innovation places him among the most influential guitarists.
Key Tracks: “Message in a Bottle,” “Every Breath You Take”
Brittany Howard
Brittany Howard, powerhouse vocalist and guitarist, posing for Rolling Stone
Image Credit: Sacha Lecca for Rolling Stone
From her beginnings with the garage-roots band Alabama Shakes, Brittany Howard’s guitar playing has always been an organically rich and adaptable extension of her commanding vocals and soulful songwriting. Her rhythmic sensibility is remarkably elastic, evident in the dynamic interplay between her assertive, jagged guitar lines and Alabama Shakes’ lead guitarist Heath Fogg on tracks like “Don’t Wanna Fight” (2015). Howard has ventured into straight-ahead rock & roll with her side project Thunderbitch, but her 2019 solo album, Jaime, served as a powerful showcase for her expansive musicality. From the funky, James Brown-esque rhythms of “History Repeats” to the molten, fuzz-laden soundscapes of “Presence,” Howard demonstrates a range and depth that cements her status as a significant contemporary guitarist.
Key Tracks: “History Repeats,” “Presence”
Robby Krieger
Robby Krieger of The Doors performing at the Ondine Club in New York City in 1966
Image Credit: Don Paulsen/Michael Ochs Archives/Getty Images
Rooted in flamenco and jazz traditions, Robby Krieger transcended rock conventions at a time when many guitarists remained tethered to the blues. In The Doors, Krieger possessed the improvisational freedom to follow Jim Morrison’s unpredictable artistic explorations. He also penned some of their most iconic hits, including “Light My Fire,” and effectively filled the sonic space within their unique keyboard-drums-guitar lineup. Krieger explained, “Not having a bass player … made me play more bass notes to fill out the bottom. Not having a rhythm player also made me play differently, to fill out the sound. I always felt like three players simultaneously.” His ability to adapt, innovate, and contribute to the signature sound of The Doors highlights his place amongst guitar innovators.
Key Tracks: “Riders on the Storm,” “Roadhouse Blues”
Ricky Wilson
Ricky Wilson of The B-52s performing live in Athens, Georgia in 1978
Image Credit: Tom Hill/WireImage
During B-52s live performances, Ricky Wilson often appeared to be a quiet presence amidst the exuberant energy of lead singer Fred Schneider and the flamboyant stage personas of Kate Pierson and Cindy Wilson. However, his distinctive blend of downhome chicken scratch, angular post-punk, rockabilly, and surf rock, evident in classics like “52 Girls,” “Strobe Light,” and “Private Idaho,” established him as one of the most inventive guitarists of the New Wave era. Wilson frequently used only four or five strings on his blue Mosrite guitar and employed unconventional tunings to achieve his strange, spartan sound. “I just tune the strings till I hear something I like,” he famously stated. His untimely death in 1985 marked the loss of an unassuming radical figure in the indie-rock scene, whose unique approach to the guitar continues to inspire.
Key Tracks: “52 Girls,” “Mesopotamia”
Paul Simon
Paul Simon playing acoustic guitar onstage in Chicago in 1980
Image Credit: Paul Natkin/Getty Images
Paul Simon, renowned for his lyrical mastery, communicates just as eloquently through his guitar. Influenced by early doo-wop and rock & roll, Simon became immersed in the folk revival of the mid-Sixties, even traveling to England to study acoustic guitar techniques with Bert Jansch. He has consistently absorbed new musical influences throughout his career, as exemplified by “Dazzling Blue” from his album So Beautiful or So What. He notes, “All that folk fingerpicking is what I did with Simon and Garfunkel, but [here] it’s on top of this rhythm with Indian musicians playing in 12/8.” Even in his eighties, Simon’s guitar skills remain remarkably nimble, as showcased on his 2023 album Seven Psalms. His continuous evolution and integration of diverse musical styles into his guitar playing solidify his place as a significant and enduring artist.
Key Tracks: “Dazzling Blue,” “Kathy’s Song”
Leslie West
Leslie West of Mountain performing live in the UK
Image Credit: Erica Echenberg/Redferns/Getty Images
Leslie West (born Leslie Weinstein) first gained recognition in mid-Sixties garage rock with the Vagrants’ powerful rendition of Otis Redding’s “Respect.” By 1969, West became the driving force in the Cream-inspired quartet Mountain. In iconic tracks like the 1970 hit “Mississippi Queen,” West delivered raw, blues-infused guitar lines with surprising dexterity and an R&B sensibility, all amplified through a wall of saturated, overdriven distortion. Dave Davies remarked, “The riffs were incredible. He could play flashy, intricate phrases. But he wasn’t a look-at-me guy. He played with feel.” West’s blend of raw power, blues tradition, and soulful phrasing made him a foundational figure in hard rock guitar.
Key Tracks: “Mississippi Queen,” “Nantucket Sleighride (To Owen Coffin)”
Edilio Paredes
Edilio Paredes, master of bachata guitar
Edilio Paredes is the architect of the sonic identity of bachata music. Before pop stars like Rosalía and the Weeknd brought bachata into the global mainstream, it was a genre largely confined to the Dominican Republic. Paredes is the musician who gave la música del amargue its signature sound – the poignant, spiraling guitar lines that weave through the bittersweet narratives of lost love. A self-taught prodigy, he played a crucial role in transitioning bolero campesino into the contemporary bachata that gained international recognition as a transcendent Afro-Caribbean genre in the 1990s. Paredes’ extensive discography as a session musician from the 1960s to the 1980s speaks volumes, and his appearance on the 2011 album The Bachata Legends further solidified his legacy as el maestro of bachata guitar.
Key Tracks: “No Me Olvides,” “Bendita Nena”
Aaron Dessner and Bryce Dessner
Aaron and Bryce Dessner of The National performing at Panorama NYC in 2016
Image Credit: Kris Connor/FilmMagic
The National’s unique rock narrative is centered around the virtuosic twin-guitar dynamic of twin brothers Aaron and Bryce Dessner. Bryce Dessner’s collaborations extend to luminaries like Steve Reich, Ryuichi Sakamoto, Jonny Greenwood, and Kronos Quartet, showcasing his diverse musical reach. Aaron Dessner has become Taylor Swift’s key collaborator on Folklore and Evermore, adding a Jerry Garcia-esque twang to tracks like “Cowboy Like Me” and unleashing a powerful performance on “August” in The Long Pond Studio Sessions. Together, the Dessner brothers seamlessly transition between electric intensity, as heard in “Terrible Love,” and intimate folk beauty in “I Need My Girl.” They also curated the acclaimed 2016 Grateful Dead tribute Day of the Dead, jamming with Bob Weir on “I Know You Rider.” Their symbiotic musical partnership and individual achievements mark them as significant guitar forces.
Key Tracks: “Mr. November,” “Bloodbuzz Ohio,” “The System Only Dreams in Total Darkness”
Lindsey Jordan
Lindsey Jordan of Snail Mail performing at Governors Ball 2023
Image Credit: Griffin Lotz for Rolling Stone
Gen Z guitar hero Lindsey Jordan, known for her project Snail Mail, was mentored by another guitarist on this list, Mary Timony of Helium and Wild Flag. When Jordan debuted as Snail Mail at just 18 with 2018’s Lush, she appeared fully formed, deeply immersed in the indie-rock tradition. She is both a casual virtuoso and a serious shredder, effortlessly shifting from strummed tension-building passages to soaring, explosive solos, and from coolly understated Liz Phair-esque lo-fi sounds to Sonic Youth-inspired sonic expansiveness. “I like to play really balls out,” she told Rolling Stone in 2018. “That’s what it means to be onstage with integrity.” Jordan’s early arrival as a fully realized and versatile guitarist positions her as a leading voice for a new generation.
Key Tracks: “Heat Wave,” “Pristine”
Keith Urban
Keith Urban performing at The Bottom Line in New York City in 2001
Image Credit: Frank Micelotta/Getty Images
While not necessarily country music’s most technically virtuosic or traditionally rooted player, Keith Urban distinguishes himself among Nashville’s guitar elite with his effortless and song-serving style. His riffs, rhythms, and solos emerge seemingly organically, yet consistently elevate the overall song. His playing avoids overt flashiness; every note feels purposeful and integrated. Studio recordings and live performances alike highlight Urban’s guitar prowess. He truly excels onstage, delivering guitar heroics that rival the rock pantheon’s best. It’s no surprise he has jammed with artists ranging from the Rolling Stones to Nile Rodgers. “I love that people want to hear the guitar,” Urban told Rolling Stone in 2015, “but I just think about the song … whatever the song seems to want.” His dedication to the song and his ability to seamlessly blend virtuosity with musicality define his greatness.
Key Tracks: “Highway Don’t Care,” “Blue Ain’t Your Color”
Erin Smith
Erin Smith of Bratmobile performing, photo credit Greg Neate
Image Credit: © Greg Neate/neatephotos.com/flickr CC BY 2.0
Erin Smith, guitarist for riot grrrl pioneers Bratmobile, was inspired to pick up the instrument after hearing Beat Happening, a deliberately primitive band with a female drummer. “That was in ’87, and not only did I see women could play music, but I could see that just you could do it yourself,” she told the Museum of Pop Culture. “I could never be [Duran Duran’s] Andy Taylor. And I realized that was OK.” The style she developed with singer Allison Wolfe and drummer Molly Neuman combined melodic surf-rock bass lines with sharp garage-rock chords, contributing to Bratmobile’s 1993 debut, Pottymouth, becoming a landmark punk record of the 1990s. Smith’s DIY ethos and impactful guitar style within the riot grrrl movement mark her as a significant figure in guitar history.
Key Tracks: “Love Thing,” “P.R.D.C.T.”
Duane Eddy
Duane Eddy posing for a portrait in New York in 1958
Image Credit: PoPsie Randolph/Michael Ochs Archives/Getty Images
If there was any remaining doubt in the late 1950s that the guitar had become rock & roll’s defining lead instrument, Duane Eddy definitively settled the argument. His 1958 single “Rebel Rouser,” characterized by its country twang and rippling tremolo, became an instant classic. “Chet Atkins used vibrato in a selective way — Duane Eddy used it to thrash the music,” noted Dave Davies of the Kinks. Eddy’s hits, such as “Forty Miles of Bad Road” and “Peter Gunn,” profoundly influenced surf music and guitarists like Jeff Beck and George Harrison. His pioneering use of tremolo and his instrumental hits cemented his place as a foundational figure in rock guitar.
Key Tracks: “Rebel Rouser,” “Peter Gunn”
Doug Gillard
Doug Gillard of Guided By Voices performing in Chicago in 2004
Image Credit: Matt Carmichael/Getty Images
Within the Ohio indie-rock institution Guided By Voices, Robert Pollard serves as the band’s eccentric genius, while Doug Gillard functions as its rhythmic and melodic heart. He perfectly complements Pollard’s unconventional wordplay and experimental song structures, transforming them into cohesive rock & roll, often at the prolific pace of two or three GBV albums annually. “I know his usual shapes and drones — or can pretty much decipher what they are if it’s a new shape — and replicate them on the rhythm parts on the records for the most part,” Gillard once stated. “But also, I have some freedom to transform them.” His ability to interpret, enhance, and expand Pollard’s musical ideas makes him an essential and often-underappreciated guitarist in indie rock.
Key Tracks: “I Am a Tree,” “Mr. Child”
Jennifer Batten
Image Credit: Catherine McGann/Getty Images
Jennifer Batten rose to prominence as the visually striking and musically dynamic guitarist on Michael Jackson’s monumental tours. This role demanded versatility, requiring her to play funk, soul, metal, and Eddie Van Halen’s “Beat It” solo nightly. Her debut solo album, 1992’s Above Below and Beyond, showcased her wide-ranging abilities, featuring electric guitar renditions of Rimsky-Korsakov’s “Flight of the Bumble Bee,” Jackson’s “Wanna Be Startin’ Somethin’,” and John Coltrane’s “Giant Steps,” all infused with her signature whammy bar techniques and finger-tapping. Batten later joined Jeff Beck’s band, proving herself as a peer and contributing to some of his most adventurous albums around the turn of the millennium. Her technical mastery, genre versatility, and stage presence have made her a respected and admired guitarist.
Key Tracks: “Flight of the Bumblebee,” “Giant Steps (Rock Version)”
Greg Sage
Greg Sage of The Wipers performing live in Amsterdam in 1986
Image Credit: Frans Schellekens/Redferns/Getty Images
Greg Sage formed his Portland, Oregon, band the Wipers in 1977, defying punk conventions before they were even firmly established with his complex, expansive songwriting and raw, distorted guitar sound. In an era where simplicity was often valued, Wipers songs like “When It’s Over” and “Romeo” created immersive sonic landscapes. This approach galvanized the Pacific Northwestern indie-rock scene. “We learned everything from the Wipers,” Kurt Cobain stated, proudly citing them as his favorite band. “They were playing a mix of punk and hard rock when nobody cared.” Sage’s pioneering sound and influence on the development of indie rock, particularly in the Pacific Northwest, establish his importance in guitar history.
Key Tracks: “When It’s Over,” “Up Front”
Laura Marling
Image Credit: Chiaki Nozu/WireImage
British singer-songwriter and multi-instrumentalist Laura Marling embodies a more subtle form of virtuosity. She utilizes complex tunings and voicings in her music, creating a sound that often feels deceptively simple. “I Was an Eagle,” from her 2013 LP One I Was an Eagle, achieves its dreamy and atmospheric quality through DADDAD tuning, with the influence of Joni Mitchell evident in her unusual phrasing and atonal flourishes. During the Covid-19 lockdown, Marling shared her guitar expertise with fans, offering concise and informative tutorials on Instagram, further demonstrating her deep understanding and passion for the instrument. Her nuanced approach and sophisticated guitar work mark her as a significant contemporary acoustic guitarist.
Key Tracks: “I Was an Eagle,” “Wild Fire,” “Ghosts”
John McGeoch
John McGeoch of Siouxsie and The Banshees performing at Palladium in New York City in 1980
Image Credit: Ebet Roberts/Redferns/Getty Images
John McGeoch, from Manchester, England, made a striking entrance with the powerful guitar work on Magazine’s 1978 debut single, “Shot by Both Sides,” a quintessential UK punk anthem. He quickly developed his own expansive and architectural guitar style, further refined in his work with Magazine, Public Image Ltd, and Siouxsie and the Banshees. McGeoch earned high praise from guitarists like Johnny Marr and Radiohead’s Ed O’Brien. His blend of sharp rhythm guitar, swirling flange effects, and arpeggiated patterns defined the sound of the Banshees’ 1981 album, Juju, considered a landmark goth-guitar album, introducing a new atmospheric language to UK rock where mood and texture took precedence over raw angst. His innovative and influential guitar style solidified his place as a guitar icon.
Key Tracks: “Philadelphia,” “Spellbound”
H.E.R.
H.E.R. performing at Spotify event in Cannes, France
Image Credit: David M. Benett/Getty Images
H.E.R. often operates with a level of understatement that makes each major public performance, like at the Grammys or Super Bowl, a moment of revelation for many. While her vocal style is rooted in classic R&B, her guitar playing spans a wide spectrum, from delicate and fluid accents to Prince-esque rock shredding. Her single “Hold On” features her doubling her own vocal melodies with soaring guitar leads, a signature element of her style. “I also like to play my guitar like I’m singing,” she told Guitar World. “Sometimes, I like to sing and play my solos at the same time … even harmonizing my voice with my guitar.” In 2021, Fender honored H.E.R. with a signature Stratocaster model, making her the first Black woman to receive this recognition. Her blend of R&B roots with guitar virtuosity marks her as a unique and important contemporary guitarist.
Key Tracks: “Hold On,” “Comfortable”
David Williams
David Williams guitarist for The Jacksons, Michael Jackson, Tito Jackson, and Marlon Jackson performing in 1984
Image Credit: Michael Ochs Archive/Getty Images
Despite his early love for jazz, David Williams made his most significant impact in a genre not typically known for instrumental showcases: 1980s pop. His intentionally sparse guitar touches are crucial to the rhythmic allure of Michael Jackson’s “Billie Jean,” Stevie Nicks’ “Stand Back,” and Diana Ross’ “Muscles.” The Vietnam veteran, who also toured with Jackson and Madonna and worked with a diverse array of artists from Chaka Khan to Kenny Loggins, once described the “secret spice” he added to Top 40 hits: “You don’t need much of it, but the right amount gets the job done.” Williams’ understated yet essential guitar work on some of the biggest pop hits of the 80s underscores his significant contribution to popular music.
Key Tracks: “Billie Jean,” “Dirty Diana”
Etta Baker
Etta Baker playing Piedmont blues guitar
Image Credit: Timothy Duffy
Etta Baker’s name is synonymous with Piedmont blues, a rolling, ragtime and folk-influenced style originating along the East Coast in the early 20th century. Born into a multi-racial family in North Carolina in 1913 and raised in Virginia, Baker learned guitar from her father and often played at dances with her family in her youth. Her instrumental compositions like “One Dime Blues,” which appeared on a 1956 anthology, were profoundly influential. Listeners included Bob Dylan and Taj Mahal, the latter of whom would record an album with Baker before her death in 2006. Baker’s contribution to preserving and popularizing Piedmont blues secures her legacy as a vital figure in American guitar history.
Key Tracks: “One Dime Blues,” “Carolina Breakdown”
Gustavo Cerati
Gustavo Cerati performing onstage in Chicago in 2003
Image Credit: Paul Natkin/Getty Images
Gustavo Cerati’s extraordinary guitar playing is sometimes overshadowed by his role in transforming the sound of Latin rock and the majesty of his songwriting. In the mid-1980s, the Argentine singer-songwriter spearheaded a pan-American rock en español boom with his band Soda Stereo and anthemic hits like “De Música Ligera.” After Soda Stereo disbanded, Cerati explored electronic music, but he returned to guitar-god mode with his 2006 album Ahí Vamos, a powerful collection of songs steeped in raw electric riffs. Cerati’s premature passing after falling into a coma at age 50 was a significant loss, but his image of passionately playing guitar solos onstage remains an enduring symbol in Latin music culture. His impact on Latin rock and his guitar artistry position him as a pivotal figure.
Key Tracks: “Canción Animal,” “La Excepción”
Barbara Lynn
Barbara Lynn rhythm and blues singer and guitarist portrait circa 1964
Image Credit: Michael Ochs Archives/Getty Images
At sixteen, Barbara Lynn delivered a powerful message to her boyfriend with her song, “You’ll Lose a Good Thing.” The Beaufort, Texas, native set her words to music, teaching herself to play a right-handed guitar left-handed. The song became an R&B Number One hit in 1962, launching an acclaimed career spanning over 60 years. Lynn’s mostly self-penned songs have been covered by artists like the Rolling Stones, Aretha Franklin, Otis Redding, and Robert Plant, and sampled by the Beastie Boys and Moby, demonstrating the universal appeal and creative power of her songwriting and guitar playing. Her enduring impact and influence on diverse artists highlight her significance as a guitarist and songwriter.
Key Tracks: “You’ll Lose a Good Thing,” “I’ll Suffer”
Steve Jones
Steve Jones of Sex Pistols performing live at Dunstable
Image Credit: Chris Morphet/Redferns/Getty Images
When Sex Pistols manager Malcolm McLaren gifted Steve Jones a white Les Paul Custom, previously owned by Syl Sylvain of the New York Dolls, it became Jones’ weapon of choice. Jones’ raw power chords and flamboyant, gutter-glam solos perfectly mirrored Johnny Rotten’s confrontational lyrics and set a standard for punk rock guitarists who followed. His legacy is built on the indelible riffs from the 1977 album Never Mind the Bollocks…, which inspired guitarists from Slash to Billie Joe Armstrong. It was an attitude as much as a sound. As Jones famously told a journalist, “Actually, we’re not into music. We’re into chaos.” Jones’ impact on punk guitar and his embodiment of punk attitude solidify his place as a guitar icon.
Key Tracks: “God Save the Queen,” “Pretty Vacant”
Glenn Branca
Glenn Branca experimental composer and guitarist
Image Credit: Hallwalls Archive/CC BY 3.0
A central figure in New York’s post-punk No Wave movement, Glenn Branca dedicated himself to establishing the guitar as a symphonic instrument. He often used his trademark “harmonic series” tuning and modified guitars to create varied registers and tonalities, composing for ensembles that sometimes included up to 100 guitarists. His droning, monumental Symphony No. 1, recorded in 1981, featured Thurston Moore and Lee Ranaldo of Sonic Youth in the orchestra. Branca also released Sonic Youth’s first album on his Neutral label, demonstrating his talent for recognizing other musical revolutionaries. “I’ve got so many ideas about music that I haven’t even begun to work on,” he said in 2016. “If I lived to 200, I wouldn’t finish my work.” Branca’s experimental approach and expansion of guitar’s sonic possibilities mark him as a visionary composer and guitarist.
Key Tracks: “Light Field (In Consonance),” “Velvets and Pearls”
El Kempner
El Kempner of Palehound performing at Boston Calling Music Festival 2016
Image Credit: Craig F. Walker/The Boston Globe/Getty Images
Long before launching Palehound, an indie-powerhouse project, El Kempner began playing guitar at age seven, strumming their dad’s guitar with a marker cap. Guitar has been a guiding force for the Boston-based musician ever since. Electrifying riffs elevated by Kempner’s musical dexterity drive dynamic tracks like “The Clutch” from their recent album, Eye on the Bat. Kempner’s versatility is a key strength. They are equally adept at rocking out on their Stratocaster, performing delicate acoustic fingerpicking, or creating swirling arpeggios. Their refined skills and versatility position them as a notable contemporary guitarist.
Key Tracks: “The Clutch,” “Independence Day”
Fred ‘Sonic’ Smith and Wayne Kramer
Wayne Kramer and Fred "Sonic" Smith of MC5 performing in Mount Clemens, MI in 1969
Image Credit: Leni Sinclair/Michael Ochs Archive/Getty Images
Forged in Detroit in the 1960s, the MC5’s guitar duo of Wayne Kramer and Fred “Sonic” Smith functioned as a powerful, synchronized engine. Combining Chuck Berry and early Motown influences with an emerging interest in free jazz, they could propel the band’s legendary high-energy jams into uncharted sonic territory while maintaining a strong rhythmic foundation. “If you play with another guitar player long enough, you exhaust everything you know, and then you start playing what you don’t know, and you get into something good,” Kramer told Premier Guitar in 2018. “We just found that we could play syncopated rhythm parts simultaneously, and they would lock in perfectly, or we could solo simultaneously and they’d still lock in.” Their dynamic and innovative guitar partnership was crucial to the MC5’s groundbreaking sound.
Key Tracks: “Looking at You,” “Poison”
Marv Tarplin
Smokey Robinson and The Miracles with Marv Tarplin in Detroit circa 1962
Image Credit: Michael Ochs Archives/Getty Images
Marv Tarplin’s guitar playing and songwriting became essential to the success of Smokey Robinson and the Miracles after Robinson personally selected him as the group’s guitarist in the 1960s. Tarplin’s versatility suited Motown’s diverse musical demands, from the driving chords of “Going to a Go-Go” to the delicate 12-string acoustic on “You Really Got a Hold on Me.” His experimentation with the chords of Harry Belafonte’s “Day-O (The Banana Boat Song)” led to the creation of the Miracles’ hit “The Tracks of My Tears.” He continued collaborating with Robinson after the Miracles split; his delicate guitar work on Robinson’s 1979 solo single “Cruisin’” gave the track a timeless quality that propelled it to the top of the charts. Tarplin’s contribution to the sound of Smokey Robinson and the Miracles cemented his legacy as a key Motown guitarist and songwriter.
Key Tracks: “The Tracks of My Tears,” “Cruisin’”
Joseph Spence
Joseph Spence Bahamian guitarist and vocalist
Image Credit: Guy Droussart
In 1958, musicologists Sam Charters and Ann Danberg Charters encountered Joseph Spence in the Bahamas, initially mistaking his rich sound for that of two guitarists. “He often seemed to be improvising in the bass, the middle strings, and the treble at the same time,” Sam noted in the liner notes to Joseph Spence: The Complete Folkways Recordings 1958. Spence’s pointillistic, sharply angled fingerpicking, applied to a wide range of music from blues to spirituals to calypso, had a significant impact on the folk movement and beyond. The Grateful Dead transformed Spence’s “We Bid You Goodnight” into a live staple, and the Beach Boys’ Pet Sounds classic “Sloop John B” is indebted to Spence’s rendition of the song. Spence’s unique fingerpicking style and broad musical influence mark him as a highly influential guitarist.
Key Tracks: “Brownskin Girl,” “Jump in the Line”
Molly Tuttle
Molly Tuttle performing at The Roxy Theatre in West Hollywood in 2014
Image Credit: Scott Dudelson/Getty Images
Even before achieving widespread awards recognition, California-raised, Nashville-based bluegrass innovator Molly Tuttle and her band Golden Highway were making their mark on roots music. Her acoustic flatpicking, influenced by figures from Tony Rice to Joni Mitchell to Clarence White, is rooted in tradition yet pushes beyond its boundaries. Earlier this year, she became the first bluegrass act to receive a Best New Artist Grammy nomination, signaling the genre’s ongoing evolution, in which Tuttle plays a significant part. “Our generation of bluegrass players are really pushing in some new directions,” Tuttle told Rolling Stone in January. “I feel lucky to be part of this scene that’s breaking down barriers.” Tuttle’s innovative approach and boundary-pushing within bluegrass position her as a leading figure in contemporary acoustic guitar.
Key Tracks: ‘Take the Journey,” “El Dorado”
James Blood Ulmer
James Blood Ulmer portrait, image credit Peter Noble
Image Credit: Peter Noble/Redferns/Getty Images
James Blood Ulmer’s guitar style is a unique fusion of soul jazz, free jazz, blues, and funk. Initially playing soul jazz, then collaborating with free jazz icon Ornette Coleman, Ulmer forged a distinctive style characterized by glistening sheets of sound, skronky riffs, and jittery solos. Albums like Tales of Captain Black and Odyssey showcased his stinging tone and proved highly influential in the 1970s and 80s New York experimental music scene, impacting artists from Vernon Reid to no-wave bands like DNA and Mars. As Reid noted, “James Blood Ulmer is fully aware, theoretically and idiomatically — he’s just never been constrained by those concerns. He is a rock. He is unapologetically himself. He is the blues. Itself. Not its rules.” Ulmer’s genre-bending approach and distinctive guitar voice mark him as a highly original and influential guitarist.
Key Tracks: “Theme from Captain Black,” “Timeless”
Courtney Barnett
Courtney Barnett guitar portrait
Image Credit: Griffin Lotz for Rolling Stone
Indie-rock singer-songwriter Courtney Barnett’s ability to seamlessly transition between intricate, melodic fingerpicking and energetic, garage-rock-inspired solos amplifies her witty and insightful storytelling. “It sounds like you’re driving across a highway and it’s sunny,” Barnett said about her song “Write a List of Things to Look Forward To.” This description aptly captures the way Barnett’s guitar playing complements her lilting, liberating songwriting. On Lotta Sea Lice, her collaborative album with Kurt Vile, the guitar chemistry between the two musicians is captivating, with their guitars and vocals intertwining organically. Barnett’s dynamic guitar style and songwriting prowess solidify her place as a prominent contemporary indie-rock artist.
Key Tracks: “Turning Green,” “Over Everything,” “Pedestrian at Best”
Glenn Tipton and K.K. Downing
K.K. Downing and Glenn Tipton of Judas Priest performing in London circa 1978
Image Credit: Gus Stewart/Redferns/Getty Images
After witnessing the impact of single-guitarist bands like Black Sabbath, Led Zeppelin, and Deep Purple, Judas Priest redefined “heavy” in the mid-1970s with two guitarists: K.K. Downing and Glenn Tipton. Instead of dividing into rhythm and lead roles, Tipton and Downing doubled riffs, traded solos, and incorporated harmony leads into the band’s high-octane songs. Their collaborative approach became a template for Iron Maiden, Metallica, Slayer, and countless subsequent two-guitar bands. As Slayer’s Kerry King has noted, “You can almost always tell that if it’s Tipton, it’s super-fucking tasty. If it’s K.K., it’s a more edgy, almost punky kind of vibe, which is a great mix.” Their groundbreaking dual-guitar approach significantly shaped the sound of heavy metal.
Key Tracks: “Victim of Changes,” “Breaking the Law,” “The Hellion/Electric Eye”
Lzzy Hale
Lzzy Hale of Halestorm performing live in Wheatland, CA
Image Credit: Tim Mosenfelder/Getty Images
Lzzy Hale’s powerful voice alone establishes her as a hard rock icon. However, she is also a formidable guitarist, employing an aggressively rhythmic style that complements Halestorm’s lead guitarist Joe Hottinger. Hale is also a skilled shredder, as evident in her guitar-based mimicry of the vocal melody in “I Miss the Misery.” Her influence on 21st-century guitar rock is so significant that Gibson chose her as its first female brand ambassador, even designing a Hale signature Explorer model. “The people at Gibson keep telling me the demographic that buys the most electric guitars right now are female,” Hale told Rolling Stone. “The wave is coming whether anybody likes it or not.” Hale’s multifaceted talent and pioneering role as a female guitar icon make her a significant figure in contemporary rock.
Key Tracks: “I Miss the Misery,” “The Steeple”
Thomas McClary
Thomas McClary of Commodores in 1978 with Lionel Ritchie
Image Credit: Alamy
As one of the first Black students to integrate Florida public schools, Thomas McClary was accustomed to forging his own path. At Tuskegee Institute in Alabama, he co-founded the Commodores with Lionel Richie. The group blended funk, soul, gospel, and country, appealing to both Black and white audiences. McClary’s mix of glam showmanship and bluesy grit on songs like “Easy” helped define the sound of 1980s crossover music. “I would listen to Santana, Jimi Hendrix, Albert King, James Taylor, and Crosby, Stills, Nash, and Young,” he recalled. “I thought it would be really great to mesh those guys together to have a really raunchy, raw, authentic sound that could be appealing to everybody.” McClary’s genre-blending approach and contribution to the Commodores’ sound highlight his role in shaping popular music.
Key Tracks: “Easy,” “Brick House”
Steve Hackett
Image Credit: Richard E. Aaron/Redferns/Getty Images
Genesis was a relatively unknown art-rock band before Steve Hackett joined in 1971, replacing Anthony Phillips. Hackett made an immediate impact by introducing his two-hand tapping technique, featured on 1971’s Nursery Crime, predating Eddie Van Halen’s popularization of the technique. He delivered an epic, soaring guitar solo on their masterpiece “Firth of Fifth,” a highlight of progressive rock. He left Genesis in 1977 to pursue a solo career. “I’m very happy to have freed up guitarists to play dazzling solos,” Hackett said, “and come up with things that would only be dreamt up at one time.” Hackett’s innovative techniques and significant contributions to Genesis and progressive rock position him as a highly influential guitarist.
Key Tracks: “Horizons,” “Firth of Fifth”
Kurt Vile
Kurt Vile holding a Fender Jaguar guitar in Amsterdam in 2015
Image Credit: Paul Bergen/Redferns/Getty Images
Kurt Vile projects a laid-back persona, but he is a dedicated and skilled guitarist. His style, blending relaxed drones and intricate yet melodic solos, is partly rooted in his early experience with the banjo. “Banjos are in an open tuning, and they’ve got that high drone string,” Vile told guitar.com in 2018. “It’s not like you’d even think about that when you’re playing as a kid, but I came to really like that ethereal drone.” Throughout his career, he has incorporated diverse musical influences, synthesizing them into his signature, subtly virtuosic style. Vile’s unique approach to guitar and his blend of influences make him a distinctive and respected contemporary artist.
Key Tracks: “Pretty Pimpin,” “Wakin on a Pretty Day”
Keiji Haino
Keiji Haino Japanese musician portrait
Image Credit: Alamy
Japanese musician Keiji Haino’s free-form solo performances are intense, cathartic explorations, blurring the line between playing and sonic exorcism. In ensemble settings like Aihiyo, his playing can be both beautifully ragged and deeply emotive. He shifts between soothing chords and ear-splitting bursts of noise. “People practice really hard because they want people to check them out,” he told Vice Japan. “And then they say it’s improvisation. That drives me nuts.” Haino’s uncompromising approach and extreme dynamic range make him a unique and challenging guitarist.
Key Tracks: “A Shredded Coiled Cable Within This Cable Sincerity Could Not be Contained,” “Why in the Courtesy of the Prey Always Confused With the Courtesy of the Hunters Pt. 1”
Lucy Dacus
Lucy Dacus guitar portrait
Image Credit: Griffin Lotz for Rolling Stone
For Lucy Dacus, the guitar is as integral to her music as her voice, even if her playing is often less discussed than her lyrical insights. From her driving rhythm guitar on “I Don’t Wanna Be Funny Anymore” to her contributions to the supergroup boygenius, Dacus’ arrangements are understated yet crucial. Live performances of “Night Shift” begin with Dacus alone on guitar, building intensity as the song progresses. Her longtime lead guitarist Jacob Blizard adds distorted textures, but Dacus remains locked in, providing a solid foundation. By the song’s cathartic climax, Dacus’ guitar work is as essential to the emotional impact as her vocals. Her understated yet powerful guitar playing is a key element of her artistic expression.
Key Tracks: “Night Shift,” “I Don’t Wanna Be Funny Anymore”
José Feliciano
José Feliciano performing at the Royal Albert Hall in London in 1973
Image Credit: Evening Standard/Hulton Archive/Getty Images
Thinking of José Feliciano solely for “Feliz Navidad” overlooks his profound guitar virtuosity. Born blind, Feliciano became an acoustic guitar prodigy in his teens. His playing, both lyrical and fiery, is deeply influenced by boleros and folk songs of his Puerto Rican heritage. His diverse style, encompassing rock, jazz, soul, and bossa nova, reshaped mainstream pop rock in the 1960s. Feliciano’s radical 1968 reimagining of the Mamas and the Papas’ “California Dreamin’” incorporated Spanish vocals and salsa influences, while his guitar pyrotechnics on “Light My Fire” took the Doors classic into a darker, cinematic realm. Feliciano’s genre-bending approach and virtuosity cemented his status as a guitar innovator.
Key Tracks: “Light My Fire,” “Here, There and Everywhere”
Nick Zinner
Nick Zinner guitarist of Yeah Yeah Yeahs portrait
Image Credit: Sacha Lecca for Rolling Stone
When New York City’s Yeah Yeah Yeahs formed in 2000, their aim was to create something “trashy, punky, grimy.” Nick Zinner’s guitar style embodies this and more, fusing dance-punk influences from ESG, the showmanship of Van Halen, the intensity of Rowland S. Howard, and the melodic sensibilities of Johnny Marr into his signature catchy, shimmering riffs. Zinner’s guitar work is often minimalist but carries immense emotional depth, from the longing in “Maps” to the monstrous tension in “Heads Will Roll.” His distinctive style is central to the Yeah Yeah Yeahs’ unique sound and impact.
Key Tracks: “Y Control,” “Maps,” “Gold Lion”
Kaki King
Kaki King acoustic guitar innovator portrait
Image Credit: Jeffrey Mayer/WireImage
Kaki King is a tireless sonic explorer, taking a Preston Reed-meets-John Cage approach to the acoustic guitar. She experiments with alternate tunings, “treated” instruments, and electronic loops while utilizing fingerstyle techniques, two-handed tapping, and percussive slapping. “I’ll think, ‘Let’s see what happens if I lower this string here and raise that one there,’” she told Premier Guitar in 2011. “When you tune your guitar differently, all of a sudden your fingers and your mind have to be creative again because you’re not relying on shapes and places that sound good or feel familiar. You have to explore the fretboard to find new fingerings and sounds, and that leads to new discoveries.” King’s experimental approach and innovative techniques make her a leading figure in contemporary acoustic guitar.
Key Tracks: “Playing With Pink Noise,” “Skimming the Fractured Surface to a Place of Endless Light”
Gary Clark Jr.
Gary Clark Jr. blues guitarist portrait in London in 2012
Image Credit: Rob Monk/Guitarist Magazine/Future/Getty Images
Initially categorized as a successor to Jimi Hendrix and Stevie Ray Vaughn, Grammy-winning blues-rock guitarist Gary Clark Jr. has consistently demonstrated a much broader musical range. His fiery playing incorporates elements of soul, funk, grunge, and hip-hop, and he has collaborated with diverse artists like Foo Fighters, Alicia Keys, Tech N9ne, and Bun B. “I don’t think that I’m reaching my full potential if I just do what people expect of me,” he told Rolling Stone in 2014. “I love to play, and I love to experiment, and there are a lot more roads to explore. I don’t know if I want to get too far off the path — I don’t want to get lost in the forest — but I like to wander out a bit and adventure.” Clark Jr.’s genre-bending approach and continuous exploration solidify his position as a significant and evolving guitarist.
Key Tracks: “This Land,” “Grinder”
Amadou Bagayoko
Amadou Bagayoko of Amadou & Mariam performing in London in 2012
Image Credit: C Brandon/Redferns/Getty Images
Malian guitarist Amadou Bagayoko and his wife Mariam Doumbia, known as Amadou & Mariam, met at an institute for the blind in 1977. Their brightly melodic duets, driven by Amadou’s upbeat and sometimes edgy guitar leads, gained international recognition, crossing over to rock festival circuits. “People are often surprised when we explain how much we were influenced by Western pop music,” Amadou Bagayoko once said. “I grew up listening to records by Rod Stewart, Led Zeppelin, James Brown, Crosby, Stills, and Nash, Eric Clapton, Jeff Beck, Pink Floyd, Stevie Wonder … That’s because they were the only records we had in Mali!” Amadou’s blend of Malian musical traditions with Western rock and pop influences creates a unique and globally appealing guitar style.
Key Tracks: “Djanfa,” “Ce N’est Pas Bon”
Justin Broadrick
Justin Broadrick of Godflesh on stage in New York
Image Credit: Karjean Levine/Getty Images
Justin Broadrick has created a distinct guitar vocabulary across industrial-metal pioneers Godflesh, grindcore innovators Napalm Death, and the psychedelic post-metal band Jesu. His crushing, elastic riffs and textural soundscapes in Godflesh brought a rare human element to the band’s mechanical rhythms. In Napalm Death, he helped pioneer the “grinding” sound of grindcore by pushing distortion to extreme levels, emphasizing sonic pulse over distinct notes on tracks like “Instinct of Survival.” In Jesu, he layered noise textures to create a beautiful, shadowy sonic world. Across his diverse projects, Broadrick’s guitar work is characterized by its unique and deeply expressive sonic character.
Key Tracks: “Like Rats,” “Silver,” “Scum”
Hugh McCracken
Hugh McCracken session guitarist portrait during a recording session for Aretha Franklin
Image Credit: David Gahr/Getty Images
East Coast guitarist Hugh McCracken was never a flashy soloist, but his tasteful guitar work graces countless classic recordings. His piercing lead guitar is featured on Steely Dan’s “Hey Nineteen,” his energetic opening lick on Van Morrison’s “Brown Eyed Girl,” and his smooth acoustic guitar on Roberta Flack’s “Killing Me Softly With His Song.” He also subtly enriched tracks like Paul Simon’s “50 Ways to Leave Your Lover,” Alicia Keys’ “If I Ain’t Got You,” and John Lennon and Yoko Ono’s “I’m Losing You.” McCracken was highly sought after for studio work, even declining Paul McCartney’s offer to join Wings after playing on Ram. His understated yet essential guitar work on numerous iconic songs underscores his significant contribution as a session guitarist.
Key Tracks: “Hey Nineteen,” “Killing Me Softly With His Song”
Eric Johnson
Eric Johnson portrait in Pittsburgh, Pennsylvania in 1991
Image Credit: Paul Natkin/Getty Images
Austin-born Eric Johnson is a master technician, a guitarist highly admired by his peers. “Eric’s so good it’s ridiculous,” Steve Morse raved, while Stevie Ray Vaughan considered him “one of my favorite guitarists.” Billy Gibbons’ assessment was simply, “Damn, that guy can play!” A fusion stylist leaning more towards rock than jazz, Johnson was a rising star in the Austin scene in the mid-1970s, but faced career setbacks due to contractual issues. Though his 1990 instrumental album Ah Via Musicom eventually achieved platinum status, he is best known for guitar-centric collaborations like G3, with Joe Satriani and Steve Vai, and Eclectic, with Miles Davis guitarist Mike Stern. Johnson’s exceptional technical skills and guitar-focused work have earned him deep respect within the guitar community.
Key Tracks: “Cliffs of Dover,” “Benny Man’s Blues”
Lynn Taitt
Lynn Taitt Jamaican rocksteady guitar pioneer
Image Credit: Federal Records
Lynn Taitt, born in Trinidad, became a pivotal figure in Jamaica, essentially creating the guitar sound of rocksteady music. His playing on early rocksteady recordings like Hopeton Lewis’ “Take It Easy” and Derrick Morgan’s “Tougher Than Tough” established the genre’s guitar aesthetic. When Jamaican guitar icon Ernest Ranglin moved to England in 1964, Taitt became the island’s premier session guitarist. His work on Desmond Dekker’s “007 (Shanty Town)” is among the most recognizable guitar parts in Jamaican music history. Though his active period in Jamaica was relatively brief, ending when he moved to Canada in 1968, his influence was cemented when his student Hux Brown refined Taitt’s style to help create the sound of reggae guitar. Taitt’s foundational role in rocksteady and his influence on reggae guitar establish his lasting legacy.
Key Tracks: “007 (Shanty Town),” “Take It Easy”
Grant Green
Grant Green jazz guitarist performing at Keystone Korner in San Francisco in 1975
Image Credit: Janet Fries/Getty Images
Grant Green transitioned from hard bop to become a soul-jazz pioneer. A Charlie Parker enthusiast from St. Louis, he recorded his Blue Note debut in 1960 and embarked on a stellar five-year run, marked by the impeccably cool grooves of Idle Moments and The Complete Quartets With Sonny Clark. He explored Latin jazz on his 1964 album Matador, featuring Elvin Jones and McCoy Tyner. Green passed away in 1979 at only 43, but his influence continues, especially in hip-hop. His guitar work has been sampled in hip-hop classics from A Tribe Called Quest’s The Low End Theory to Kendrick Lamar’s Good Kid, m.A.A.d City. Green’s pioneering role in soul jazz and his enduring influence across genres solidify his importance as a guitarist.
Key Tracks: “Idle Moments,” “Jean De Fleur,” “On Green Dolphin Street”
Vince Gill
Vince Gill country music vocalist and guitarist portrait
Image Credit: Beth Gwinn/Redferns/Getty Images
Vince Gill is celebrated as one of country music’s greatest vocalists, but he is equally skilled with an electric guitar. Beyond the lively chicken picking and twangy bends on hits like “Liza Jane,” Gill has paid tribute to California country guitar legends like Don Rich and Roy Nichols on his album Bakersfield. He has also contributed his guitar skills to albums by numerous artists, including Miranda Lambert, Emmylou Harris, Patty Loveless, Kenny Chesney, Dolly Parton, and Don Henley. Since Glenn Frey’s passing in 2017, Gill has toured with the Eagles, performing as both a harmony vocalist and a guitar virtuoso. Gill’s dual talents as a vocalist and guitarist place him among country music’s most accomplished and respected figures.
Key Tracks: “Liza Jane,” “Oklahoma Borderline”
Garry ‘Diaper Man’ Shider
Garry "Diaper Man" Shider of Parliament performing in Los Angeles in 1977
Image Credit: Michael Ochs Archives/Getty Images
When asked about his onstage attire of an oversized diaper, Parliament/Funkadelic guitarist Garry Shider replied, “God loves babies and fools. I’m both.” While initially known for his searing, distorted leads on Funkadelic jams like “Cosmic Slop,” Shider was also a master rhythm guitarist, evident in his funky playing on “One Nation Under a Groove” and “Atomic Dog,” both of which he co-wrote. In addition to his “Diaper Man” persona in Parliament/Funkadelic, he was known as “Starchild” in Bootsy’s Rubberband and served as music director for the P-Funk All Stars. His post-P-Funk collaborations included work with Paul Schaffer and the Black Crowes. Shider’s multifaceted talents as a lead and rhythm guitarist, songwriter, and performer were central to the P-Funk sound and legacy.
Key Tracks: “Cosmic Slop,” “One Nation Under a Groove”
Ultimately, defining the greatest guitar player ever remains a subjective and deeply personal endeavor. This exploration through a diverse range of guitarists highlights that greatness isn’t solely about technical skill or commercial success. It encompasses innovation, influence, unique voice, and the ability to connect with listeners on an emotional level. From the foundational figures who shaped genres to contemporary innovators pushing boundaries, each guitarist on this list offers a unique perspective on the instrument’s limitless potential. The quest to identify the “greatest” may be unending, but the journey through the vast landscape of guitar artistry is endlessly rewarding.
