The debate rages on among music lovers and guitar aficionados: what truly constitutes the Greatest Guitar Solo Of All Time? Comparing the soulful bends of blues to the blistering speed of rock, or the melodic phrasing of classic rock to the experimental textures of modern genres, feels almost impossible. Yet, the court of public opinion constantly evolves, and we at guitarplayers.net decided to tap into the collective wisdom of our readers to discover which solos currently reign supreme.
We launched a poll on GuitarPlayer.com, and the results are in! Prepare to explore the top 20 guitar solos as voted by our discerning audience. We’ll delve into the stories behind these iconic tracks and dissect the elements that elevate these guitar breaks to legendary status, featuring insights from guitar heroes like Brian May, Kirk Hammett, Michael Schenker, and more. Get ready to rediscover the magic behind the greatest guitar solos ever recorded.
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, emerged as the Belfast maestro’s signature song during his blues revival. This melancholic tune in A minor showcases Moore’s exceptional ability to convey raw emotion through his guitar. A pivotal moment in the solo occurs when Moore switches from the neck humbucker to the bridge pickup on his treasured 1959 Les Paul Standard, nicknamed “Stripe.” From there, he masterfully navigates the A minor pentatonic scale, incorporating nuances from the Aeolian and harmonic minor scales to add depth and complexity.
Moore’s setup for this iconic track was relatively straightforward but powerful: his prototype Marshall JTM-45 reissue head coupled with the then-new Guv’nor distortion pedal. Even three decades later, “Still Got the Blues” stands as a benchmark for blues guitar expression, capturing Moore’s intense connection with his instrument as he seemingly wrestles emotionally with each note, yet always delivers a solo of profound beauty and impact.
Gary Moore performing "Still Got the Blues" guitar solo
19. Metallica | “Fade To Black”
GUITARIST: Kirk Hammett (1984)
Kirk Hammett’s epic guitar solo in Metallica’s first power ballad.
Recorded during the Ride the Lightning sessions in Copenhagen in 1984, “Fade to Black” marked a significant evolution for Metallica. Their sophomore album ventured beyond the pure thrash of Kill ’Em All, embracing a more progressive and dynamically diverse sound. “Fade to Black” exemplified this shift, incorporating acoustic guitars and a song structure reminiscent of epics like “Stairway to Heaven.” However, it’s Kirk Hammett’s melodic and emotionally charged guitar solo that truly signaled his growth as a player and cemented the song’s place in metal history. A signature element of the final solo is Hammett’s masterful use of two-string arpeggios.
“I’ve been playing that song for so long now,” Kirk Hammett shared with Total Guitar. Describing his approach to the final solo, he explains, “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.” He emphasizes the two-string arpeggio technique, a style prevalent in the 1980s before the rise of sweep-picking. Hammett reveals he anchors his hand using his middle finger for precision.
For guitarists seeking to learn this solo, Hammett points to the B natural minor scale and the B Phrygian mode as essential foundations for the opening 30 bars. While the natural minor scale dominates, the Phrygian mode briefly emerges around bar 20 with the introduction of the C note. Hammett emphasizes the improvisational nature of this solo in live performances, relying on these scales as his framework.
Scale diagrams for learning Kirk Hammett's "Fade to Black" guitar solo
(Image credit: Future)
The two-string arpeggio sections are played with rapid 16th notes at 142 bpm. Hammett employs pull-offs to facilitate these fast runs, suggesting experimentation with hammer-ons for players still developing their technique. “Fade to Black” showcases not only Hammett’s technical prowess but also his ability to craft a solo that is both emotionally resonant and structurally integral to the song’s narrative.
Kirk Hammett playing the guitar solo from "Fade To Black" live
18. Steely Dan | “Kid Charlemagne”
GUITARIST: Larry Carlton (1976)
Larry Carlton’s improvised guitar solo on Steely Dan’s “Kid Charlemagne”.
Steely Dan’s discography is a treasure trove of sophisticated musicianship, and within it, Larry Carlton’s solo on “Kid Charlemagne” from The Royal Scam stands as a beacon of guitar brilliance. Carlton weaves together a series of refined phrases that gracefully navigate the song’s complex chord changes. His masterful blend of “inside” and “outside” playing is both technically astonishing and deeply emotionally engaging.
Carlton’s account of the solo’s creation is surprisingly nonchalant. “I was pretty familiar with the tune, so I just improvised,” he told Guitar Player. Despite the solo’s intricate nature, Carlton insists it was entirely spontaneous, a first take that captured lightning in a bottle. The solo’s impact is undeniable, arguably garnering more critical attention than the song itself.
Despite the widespread acclaim, Carlton remains humble. “When the record came out, there was a wonderful review of the tune in Billboard and they raved about the solo,” he recalls. “I put the record on and listened to it with my wife, and at the end of it I said, ‘I don’t know. It just sounds like me.’” This understated perspective belies the solo’s enduring influence and its status as a benchmark in jazz-rock guitar improvisation.
Larry Carlton performing the guitar solo for "Kid Charlemagne" with Steely Dan
17. Cream | “Crossroads”
GUITARIST: Eric Clapton (1968)
Eric Clapton’s iconic rock interpretation of Robert Johnson’s blues classic “Crossroads”.
Born as Robert Johnson’s acoustic blues lament “Cross Road Blues,” the song transformed into a high-octane rock anthem in the hands of a 22-year-old Eric Clapton. Cream’s rendition of “Crossroads” became a showcase for Clapton’s prodigious talent, soulful playing, and electrifying stage presence, further solidifying his burgeoning “God” nickname.
Famously captured live at San Francisco’s Fillmore West for Cream’s Wheels of Fire album, Clapton’s arrangement honors the spirit of Johnson’s original while injecting it with a contemporary energy that resonated with audiences eager for virtuosic and passionate musical performance.
Interestingly, Clapton himself is critical of his performance. He reportedly laments that the band lost the “one” beat in the first verse of his second solo break, disrupting his phrasing. This self-critique underscores Clapton’s relentless pursuit of perfection. Yet, for listeners worldwide, this four-minute explosion of blues-rock brilliance remains captivating over half a century later, a testament to Clapton’s raw talent and transformative interpretation.
Eric Clapton playing guitar solo on "Crossroads" with Cream
16. Eric Johnson | “Cliffs Of Dover”
GUITARIST: Eric Johnson (1990)
Eric Johnson’s Grammy-winning guitar solo with heavenly tone from “Cliffs Of Dover”.
“Cliffs of Dover,” an instrumental masterpiece, earned Eric Johnson a Grammy Award, lauded for its exquisite guitar playing and breathtakingly pure tone. For the recording, Johnson primarily used his early ’60s ES-335, opting for his 1964 “Virginia” Stratocaster for the opening lead and parts of the main solo. His signal chain included a 100-watt Marshall Super Lead, enhanced by an Echoplex and BK Butler Tube Driver, meticulously crafting his signature smooth, violin-like tones and warm sustain.
Joe Bonamassa recounted his first encounter with Johnson’s playing in 1986: “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 dedication to tone and his innovative approach to guitar effects solidified his place as a modern guitar icon.
Eric Johnson performing "Cliffs Of Dover" guitar solo live
15. Prince | “Purple Rain”
GUITARIST: Prince (1984)
Prince’s defining guitar solo moment in “Purple Rain”.
The extended outro solo in “Purple Rain,” consuming nearly two-thirds of the song’s duration, stands as a pinnacle of Prince’s guitar artistry. Wailing in G minor pentatonic, with subtle modal inflections like the minor 6th, Prince crafts a solo that is both emotionally charged and melodically memorable. A recurring motif, orbiting the 2nd and minor 3rd intervals, adds to the solo’s captivating simplicity and effectiveness.
Far from being a display of technical virtuosity, Prince’s “Purple Rain” solo prioritizes space and impactful hooks over flashy licks. This restraint amplifies the solo’s emotional weight and allows the song’s powerful vocal melody to emerge seamlessly towards the conclusion.
In live performances, Prince frequently stretched the solo to epic proportions, sometimes reaching 15 minutes. Among the many exceptional live renditions, his 2007 Super Bowl halftime show in Miami remains legendary. Shredding amidst a downpour, Prince seemed to embody the very essence of “Purple Rain,” his guitar work becoming a visceral extension of the song’s dramatic narrative.
Prince performing the guitar solo for "Purple Rain" at the Super Bowl
14. Deep Purple | “Highway Star”
GUITARIST: Ritchie Blackmore (1972)
Ritchie Blackmore’s Bach-inspired guitar solo in Deep Purple’s “Highway Star”.
Ritchie Blackmore meticulously crafted his iconic “Highway Star” solo just a week before recording. “I wrote that out note for note about a week before we recorded it,” Blackmore revealed. This unusual approach for Blackmore, known for his improvisational flair, was deliberate. He envisioned the solo as sonic representation of high-speed driving, aiming to create a piece of music perfectly suited for speeding down the highway. Blackmore’s intention was to infuse a distinct Bach-like quality into the solo. He achieved this by incorporating rigid arpeggios over a familiar Bach chord progression: D minor, G minor, C major, A major.
Blackmore believed he was a pioneer in explicitly integrating Bach’s harmonic language into rock guitar, contributing to the solo’s enduring appeal and distinctiveness. “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.”
While Blackmore consistently played the solo note-for-note live, the tempo often escalated due to onstage exuberance. “[Keyboardist] Jon [Lord] would have to play his already difficult part faster and faster, and he would get very annoyed about it.” This anecdote underscores the solo’s inherent technical demand and its capacity to push musicians to their limits.
Ritchie Blackmore playing the guitar solo for "Highway Star" with Deep Purple
13. Guns N’ Roses | “Sweet Child O’ Mine”
GUITARIST: Slash (1988)
Slash’s contrasting guitar solo 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, effectively divided into two distinct halves. The first section is characterized by a laid-back, modal feel, built around the Eb minor scale with strategically placed major 7ths, lending a harmonic minor flavor. The second half explodes with aggression and bluesy intensity, primarily utilizing the pentatonic scale’s first position, shifted an octave higher in the same key. This shift in register amplifies the bends and vibrato, adding to the solo’s dramatic impact.
Slash employs a strategic pickup switch, using the neck pickup for the first section’s warmth and thickness before transitioning to the bridge pickup for the second half’s added bite, enhanced by his Cry Baby wah pedal. However, the solo’s true magic lies in Slash’s intuitive feel and seamless phrasing, hallmarks of a truly exceptional guitar solo.
Ironically, despite Slash’s riff being the song’s genesis, he initially disliked “Sweet Child O’ Mine.” “We were a pretty hard driving band, and that was sort of an uptempo ballady type of a thing,” he admitted. “So it’s grown on me over the years.” The song’s enduring popularity and iconic solo have undoubtedly solidified its place in rock history, even for its initially hesitant creator.
Slash performing the guitar solo for "Sweet Child O' Mine" with Guns N' Roses
12. Ozzy Osbourne | “Crazy Train”
GUITARIST: Randy Rhoads (1980)
Randy Rhoads’ virtuosic guitar solo on Ozzy Osbourne’s “Crazy Train”.
Ozzy Osbourne frequently credited Randy Rhoads with revitalizing his career, and the “Crazy Train” solo instantly reveals why. Rhoads’ classically influenced, modal approach diverged sharply from Tony Iommi’s blues-based style, yet Rhoads, like Ozzy’s former bandmate, was a true innovator.
A distinctive section towards the solo’s end evokes the sound of a train derailing, achieved through a chromatically ascending trill that subsequently descends in key. Rhoads concludes the solo with rapid-fire F# minor pentatonic phrasing, culminating in a blistering Aeolian legato run and a dramatic bend on the 19th fret.
Rhoads performed this groundbreaking solo using his customized Jackson guitar, plugged into a Marshall amplifier and 4×12 cabinets, while positioned in the control room. Engineer Max Norman recalls the unique recording setup: “We’d plug the guitar directly into the console. We’d preamp it in the console and send it down to the amp from there. That way we could control the amount of gain that hit the amp.” This meticulous approach to tone shaping, combined with Rhoads’ revolutionary technique, resulted in a solo that continues to inspire generations of guitarists.
Randy Rhoads playing guitar solo for "Crazy Train" with Ozzy Osbourne
11. Michael Jackson | “Beat It”
GUITARIST: Eddie Van Halen (1982)
Eddie Van Halen’s unexpected guitar solo collaboration 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 song’s solo section, Van Halen felt the chord changes were inadequate and, without hesitation, re-edited the tape to create a progression more conducive to his vision.
Anticipating Jackson’s potential surprise, Van Halen forewarned him: “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.” Jackson’s reaction was overwhelmingly positive. “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 iconic solo pro bono, solely driven by his artistic passion. This unlikely pairing resulted in a cross-genre masterpiece, demonstrating the unifying power of exceptional musicianship.
Eddie Van Halen recording guitar solo for Michael Jackson's "Beat It"
10. The Beatles | “While My Guitar Gently Weeps”
GUITARIST: Eric Clapton (1968)
Eric Clapton’s uncredited guest guitar solo on The Beatles’ “While My Guitar Gently Weeps”.
By 1968, George Harrison’s songwriting prowess was reaching parity with Lennon and McCartney. “While My Guitar Gently Weeps” stood as a testament to his evolving talent, yet the other Beatles initially lacked enthusiasm for the track. To inject energy and focus into the recording session, Harrison invited his friend Eric Clapton to contribute.
Clapton, using Harrison’s 1957 “Lucy” Gibson Les Paul through a Fender Deluxe amplifier, crafted a solo that transcended mere accompaniment. Instead, he created a poignant song-within-a-song, mirroring and amplifying the main melody’s melancholic essence. His signature descending bends, release notes, and unmistakable vibrato are prominently featured, weaving a dramatic narrative that culminates in a heart-wrenching climax. Clapton’s uncredited contribution elevated “While My Guitar Gently Weeps” to new emotional depths, solidifying its place as a Beatles classic.
Eric Clapton playing "Lucy" Les Paul guitar, used for "While My Guitar Gently Weeps" solo
9. Chicago | “25 OR 6 TO 4”
GUITARIST: Terry Kath (1969)
Terry Kath’s wah-drenched guitar solo in 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 encapsulation of Kath’s diverse influences, spanning jazz and hard rock. As a founding member of Chicago, Kath’s guitar work was integral to the band’s signature jazz-rock fusion sound until his untimely passing in 1978.
While Kath’s exceptional playing graced numerous Chicago tracks, including “Introduction” and “Free Form Guitar,” his solo on the early hit “25 or 6 to 4” is undeniably powerful. Kath masterfully employs his wah pedal, imbuing his lines with raw emotion, oscillating between frenetic energy and poignant despair.
Kath likely used his Gibson SG Standard, famously pictured on Chicago Transit Authority’s inner sleeve. He favored a 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. This unconventional approach to string gauges likely contributed to Kath’s distinctive tone and expressive playing style.
Terry Kath playing guitar with Chicago, likely using his Gibson SG Standard
8. Lynyrd Skynyrd | “Free Bird”
GUITARIST: Allen Collins (1974)
Allen Collins’ epic extended guitar solo in Lynyrd Skynyrd’s “Free Bird”.
The iconic four-minute-and-24-second guitar solo that concludes “Free Bird” originated as a practical solution, providing singer Ronnie Van Zant a vocal respite during Lynyrd Skynyrd’s demanding tour schedule. Clocking in at a staggering 143 bars (or 286 bars due to doubling), this solo is by far the longest entry on this list, a true epic in rock guitar history.
Featured on the band’s 1973 debut album, the solo was performed entirely by guitarist Allen Collins on his 1964 Gibson Explorer. Lynyrd Skynyrd’s Gary Rossington described Collins’ performance to Guitar World: “The whole long jam was Allen Collins himself. He was bad. He was super bad! He was bad-to-the-bone bad. When we put the solo together, we liked the sound of the two guitars, and I could’ve gone out and played it with him. But the way he was doin’ it, he was just so hot! He just did it once and did it again, and it was done.” Collins’ raw talent and improvisational brilliance are captured in this legendary solo, a cornerstone of Southern rock guitar.
Allen Collins playing Gibson Explorer guitar, used for "Free Bird" solo
7. Dire Straits | “Sultans Of Swing”
GUITARIST: Mark Knopfler (1978)
Mark Knopfler’s understated fingerpicked guitar solo in Dire Straits’ “Sultans Of Swing”.
Just as Eddie Van Halen was ascending 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 “Sultans of Swing” on a National steel guitar, deeming it “dull.” However, upon switching to a Stratocaster, the song “came alive.” Employing a pristine Fender Twin amplifier with no overdrive, Knopfler fingerpicks not one, but two remarkable solos.
The first solo features a lyrical section of elegant, Chet Atkins-inspired single-note runs and chordal bends, imbued with dreamy romanticism. While this solo alone is captivating, the outro solo is the true showstopper. Knopfler builds to a dazzling crescendo of rapid 16th-note arpeggios, executed with immaculate precision and clarity, consistently rousing listeners with its brilliance. Knopfler’s fingerstyle approach and clean tone set him apart, proving that subtlety and nuance can be just as impactful as high-gain shredding.
Mark Knopfler fingerpicking guitar solo for "Sultans of Swing" with Dire Straits
6. The Jimi Hendrix Experience | “All Along The Watchtower”
GUITARIST: Jimi Hendrix (1968)
Jimi Hendrix’s definitive cover guitar solo in “All Along The Watchtower”.
This rendition of “All Along The Watchtower” consistently tops lists of covers surpassing the original. For guitarists, it’s often referred to as a Hendrix song, overshadowing Bob Dylan’s original composition, a testament to Hendrix’s transformative interpretation. Hendrix’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 dissect. Hendrix, revered by many as the greatest guitarist of all time, fully utilizes his Stratocaster and Marshall amplifier rig. The solo at the 2:20 mark is particularly noteworthy. Following an octave run, Hendrix launches into a blues-infused minor pentatonic improvisation in C#.
At 2:32, the main solo explodes, showcasing Hendrix’s signature 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 strumming, offers invaluable insight into Hendrix’s groove and feel.
To emulate Hendrix’s sound, select a bridge-position single-coil pickup, dial in delay around 350ms, add compression for sustain, and incorporate a Vox wah pedal or similar. Prepare to unleash the howling wind of Hendrix’s sonic landscape.
Jimi Hendrix performing guitar solo on "All Along The Watchtower"
5. Eagles | “Hotel California”
GUITARISTS: Don Felder & Joe Walsh (1977)
Don Felder and Joe Walsh’s iconic twin-guitar harmony solo in Eagles’ “Hotel California”.
“Hotel California,” the title track from the Eagles’ fifth album and arguably their most enduring song, frequently dominates greatest guitar solo polls. The solo commences at 4:20, forming an extended coda where guitarists Don Felder and Joe Walsh exchange licks before converging into the iconic harmonized lines at 5:39.
The harmonized lines are built upon a relatively straightforward concept. Felder and Walsh arpeggiate each chord, with the harmony created by one guitar consistently playing a note one step lower within the chord. For instance, in a Bm chord (B, D, F#), if the higher guitar plays F#, the lower guitar will play D, and so on.
This insight provides a valuable framework for mastering these descending arpeggios. While replicating it by ear alone is challenging, understanding the song’s chord progression allows guitarists to effectively jam along. This accessibility, combined with the solo’s melodic beauty and harmonic richness, contributes to its enduring popularity and status as a guitar classic.
Don Felder and Joe Walsh playing the twin guitar solo for "Hotel California" live with Eagles
4. Queen | “Bohemian Rhapsody”
GUITARIST: Brian May (1975)
Brian May’s perfectly crafted guitar solo in Queen’s “Bohemian Rhapsody”.
Following Freddie Mercury’s passing in 1991 and its resurgence in 1992’s Wayne’s World, “Bohemian Rhapsody” became a global phenomenon, triggering an outpouring of affection for Queen. Their renewed popularity extended into the new millennium, fueled by 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 guitar solo serves as a melodic bridge, transitioning from the verses into the operatic section. The song’s unconventional structure, lacking a traditional chorus and built upon contrasting sections, defies conventional songwriting wisdom. Yet, it undeniably works, and Brian May’s solo is the ideal melodic interlude.
May’s phrasing is fluid and natural, often playing slightly behind the beat. His fastest runs are expressive bursts rather than repetitive patterns, and his articulate pre-bend and vibrato techniques showcase his exceptional touch. Within the complex and theatrical framework of “Bohemian Rhapsody,” May’s solo is perfectly tailored, a testament to his melodic sensibility and compositional brilliance.
3. Led Zeppelin | “Stairway To Heaven”
GUITARIST: Jimmy Page (1971)
Jimmy Page’s legendary “Stairway To Heaven” guitar solo, a journey in itself.
From the opening notes of Jimmy Page’s solo on his ’59 Fender Telecaster to the final wailing bend, “Stairway to Heaven” is widely regarded as guitar solo perfection, a compositional masterpiece. Rather than aimless improvisation, Page crafts a song within a song, a narrative arc that mirrors the track’s epic scope.
The initial phrases establish the atmosphere, with Page adding notes to the pentatonic scale, following the song’s evolving chord progression. A rapid, repeating lick in the middle section elevates the intensity, followed by a haunting call-and-response interplay with an overdubbed guitar, culminating in the final flurry of notes and the iconic bend. The solo’s genius lies in its composition: licks that harmonize with the chord changes, melodic contour, and pacing that guides the listener on an emotional journey.
Three takes of the solo were recorded (with rumors of the other two existing in the Led Zeppelin vaults), all improvised, though Page reportedly pre-planned the opening phrase. While the prospect of hearing these alternate takes is tantalizing, the released solo has become so deeply ingrained in popular culture that it’s difficult to imagine any alternative surpassing its iconic status.
Jimmy Page playing Fender Telecaster guitar, used for "Stairway To Heaven" solo
2. Van Halen | “Eruption”
GUITARIST: Eddie Van Halen (1978)
Eddie Van Halen’s revolutionary “Eruption” guitar solo that changed guitar playing forever.
“Eruption,” Eddie Van Halen’s groundbreaking instrumental solo, with its fusion of legato hammer-ons and pull-offs, pinched harmonics, whammy bar dives, and two-hand tapping, ignited a generation of guitar heroes. While tapping often steals the spotlight, Van Halen’s tone, blistering legato, and innovative note choices are equally crucial to the solo’s impact. Amidst the technical virtuosity, Van Halen maintained a sense of joyous rock and roll abandon.
Remarkably, Van Halen was never fully 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.” This self-critique underscores Van Halen’s relentless pursuit of perfection.
Despite his reservations, “Eruption” remains a technical tour-de-force. The opening eight bars, a bluesy exploration, evoke the spirit of Jimmy Page’s breakdown solo in “Whole Lotta Love.” Van Halen develops this theme over the subsequent eight bars, incorporating chromatics and drawing from major and minor pentatonic scales.
The tapping finale, often misunderstood, features rhythmic complexities as Van Halen shifts between tapping on the first and fourth, and then the third and sixth sextuplet notes. “Eruption,” from its bluesy beginnings to its revolutionary tapping climax, is a masterpiece of guitar innovation, a benchmark of technique and creativity that continues to inspire awe and emulation.
Eddie Van Halen performing "Eruption" guitar solo with his Frankenstrat guitar
1. Pink Floyd | “Comfortably Numb”
GUITARIST: David Gilmour (1979)
David Gilmour’s emotionally resonant guitar solos in Pink Floyd’s “Comfortably Numb”, voted #1.
In a 1992 MTV interview, David Gilmour resonated with Keith Richards’ theory that songs and solos exist “out there in the air, and you sort of grab them.” Gilmour elaborated, “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 distinguished between effortless inspiration and diligent craftsmanship: “The best ones do, but often you work very hard and struggle over them.”
Gilmour’s two solos in “Comfortably Numb” are undeniably among his finest work, and our readers’ overwhelming vote for number one affirms their legendary status. The debate often centers on which solo is superior, with many favoring the first. Regardless of preference, both solos contribute to the song’s emotional depth and sonic grandeur, justifying its top ranking.
Gilmour’s tone is iconic. His signal chain comprised his black Stratocaster, then equipped with a DiMarzio FS-1 bridge pickup, into a HiWatt DR103 amplifier, with the crucial EHX Ram’s Head Big Muff pedal. The FS-1’s thickness and Big Muff’s smoothness effectively tame the Stratocaster’s potential harshness. An MXR Dyna Comp further enhanced sustain, enabling Gilmour to hold notes indefinitely. Similar to his live setup, he combined a WEM 4×12 cabinet with a Yamaha rotary speaker subtly mixed in for modulation. Delay was added during mixing, completing the sonic tapestry.
The first solo, in D major, utilizes the Stratocaster’s neck and bridge pickups in combination, facilitated by custom switching. Its phrasing is more unconventional, incorporating arpeggios and sliding passages. Gilmour’s vibrato technique, utilizing a shortened tremolo arm, distinguishes him from typical blues players, influencing fusion guitarists. He often rakes into phrases, similar to Brian May, extracting maximum expressiveness from each note.
In contrast, the outro solo features more conventional blues-rock licks, with echoes of Hendrix. Passages at 4:57 and 5:12 evoke “All Along the Watchtower” or “Foxey Lady,” yet within “Comfortably Numb”‘s epic context, these connections are subtle. The solo sounds both meticulously crafted and spontaneously improvised. Gilmour revealed his process involved recording five or six takes and compiling the final solo from the best segments, resulting in a composition that balances repetition and development, maintaining tension and excitement throughout its two-minute duration. The Hendrix-esque blues lick returns at 5:27, extended and more intricate. Aggressive double-stops emerge at 5:15, evolving into a recurring motif by 5:35.
For the climax, Gilmour ascends an octave, seemingly exceeding the expressive limits of his maple neck. He descends, incorporating a signature three-fret bend, and concludes with another iteration of the double-stop motif. The solo embodies the energy of improvisation and the structure of careful composition.
Both solos showcase Gilmour’s rhythmic mastery. He seamlessly integrates triplets, sextuplets, 16th and 32nd notes within single phrases. The effect at 5:10, where he plays a 16th-note lick and immediately repeats and expands it in sextuplets, exemplifies his rhythmic sophistication. While a great solo might excel in tone, rhythm, melody, or expression, “Comfortably Numb” achieves brilliance by masterfully integrating all these elements to an unparalleled degree, solidifying its place as the greatest guitar solo of all time according to our readers.
David Gilmour playing iconic guitar solo for "Comfortably Numb" with Pink Floyd
