The debate over the greatest guitar solo of all time is a never-ending and passionate one, largely because each solo is a unique expression. How can you truly compare the soulful emotion of “Comfortably Numb” with the high-octane energy of “Crazy Train,” or the bluesy storytelling of “Stairway to Heaven” against the sophisticated coolness of “Sultans of Swing”? It’s a beautiful impossibility. However, popular opinion does shift and evolve, and we at guitarplayers.net were curious to discover which solos currently resonate most strongly with our readers as the absolute greatest.
To find out, we conducted a poll on GuitarPlayer.com, and we’re excited to present the results. Join us as we delve into the stories behind these legendary songs and explore the elements that made these guitar solos so extraordinary, featuring insights from guitar heroes like Brian May, Kirk Hammett, Michael Schenker, and more.
20. Gary Moore | “Still Got the Blues”
GUITARIST: Gary Moore (1990)
The quintessential blues guitar ballad, showcasing Moore’s raw emotion.
“Still Got the Blues,” the title track from Gary Moore’s 1990 album, became an anthem for blues guitar aficionados and marked a significant point in his career as he embraced the blues genre. In this soulful track in A minor, Moore’s solo is a masterclass in blues expression. Listeners can pinpoint the moment where the Belfast legend switches from the neck humbucker to the bridge pickup on his beloved 1959 Les Paul Standard, nicknamed “Stripe,” as he moves away from the main theme. His improvisation stays largely within the A minor pentatonic scale, enriched with notes from the Aeolian and harmonic minor scales, adding depth and complexity.
Moore’s tone is achieved using his prototype Marshall JTM-45 reissue head paired with the then-newly designed Guv’nor distortion pedal. Even three decades later, “Still Got the Blues” stands as a benchmark for raw, emotive blues guitar playing, capturing Moore’s intense connection with his instrument as he seemingly wrestles with it to produce pure musical gold.
Gary Moore playing guitar with intense emotion during a live performance of Still Got The Blues
19. Metallica | “Fade To Black”
GUITARIST: Kirk Hammett (1984)
Kirk Hammett’s epic guitar solo in Metallica’s power ballad, “Fade To Black.”
Recorded during the sessions for Ride the Lightning in Copenhagen in early 1984, “Fade to Black” was a departure for Metallica, showcasing a more progressive and stylistically diverse approach compared to the raw thrash of Kill ’Em All. This evolution is immediately apparent in “Fade to Black,” with its acoustic guitars and song structure reminiscent of epics like “Stairway to Heaven.” However, it’s Kirk Hammett’s melodic and emotionally charged guitar solos that truly signal a turning point in his playing style. A key element of the final solo is his masterful use of arpeggios.
“I have been playing that song for so long now,” Kirk Hammett shared with Total Guitar. “For the very last solo, I know how I want to start it, but then I am in an area where I can improvise for 16, 18 or 24 bars, and then [drummer] Lars [Ulrich] will hit a certain fill, which means that it’s up and it’s time for the arpeggio part. And then I just slide right into those arpeggios.” He emphasizes that these arpeggios are played on two strings, a technique common in the 1980s before the rise of sweep-picking. “When guitar players first started incorporating arpeggios into their playing… arpeggios were played on two strings – not three or four strings,” Hammett explains, highlighting the historical context of his technique.
To approach Hammett’s solos in “Fade to Black,” understanding two essential scales is crucial: the B natural minor scale and the B Phrygian mode. These scales form the foundation for the first 30 bars of the solo, providing a solid framework for learning this iconic piece. While the natural minor scale dominates, the B Phrygian mode briefly emerges around bar 20 with the introduction of the C note. Hammett’s improvisational approach to this section live underscores the organic and evolving nature of his guitar solos.
Scale diagrams illustrating B natural minor and B Phrygian mode for playing Fade To Black solo
18. Steely Dan | “Kid Charlemagne”
GUITARIST: Larry Carlton (1976)
Larry Carlton’s improvisational genius on Steely Dan’s “Kid Charlemagne” solo.
Steely Dan’s discography is rich with exceptional guitar work, but Larry Carlton’s solo on The Royal Scam‘s “Kid Charlemagne” consistently earns accolades as a standout. Carlton’s solo is a tapestry of sophisticated phrases, seamlessly navigating the complex chord changes with a masterful blend of inside and outside playing. His technique is both intellectually stimulating and emotionally resonant.
“I was pretty familiar with the tune, so I just improvised,” Carlton told Guitar Player, demystifying the solo’s creation. “People think I’m kidding when I say that, like I had worked the solo out beforehand, but I didn’t. It was straight improv, and it worked.” The result of this improvisation has been extensively praised, with some critics even focusing more on the solo than the song itself.
Despite the widespread acclaim, Carlton remains humble about his achievement. “When the record came out, there was a wonderful review of the tune in Billboard and they raved about the solo,” he recalls. “I put the record on and listened to it with my wife, and at the end of it I said, ‘I don’t know. It just sounds like me.’” This understated perspective highlights Carlton’s natural talent and effortless musicality.
Larry Carlton playing his iconic guitar solo on Kid Charlemagne with Steely Dan
17. Cream | “Crossroads”
GUITARIST: Eric Clapton (1968)
Eric Clapton’s legendary rock interpretation of Robert Johnson’s “Crossroads.”
Originating as Robert Johnson’s acoustic blues lament, “Cross Road Blues,” it was transformed by a 22-year-old Eric Clapton into a blistering rock anthem, “Crossroads.” This rendition became a defining moment, solidifying Clapton’s already burgeoning reputation as a guitar god.
Famously captured live at San Francisco’s Fillmore West for Cream’s Wheels of Fire album, Clapton’s arrangement honors the soul of Johnson’s original while injecting it with electrifying energy for a contemporary rock audience. The performance is a showcase of youthful virtuosity, passion, and raw talent.
Interestingly, Clapton himself is critical of the performance, pointing out a rhythmic misstep in the first verse of his second solo break that disrupts his phrasing. This self-critique reveals Clapton’s relentless pursuit of perfection. However, for listeners worldwide, this four-minute track remains captivating and influential, over half a century later.
Eric Clapton in his Cream era, delivering a powerful performance of Crossroads
16. Eric Johnson | “Cliffs Of Dover”
GUITARIST: Eric Johnson (1990)
Eric Johnson’s “Cliffs Of Dover,” a Grammy-winning instrumental masterpiece of tone.
This instrumental track, “Cliffs Of Dover,” earned Eric Johnson a Grammy Award, celebrated for its impeccable guitar playing and breathtakingly pure tones. During the recording process, Johnson primarily used his early ’60s ES-335, switching to his 1964 “Virginia” Stratocaster for the opening lead and portions of the main solo. His guitar signal flowed into a 100-watt Marshall Super Lead, enhanced by an Echoplex and BK Butler Tube Driver to achieve his signature smooth, violin-like sustain and warm tones.
“I first heard him in 1986 on Live at Austin City Limits,” Joe Bonamassa recounted in 2015. “It was ‘Cliffs of Dover,’ and it was just terrifyingly good guitar playing. I wasn’t even sure if it was real! Then I saw him live, and his tones were the best I’d ever heard. I wondered how this guy was getting all of these sounds out of his Strat. I’d never seen anybody have such a forward-thinking rig like that.” Bonamassa’s awe reflects the widespread admiration for Johnson’s sonic artistry and technical precision.
Eric Johnson performing Cliffs Of Dover, showcasing his signature guitar tones
15. Prince | “Purple Rain”
GUITARIST: Prince (1984)
Prince’s iconic and emotionally charged guitar solo in “Purple Rain.”
The extended outro solo in “Purple Rain,” consuming nearly two-thirds of the song’s length, stands as a pinnacle of Prince’s guitar artistry. Wailing in G minor pentatonic, with occasional modal excursions including the minor 6th, Prince crafts a solo that is both simple and profoundly moving. The repeating motif built around the 2nd and minor 3rd intervals adds a signature melodic hook.
Rather than overwhelming with technical complexity, Prince prioritizes space and impactful phrasing, focusing on memorable hooks over flashy licks. This approach makes the solo deeply effective and emotionally resonant, perfectly complementing the song’s dramatic arc.
In live performances, Prince frequently extended the “Purple Rain” solo to 15 minutes or more. Among the many live renditions, his halftime performance at the 2007 Super Bowl in Miami is legendary. Shredding amidst a downpour, Prince seemed to embody the very essence of the song in a truly iconic moment.
Prince delivering a legendary guitar solo during his Purple Rain Super Bowl halftime performance
14. Deep Purple | “Highway Star”
GUITARIST: Ritchie Blackmore (1972)
Ritchie Blackmore’s Bach-inspired, high-speed guitar solo in “Highway Star.”
“I wrote that out note for note about a week before we recorded it,” Ritchie Blackmore revealed about his unforgettable solo in “Highway Star.” “And that is one of the only times I have ever done that. I wanted it to sound like someone driving in a fast car, for it to be one of those songs you would listen to while speeding. And I wanted a very definite Bach sound, which is why I wrote it out – and why I played those very rigid arpeggios across that very familiar Bach progression – D minor, G minor, C major, A major. I believe that I was the first person to do that so obviously on the guitar, and I believe that that’s why it stood out and why people have enjoyed it so much.”
Blackmore’s fusion of classical influence with hard rock energy was groundbreaking. “Over the years, I’ve always played that solo note for note, but it just got faster and faster onstage because we would drink more and more whisky. [Keyboardist] Jon [Lord] would have to play his already difficult part faster and faster, and he would get very annoyed about it.” This anecdote highlights the evolving nature of live performance and the band’s dynamic interplay.
Ritchie Blackmore performing Highway Star with Deep Purple, showcasing his fast-paced guitar solo
13. Guns N’ Roses | “Sweet Child O’ Mine”
GUITARIST: Slash (1988)
Slash’s two-part guitar solo in Guns N’ Roses’ iconic hit, “Sweet Child O’ Mine.”
Slash’s solo in “Sweet Child O’ Mine,” Guns N’ Roses’ breakthrough hit, is a masterclass in rock guitar dynamics. The solo is distinctly divided into two sections. The first half is relaxed and modal, based around the Eb minor scale with major 7ths adding a harmonic minor touch. The second half shifts dramatically, becoming more aggressive and blues-infused, primarily using the pentatonic scale an octave higher in the same key. This shift in register intensifies the bends and vibrato.
Slash employs the neck pickup for the first section, achieving a thicker, warmer tone, before switching to the bridge pickup for more bite in the second half, engaging his Cry Baby wah pedal for added expression. His improvisational feel and seamless transitions are hallmarks of a truly great guitar solo. Interestingly, despite Slash’s riff being the song’s foundation, he initially wasn’t enthusiastic about “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.”
Slash performing Sweet Child O' Mine with Guns N' Roses, delivering his famous guitar solo
12. Ozzy Osbourne | “Crazy Train”
GUITARIST: Randy Rhoads (1980)
Randy Rhoads’ revolutionary and technically brilliant solo in Ozzy Osbourne’s “Crazy Train.”
Ozzy Osbourne often credits Randy Rhoads with revitalizing his career, and the solo in “Crazy Train” is a prime example of why. Rhoads’ classically influenced and modal approach was a departure from Tony Iommi’s blues-based style, but like Iommi, Rhoads was an innovator.
A distinctive section near the end of the solo evokes the sound of a train derailing, created using a chromatically ascending trill that then descends. Rhoads concludes with a rapid-picked F# minor pentatonic phrase, followed by a fast Aeolian legato run, ending with a powerful bend on the 19th fret.
Rhoads recorded the solo using his customized Jackson guitar through a Marshall amp and a pair of 4×12 cabinets while positioned in the control room. “We’d plug the guitar directly into the console,” engineer Max Norman recalls. “We’d preamp it in the console and send it down to the amp from there. That way we could control the amount of gain that hit the amp.” This technique allowed for precise control over Rhoads’ iconic guitar tone.
Randy Rhoads shredding on guitar, performing the legendary Crazy Train solo with Ozzy Osbourne
11. Michael Jackson | “Beat It”
GUITARIST: Eddie Van Halen (1982)
Eddie Van Halen’s unexpected and electrifying solo on Michael Jackson’s “Beat It.”
When Michael Jackson’s team sought a guitarist for his Thriller album, Pete Townshend declined but suggested Eddie Van Halen. Jackson and producer Quincy Jones embraced the idea, inviting Van Halen to play the solo on “Beat It.” Upon hearing the section designated for his solo, Van Halen felt the chord changes were lacking and took the initiative to edit the tape, creating a new progression that better suited his vision.
Anticipating Jackson’s potential surprise, Van Halen prepared him for the change. “So I warned him before he listened,” Van Halen told CNN in 2012. “I said, ‘Look, I changed the middle section of your song.’ Now in my mind, he’s either going to have his bodyguards kick me out for butchering his song, or he’s going to like it. And so he gave it a listen, and he turned to me and went, ‘Wow, thank you so much for having the passion to not just come in and blaze a solo but to actually care about the song and make it better.’” Van Halen’s contribution, offered pro bono, became a defining element of the song.
Eddie Van Halen performing his iconic Beat It guitar solo with Michael Jackson
10. The Beatles | “While My Guitar Gently Weeps”
GUITARIST: Eric Clapton (1968)
Eric Clapton’s uncredited guest solo on The Beatles’ “While My Guitar Gently Weeps.”
By 1968, George Harrison’s songwriting had reached a level comparable to Lennon and McCartney. “While My Guitar Gently Weeps” was a testament to his talent, but the other Beatles weren’t fully engaged with the song. To inject energy and focus into the recording, Harrison invited Eric Clapton to contribute, knowing his presence would motivate the band.
Using Harrison’s 1957 “Lucy” Gibson Les Paul through a Fender Deluxe amp, Clapton’s solo transcends mere accompaniment. Instead, it acts as a poignant song within a song, echoing and amplifying the main melody’s emotional weight. His signature descending bends, release notes, and distinctive vibrato are prominently featured, weaving a narrative of sorrow and building to a powerful, cathartic climax.
Eric Clapton playing guitar, recording his guest solo for The Beatles' While My Guitar Gently Weeps
9. Chicago | “25 OR 6 TO 4”
GUITARIST: Terry Kath (1969)
Terry Kath’s wah-drenched and jazz-rock infused solo in Chicago’s “25 or 6 to 4.”
This magazine once described Terry Kath’s “25 or 6 to 4” solo as “Wes Montgomery meets Jimi Hendrix,” a fitting description given Kath’s diverse influences, spanning jazz and hard rock. As a founding member of Chicago, Kath was the band’s guitarist until his tragic accidental death in 1978.
While Kath’s exceptional playing is evident across numerous tracks, including “Introduction” and “Free Form Guitar” from Chicago’s 1969 debut, The Chicago Transit Authority, his solo on “25 or 6 to 4” is particularly impactful. Kath’s generous use of the wah pedal adds a layer of intense emotion to his lines, conveying a sense of urgency and passion.
Kath likely used his Gibson SG Standard, as seen on Chicago Transit Authority‘s album art. He favored a unique string setup, using the high E string from a tenor guitar set and a standard set for the rest, shifted down one position (high E for the B string, B for the G string, and so on), contributing to his distinctive tone.
Terry Kath performing with Chicago, delivering his wah-infused solo on 25 or 6 to 4
8. Lynyrd Skynyrd | “Free Bird”
GUITARIST: Allen Collins (1974)
Allen Collins’ epic and extended guitar solo in Lynyrd Skynyrd’s “Free Bird.”
The iconic four-minute-and-24-second guitar solo that concludes “Free Bird” was initially conceived to give vocalist Ronnie Van Zant a break during Lynyrd Skynyrd’s demanding tour schedule. Spanning 143 bars (or 286 bars when considering the doubled recording), it is the longest solo on this list, a true epic in rock history.
Featured on their 1973 self-titled debut album, the solo was performed by Allen Collins on his 1964 Gibson Explorer. As Gary Rossington of Lynyrd Skynyrd 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 speaks to Collins’ raw talent and improvisational genius.
Allen Collins playing guitar with Lynyrd Skynyrd, performing the legendary Free Bird solo
7. Dire Straits | “Sultans Of Swing”
GUITARIST: Mark Knopfler
Mark Knopfler’s understated fingerpicked guitar brilliance in Dire Straits’ “Sultans Of Swing.”
Just as Eddie Van Halen was being hailed as the new guitar king, Mark Knopfler emerged, demonstrating that virtuosity didn’t always require high-gain distortion. Knopfler, rooted in rockabilly, blues, and jazz, captivated audiences with his nuanced and articulate fingerstyle playing.
Knopfler initially composed “Sultans of Swing” on a National steel guitar, finding it “dull.” However, upon switching to a Stratocaster, the song “came alive.” Using a clean Fender Twin amp, he fingerpicks not one, but two remarkable solos.
The first solo is lyrical and refined, featuring Chet Atkins-esque single-note runs and chordal bends that evoke a dreamy romanticism. While this solo alone would be impressive, the outro solo truly steals the show, building to a dazzling display of rapid 16th-note arpeggios – clean, precise, and consistently thrilling.
Mark Knopfler fingerpicking his iconic guitar solo on Sultans of Swing with Dire Straits
6. The Jimi Hendrix Experience | “All Along The Watchtower”
GUITARIST: Jimi Hendrix (1968)
Jimi Hendrix’s definitive cover of “All Along The Watchtower,” featuring an unparalleled guitar solo.
This rendition of “All Along The Watchtower” frequently tops lists of covers that surpass the original. Many guitarists refer to it as a “Hendrix song” rather than a Bob Dylan cover, highlighting Hendrix’s transformative interpretation. His rhythm guitar work is astounding, from the intro to the intricate chord-melody interplay in the verses. And then there are the four guitar solos. Hendrix, often hailed as the greatest guitarist of all time, fully utilizes his Stratocaster and Marshall rig. The solo at the 2:20 mark is particularly noteworthy. Following an opening octave run, he launches into a blues-based minor pentatonic improvisation in C#.
At 2:32, the main solo explodes into a signature Hendrix blend of lead and rhythm playing, punctuated by funky muted-string scratches. Practicing these scratches, focusing on a loose wrist and consistent strumming, offers invaluable insight into Hendrix’s groove and feel.
To capture Hendrix’s tone, select a bridge-position single-coil pickup, dial in delay around 350ms, add compression for sustain, and use a Vox wah pedal or similar. The result is a sound that evokes the howling wind and raw energy of Hendrix’s genius.
Jimi Hendrix performing All Along The Watchtower, delivering his iconic and innovative guitar solo
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.”
The title track from the Eagles’ fifth album, “Hotel California,” is arguably their most enduring song and consistently ranks high in greatest guitar solo polls. The solo begins at 4:20, forming an extended coda where guitarists Don Felder and Joe Walsh trade licks before uniting in the iconic harmonized lines at 5:39.
The harmony lines are based on a relatively simple concept. Felder and Walsh arpeggiate each chord, with one guitar consistently playing a note one step lower in the chord than the other. For instance, in a Bm chord (B, D, F#), if the higher guitar plays F#, the lower guitar plays D, creating the distinctive harmony.
Understanding this principle provides a key to mastering these descending arpeggios. While learning by ear is challenging, knowing the song’s chords makes jamming along and understanding the solo structure more accessible than many others on this list.
4. Queen | “Bohemian Rhapsody”
GUITARIST: Brian May (1975)
Brian May’s perfectly crafted guitar solo in Queen’s operatic rock masterpiece, “Bohemian Rhapsody.”
Following Freddie Mercury’s passing in 1991 and its resurgence in the 1992 film Wayne’s World, “Bohemian Rhapsody” became a global symbol of affection and respect for Queen. Their enduring popularity continued into the new millennium with the We Will Rock You musical and their collaboration with Adam Lambert, introducing their music to new generations.
“Bohemian Rhapsody” remains Queen’s signature song. Its brief, nine-bar guitar solo is a concise and melodic interlude, bridging the verses to the song’s famous “operatic section.” The song’s unconventional structure, lacking a traditional chorus and defying typical song form, shouldn’t work, yet it undeniably does. Brian May’s solo is integral to this success, providing the perfect melodic break.
May’s phrasing is fluid and natural, often playing slightly behind the beat. His fastest runs are expressive bursts rather than repetitive exercises, and his articulate pre-bend and vibrato techniques exemplify his exceptional touch. Within the complex framework of “Bohemian Rhapsody,” this solo is perfectly tailored to the song’s unique needs.
3. Led Zeppelin | “Stairway To Heaven”
GUITARIST: Jimmy Page (1971)
Jimmy Page’s iconic and compositionally brilliant guitar solo in Led Zeppelin’s “Stairway To Heaven.”
From the opening notes of Jimmy Page’s solo on his ’59 Fender Telecaster to the final soaring bends, the “Stairway To Heaven” solo is widely considered guitar solo perfection – a compositional masterpiece. Rather than aimless improvisation, Page constructs a song within a song.
The opening phrases set the atmosphere, with Page adding notes to the pentatonic scale to follow the song’s chord progression. A rapid repeating lick in the middle section elevates the intensity, followed by a call-and-response with a haunting overdubbed guitar, leading to the final flurry and bend. The solo’s brilliance lies in its composition: licks that complement the chord changes, melodic contour, and pacing, taking the listener on a musical journey.
Three takes were recorded for the solo, all improvised, though Page has mentioned pre-planning the opening phrase. While the other takes remain unreleased, the final version is so iconic that it’s hard to imagine any alternative surpassing it.
Jimmy Page playing his legendary guitar solo on Stairway To Heaven with Led Zeppelin
2. Van Halen | “Eruption”
GUITARIST: Eddie Van Halen (1978)
Eddie Van Halen’s revolutionary and world-altering instrumental solo, “Eruption.”
With its revolutionary blend of fast legato hammer-ons and pull-offs, pinched harmonics, whammy-bar dives, and two-hand tapping, Eddie Van Halen’s instrumental guitar solo “Eruption” ignited a generation of guitarists. While the tapping technique is often highlighted, his tone, blistering legato, and inventive note choices are equally crucial. Amidst the virtuosity, Van Halen’s playing remains infused with raw rock and roll energy.
Remarkably, Van Halen was never fully satisfied with the released recording. “I didn’t even play it right,” he told Guitar World. “There’s a mistake at the top end of it. Whenever I hear it, I always think, Man, I could’ve played it better.”
Despite his self-critique, “Eruption” is a technical landmark. The opening eight bars have a bluesy feel, with virtuoso legato licks reminiscent of Jimmy Page’s breakdown solo in Led Zeppelin’s “Whole Lotta Love.” Van Halen develops this theme over the next eight bars, incorporating notes from major and minor pentatonic scales and adding chromatics.
His tapping finale is among the most analyzed and emulated solo sections in rock history. Van Halen’s taps are often off the beat, creating rhythmic complexity as he shifts between tapping the first and fourth sextuplet notes to the third and sixth. From beginning to end, “Eruption” is a masterpiece of technique and innovation, a benchmark for guitarists worldwide.
Eddie Van Halen performing Eruption, showcasing his groundbreaking two-handed tapping technique
1. Pink Floyd | “Comfortably Numb”
GUITARIST: David Gilmour (1979)
David Gilmour’s emotionally resonant and masterful guitar solos in Pink Floyd’s “Comfortably Numb.”
In a 1992 interview, David Gilmour agreed with Keith Richards’ theory that songs and guitar solos are “just 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 added that the best solos often “just happen,” while others require hard work and struggle.
Gilmour’s two solos in “Comfortably Numb” are undeniably among his finest, and it’s clear why our readers voted them to the top of this poll. Whether you favor the first or second solo, both offer ample justification for the song’s number-one position.
The tone is legendary. Gilmour’s setup included his iconic black Strat, then equipped with a DiMarzio FS-1 bridge pickup, into a HiWatt DR103, with an essential EHX Ram’s Head Big Muff pedal. The FS-1’s thickness and the Big Muff’s smoothness eliminated the harsh treble often associated with Strats. Combined with an MXR Dyna Comp, Gilmour achieved incredible sustain, capable of holding notes indefinitely. Similar to his live setup, he blended a WEM 4×12 cabinet with a Yamaha rotary speaker for subtle modulation, with delay added in the mix.
The first solo, in D major, utilizes the Strat’s neck and bridge pickups together, enabled by custom switching. Its phrasing is more unconventional, featuring arpeggios and sliding passages. Gilmour’s use of the whammy bar, with its shortened tremolo arm, further distinguishes him from typical blues players, influencing many fusion guitarists. His raking technique at the start of phrases, similar to Brian May, extracts maximum expressiveness from each note.
In contrast, the outro solo’s licks are more traditional, with phrases reminiscent of Hendrix. Passages around 4:57 and 5:12 echo “All Along the Watchtower” or “Foxey Lady,” though within this epic track, the connection is less obvious. The solo sounds simultaneously masterful and improvised. Gilmour has explained that he achieved this by compiling the final solo from the best sections of five or six takes. The result is brilliantly structured, with a balance of repetition and development that sustains excitement for two minutes. The Hendrix-style blues lick returns at 5:27, longer and more intricate. Aggressive double-stops emerge at 5:15, evolving into a motif by 5:35.
For the climax, Gilmour ascends an octave, then descends, incorporating a spectacular three-fret bend and concluding with another iteration of the double-stop motif. It possesses the spontaneity of improvisation and the structure of careful composition.
Both solos demonstrate Gilmour’s exceptional rhythmic awareness, seamlessly integrating triplets, sextuplets, 16th, and 32nd notes within single phrases. The effect at 5:10, where he plays a 16th-note lick and then repeats and expands it in sextuplets, is a prime example. While a great solo may excel in tone, rhythm, melody, or expression, only a work of rare brilliance, like Gilmour’s in “Comfortably Numb,” embodies all these qualities to such a profound degree.
David Gilmour performing Comfortably Numb, delivering his iconic and emotionally charged guitar solo
