The debate around the greatest guitar solo ever recorded is a never-ending discussion, fueled by the sheer diversity of styles and approaches in guitar playing. Comparing the soulful bends of “Comfortably Numb” to the frantic energy of “Crazy Train,” or the bluesy storytelling of “Stairway to Heaven” with the intricate fingerpicking of “Sultans of Swing” feels almost impossible. Yet, the opinions of guitar enthusiasts are constantly evolving, and we at GuitarPlayer.net wanted to capture the current consensus on the most celebrated solos.
We conducted a poll on GuitarPlayer.com, asking our readers to vote for their favorite guitar solos. The results are in, and we’re excited to present the top 20 Greatest Guitar Solos of all time, according to you. We’ll delve into the stories behind these iconic songs and explore what makes these guitar breaks so extraordinary, featuring insights from guitar legends like Brian May, Kirk Hammett, and Michael Schenker.
20. Gary Moore | “Still Got the Blues”
GUITARIST: Gary Moore (1990)
The Quintessential Blues Guitar Ballad Solo.
“Still Got the Blues,” the title track from Gary Moore’s 1990 album, became an anthem for blues guitar lovers and a defining song in his career as a bluesman. This A minor masterpiece showcases Moore’s incredible expressive playing. In the solo, you can distinctly hear him switch from the neck humbucker to the bridge pickup on his prized 1959 Les Paul Standard, nicknamed “Stripe,” as he moves from the main melody into improvisational territory. He masterfully navigates the A minor pentatonic scale, adding touches from the Aeolian and harmonic minor scales to create depth and emotion.
Moore’s tone on this track is legendary, achieved with his prototype Marshall JTM-45 reissue head and a Guv’nor distortion pedal. Even three decades later, “Still Got the Blues” stands as a benchmark for raw and emotionally charged blues guitar solos, capturing Moore’s passionate and almost visceral connection with his instrument.
YouTube 
Gary Moore Still Got the Blues solo
19. Metallica | “Fade To Black”
GUITARIST: Kirk Hammett (1984)
Kirk Hammett’s Epic Solo in Metallica’s Seminal Ballad.
Recorded during the Ride the Lightning sessions in Copenhagen in 1984, “Fade to Black” marked a significant evolution for Metallica. Moving beyond the pure thrash of Kill ’Em All, Ride the Lightning explored more progressive and dynamic songwriting. “Fade to Black” exemplified this shift, incorporating acoustic guitars and a structure reminiscent of classic epics like “Stairway to Heaven.” However, it’s Kirk Hammett’s unforgettable melodic guitar solo that truly signaled his growth as a player. Arpeggios become a signature element in the final, soaring solo.
“I’ve been playing that song for so long now,” Kirk Hammett explained to 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… and then [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 these arpeggios are played on two strings, a technique popular in the 1980s before the rise of sweep-picking. Hammett anchors his hand with his middle finger for precision during these rapid arpeggiated runs.
For guitarists looking to learn this solo, Hammett recommends mastering the B natural minor scale and the B Phrygian mode, essential scales for the first 30 bars of the solo. While most of the solo stays within the natural minor scale, the Phrygian mode briefly appears around bar 20 with the introduction of the C note. Hammett’s improvisational approach within these scales is key to the solo’s organic feel. The two-string arpeggios, played at a brisk 142 bpm, are technically demanding but made manageable by Hammett’s use of pull-offs. Experimenting with pull-offs and even hammer-ons can help players tackle these fast licks.
Scale diagrams for Fade To Black Solo
(Image credit: Future)
YouTube Metallica Fade To Black solo
18. Steely Dan | “Kid Charlemagne”
GUITARIST: Larry Carlton (1976)
Larry Carlton’s Improvised Masterpiece on “Kid Charlemagne.”
Steely Dan’s discography is a treasure trove of exceptional guitar work, but Larry Carlton’s solo on “Kid Charlemagne” from The Royal Scam stands out as particularly iconic. Carlton crafts a series of sophisticated phrases that perfectly complement the complex chord changes, blending inside and outside playing with both technical brilliance and emotional depth.
Carlton himself describes the solo as pure improvisation. “I was pretty familiar with the tune, so I just improvised,” he told Guitar Player. Despite the spontaneous nature of the recording, the solo has garnered immense praise, arguably even overshadowing the song itself in critical acclaim. Carlton remains humble about the solo’s impact, stating, “When the record came out, there was a wonderful review… and they raved about the solo… 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.’”
YouTube Steely Dan Kid Charlemagne solo
17. Cream | “Crossroads”
GUITARIST: Eric Clapton (1968)
Eric Clapton’s Electrifying Cover of a Blues Classic on “Crossroads.”
Originally a blues song, “Cross Road Blues” by Robert Johnson, “Crossroads” became a defining moment for Eric Clapton and rock and roll. Clapton, at just 22 years old, transformed the acoustic blues tune into a high-energy rock anthem, showcasing his virtuosity and soulful playing. This rendition solidified his already growing legend, earning him the “God” nickname.
Recorded live at the Fillmore West in San Francisco for Cream’s Wheels of Fire album, Clapton’s “Crossroads” retains the raw emotion of Johnson’s original while injecting it with the power and excitement of contemporary rock. It resonated deeply with audiences eager for dynamic and technically impressive musicianship. Ironically, Clapton himself is critical of the performance, pointing out a timing issue in the second solo break. However, for most listeners, this live recording remains a captivating display of blues-rock guitar mastery, over half a century later.
YouTube Cream Crossroads solo
16. Eric Johnson | “Cliffs Of Dover”
GUITARIST: Eric Johnson (1990)
Eric Johnson’s Tone and Technique on “Cliffs Of Dover.”
“Cliffs of Dover,” an instrumental masterpiece, earned Eric Johnson a Grammy Award, celebrating his impeccable guitar playing and breathtaking tone. For the recording, Johnson primarily used his early 60s ES-335, switching to his 1964 “Virginia” Stratocaster for the opening lead and parts of the main solo. He achieved his signature smooth, violin-like tone and warm sustain by running his guitars through a 100-watt Marshall Super Lead, an Echoplex, and a BK Butler Tube Driver.
Joe Bonamassa vividly recalls his first encounter with Johnson’s playing: “I first heard him in 1986 on Live at Austin City Limits. It was ‘Cliffs of Dover,’ and it was just terrifyingly good guitar playing. I wasn’t even sure if it was real! Then I saw him live, and his tones were the best I’d ever heard. I wondered how this guy was getting all of these sounds out of his Strat. I’d never seen anybody have such a forward-thinking rig like that.” Johnson’s dedication to tone and his innovative rig setup are as much a part of his legendary status as his virtuosic technique.
YouTube Eric Johnson Cliffs Of Dover solo
15. Prince | “Purple Rain”
GUITARIST: Prince (1984)
Prince’s Iconic Guitar Outro on “Purple Rain.”
The extended outro solo in “Purple Rain,” consuming nearly two-thirds of the song’s total length, is a testament to Prince’s brilliance as a guitarist. Wailing in G minor pentatonic, with occasional modal excursions into notes like the minor 6th, Prince creates a solo that is both melodic and emotionally charged. A recurring motif based around the 2nd and minor 3rd intervals provides a memorable hook.
Unlike many solos focused on complex licks, Prince’s approach in “Purple Rain” is about space and impactful phrasing. He prioritizes big hooks and emotional resonance over technical flash. In live performances, Prince would often extend this solo to an astonishing 15 minutes. His legendary Super Bowl halftime performance in 2007, played in the midst of a rainstorm, is considered by many to be the ultimate live rendition, perfectly embodying the song’s raw emotion and power.
YouTube Prince Purple Rain solo
14. Deep Purple | “Highway Star”
GUITARIST: Ritchie Blackmore (1972)
Ritchie Blackmore’s Bach-Inspired Solo on “Highway Star.”
Ritchie Blackmore meticulously composed his solo for “Highway Star” note-for-note a week before recording, a rare instance for the improvisational guitarist. His intention was to musically evoke the sensation of speeding in a fast car, creating the perfect soundtrack for high-velocity driving. Blackmore deliberately incorporated a Bach-like feel, utilizing rigid arpeggios over a classic Bach progression: D minor, G minor, C major, A major.
Blackmore believed he was the first guitarist to so explicitly integrate Bach’s harmonic language into rock guitar, contributing to the solo’s distinctive and enduring appeal. While he always played the solo faithfully to his original composition, Blackmore notes that onstage performances often became increasingly faster over the years, fueled by pre-show drinks. This escalating tempo would often frustrate keyboardist Jon Lord, who had to keep pace with Blackmore’s accelerating solos.
YouTube Deep Purple Highway Star solo
13. Guns N’ Roses | “Sweet Child O’ Mine”
GUITARIST: Slash (1988)
Slash’s Two-Part Solo in the Guns N’ Roses Anthem “Sweet Child O’ Mine.”
Slash’s solo in “Sweet Child O’ Mine,” Guns N’ Roses’ breakthrough hit, is a masterclass in rock guitar solo construction. The solo divides into two distinct sections: the first half is melodic and modal, built around the Eb minor scale with major 7ths adding a harmonic minor flavor. The second half transitions to a more aggressive and blues-infused style, primarily using the pentatonic scale in a higher octave in the same key. The bends become wider, and the vibrato more pronounced, intensifying the emotional impact.
Slash employs a neck pickup for the first section, achieving a warm and thick tone, before switching to the bridge pickup with a Cry Baby wah pedal engaged for increased bite and aggression in the second half. His intuitive feel and seamless blending of these contrasting sections are hallmarks of a truly great guitar solo. Interestingly, despite Slash’s iconic riff being the song’s foundation, he initially wasn’t enthusiastic about “Sweet Child O’ Mine,” considering it too ballad-like for Guns N’ Roses’ hard-driving image. However, the song’s enduring popularity has clearly won him over.
YouTube Guns N Roses Sweet Child O Mine solo
12. Ozzy Osbourne | “Crazy Train”
GUITARIST: Randy Rhoads (1980)
Randy Rhoads’ Virtuosic Solo on Ozzy Osbourne’s “Crazy Train.”
Ozzy Osbourne frequently credited Randy Rhoads with revitalizing his career, and the solo in “Crazy Train” is a prime example of Rhoads’ groundbreaking talent. While Rhoads’ classical and modal approach differed significantly from Tony Iommi’s blues-based style, he shared Iommi’s innovative spirit.
A distinctive section in the solo mimics the sound of a train derailing, achieved through a chromatically ascending trill that subsequently descends. Rhoads concludes the solo with a rapid-fire F# minor pentatonic phrase followed by a fast Aeolian legato run, culminating in a powerful bend on the 19th fret. Rhoads recorded the solo using his customized Jackson guitar through a Marshall amplifier and two 4×12 cabinets, positioned in the control room. Engineer Max Norman recalls their unique recording setup: “We’d plug the guitar directly into the console… We’d preamp it in the console and send it down to the amp from there. That way we could control the amount of gain that hit the amp.”
YouTube Ozzy Osbourne Crazy Train solo
11. Michael Jackson | “Beat It”
GUITARIST: Eddie Van Halen (1982)
Eddie Van Halen’s Unexpected Solo on Michael Jackson’s “Beat It.”
When Michael Jackson sought a guitarist for his Thriller album, Pete Townshend declined but suggested Eddie Van Halen. Jackson and producer Quincy Jones embraced the idea, and Van Halen was brought in to solo on “Beat It.” Upon hearing the track, Van Halen felt the chord changes were not ideal for a guitar solo. He took the initiative to edit the tape, creating a new chord progression that better suited his vision.
Anticipating Jackson’s potential surprise, Van Halen recounted to CNN, “So I warned him before he listened. 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… or he’s going to like it.” Jackson’s reaction was overwhelmingly positive. He exclaimed, “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, a blistering and iconic solo, was given freely and significantly elevated the track.
YouTube Michael Jackson Beat It solo
10. The Beatles | “While My Guitar Gently Weeps”
GUITARIST: Eric Clapton (1968)
Eric Clapton’s Guest Solo on The Beatles’ “While My Guitar Gently Weeps.”
By 1968, George Harrison was reaching his stride as a songwriter, penning compositions that rivaled Lennon and McCartney’s. “While My Guitar Gently Weeps” was a testament to his growth, but the other Beatles were initially unenthusiastic. To inject life into the track, Harrison invited Eric Clapton to play on the session, believing Clapton’s presence would motivate his bandmates.
Using Harrison’s 1957 “Lucy” Gibson Les Paul through a Fender Deluxe amp, Clapton’s solo doesn’t simply mimic the song’s melancholic melody; it becomes a deeply moving song within a song. His descending bends, release notes, and signature vibrato are emotionally charged, crafting a dramatic narrative that builds to a powerful climax. Despite being an uncredited guest appearance, Clapton’s solo is integral to the song’s enduring impact.
YouTube The Beatles While My Guitar Gently Weeps solo
9. Chicago | “25 OR 6 TO 4”
GUITARIST: Terry Kath (1969)
Terry Kath’s Wah-Fueled Solo on “25 or 6 to 4.”
Guitar Player magazine once described Terry Kath’s “25 or 6 to 4” solo as “Wes Montgomery meets Jimi Hendrix,” a fitting description for Kath’s blend of jazz and hard rock influences. As a founding member of Chicago, Kath was the band’s guitarist until his tragic accidental death in 1978.
While Kath’s exceptional playing graced numerous Chicago tracks, including “Introduction” and “Free Form Guitar,” his solo on “25 or 6 to 4” is particularly celebrated. Kath masterfully utilizes a wah pedal to amplify the emotion in his lines, creating a sense of urgency and passion. Kath likely played his Gibson SG Standard, as seen on The Chicago Transit Authority album cover. He was known for his unique string setup, using a high E string from a tenor set and a standard set for the rest, shifted down one position.
YouTube Chicago 25 or 6 to 4 solo
8. Lynyrd Skynyrd | “Free Bird”
GUITARIST: Allen Collins (1974)
Allen Collins’ Epic Solo on 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. At 143 bars (or 286 bars due to doubling), it’s by far the longest solo on this list.
Featured on their debut album in 1973, the solo was performed by 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… 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.
YouTube Lynyrd Skynyrd Free Bird solo
7. Dire Straits | “Sultans Of Swing”
GUITARIST: Mark Knopfler (1978)
Mark Knopfler’s Fingerpicked Magic on “Sultans Of Swing.”
As Eddie Van Halen was being hailed as the new guitar king, Mark Knopfler emerged with a contrasting style, rooted in rockabilly, blues, and jazz, proving that guitar virtuosity didn’t require high-gain distortion.
Knopfler initially composed “Sultans of Swing” on a National steel guitar but found it lacked vibrancy until he switched to a Stratocaster, which “came alive.” Using a clean Fender Twin, he fingerpicks not one, but two exceptional solos. The first solo features lyrical, Chet Atkins-inspired phrases with single-note and chordal bends, evoking a dreamy and romantic atmosphere. The outro solo elevates the song further, with Knopfler building to a dazzling display of rapid 16th-note arpeggios—clean, precise, and consistently captivating.
YouTube Dire Straits Sultans Of Swing solo
6. The Jimi Hendrix Experience | “All Along The Watchtower”
GUITARIST: Jimi Hendrix (1968)
Jimi Hendrix’s Definitive Cover Solo on “All Along The Watchtower.”
Hendrix’s rendition of “All Along the Watchtower” is widely considered to surpass Bob Dylan’s original. Guitarists invariably refer to it as a Hendrix song, highlighting his transformative interpretation. Hendrix’s rhythm playing in the intro and verses is remarkable, but it’s the four guitar solos that truly define the track. The solo at the 2:20 mark is particularly noteworthy. Starting with octaves, Hendrix transitions into a blues-based minor pentatonic approach in C#.
At 2:32, the main solo explodes with Hendrix’s signature blend of rhythm and lead, incorporating funky muted string scratches. Mastering these scratches, with a relaxed wrist and consistent strumming, is key to understanding Hendrix’s groove. To emulate his sound, use a bridge single-coil pickup, delay around 350ms, compression for sustain, and a wah pedal. This combination helps capture the howling wind sound synonymous with Hendrix’s iconic tone.
YouTube Jimi Hendrix All Along The Watchtower solo
5. Eagles | “Hotel California”
GUITARISTS: Don Felder & Joe Walsh (1977)
The Twin Guitar Harmonies of the “Hotel California” Solo.
“Hotel California,” the title track from the Eagles’ fifth album, and arguably their signature song, frequently tops “greatest guitar solo” polls. The solo, beginning at 4:20 and forming an extended coda, features Don Felder and Joe Walsh trading licks before uniting in iconic harmonized lines at 5:39.
These harmonies are based on a relatively simple concept: Felder and Walsh play arpeggios of each chord, with one guitar consistently playing a note lower in the chord than the other. For example, in a Bm chord (B, D, F#), if the higher guitar plays F#, the lower guitar plays D. Understanding this structure provides a foundation for learning these descending arpeggios. While mastering it by ear is challenging, knowing the song’s chords allows guitarists to jam along and explore the solo’s harmonies.
YouTube Eagles Hotel California solo
4. Queen | “Bohemian Rhapsody”
GUITARIST: Brian May (1975)
Brian May’s Melodic Solo in Queen’s Rock Epic “Bohemian Rhapsody.”
Following Freddie Mercury’s passing in 1991 and its resurgence in popularity with the movie Wayne’s World, “Bohemian Rhapsody” became a global anthem for Queen. Its enduring appeal has continued into the 21st century. “Bohemian Rhapsody,” Queen’s most famous song, features a brief but impactful nine-bar guitar solo, serving as a melodic bridge between verses and the operatic section.
Despite its unconventional structure with no traditional chorus and minimal repetition, “Bohemian Rhapsody” works remarkably well, and Brian May’s solo is perfectly crafted for the song’s unique arrangement. May’s phrasing is relaxed and natural, playing slightly behind the beat. His fast licks are expressive bursts rather than repetitive shredding, and his articulate pre-bends and vibrato showcase his exceptional touch. Within the complex structure of “Bohemian Rhapsody,” May’s solo is custom-made for its context.
3. Led Zeppelin | “Stairway To Heaven”
GUITARIST: Jimmy Page (1971)
Jimmy Page’s Masterful Solo on Led Zeppelin’s “Stairway To Heaven.”
From the opening notes on Jimmy Page’s ’59 Fender Telecaster to the final wailing bend, the “Stairway to Heaven” solo is widely considered guitar solo perfection—a compositional masterpiece. Rather than rambling improvisation, Page creates a song within a song. The initial phrases establish the mood, adding notes to the pentatonic scale to follow the song’s chord progression. A rapid repeating lick in the middle intensifies the solo, leading into a call-and-response section with an overdubbed guitar, culminating in the final flurry of notes and bend.
Page’s compositional approach is key: licks that complement the chord changes, melodic contour, and dynamic pacing create a sonic journey for the listener. Three takes were recorded, all improvised (with Page reportedly having pre-planned the opening line). While the other takes remain legendary unreleased recordings, the released solo has become an undisputed classic, unlikely to be surpassed.
YouTube Led Zeppelin Stairway To Heaven solo
2. Van Halen | “Eruption”
GUITARIST: Eddie Van Halen (1978)
Eddie Van Halen’s Revolutionary “Eruption” Solo.
“Eruption,” Eddie Van Halen’s groundbreaking instrumental solo, revolutionized guitar playing with its fusion of fast legato hammer-ons and pull-offs, pinched harmonics, whammy bar dives, and two-hand tapping. While the tapping is iconic, Van Halen’s tone, fluid legato, and inventive note choices are equally crucial to its impact. Amidst the virtuosity, Van Halen maintains a joyous rock and roll energy.
Despite its legendary status, Van Halen was never fully satisfied with the recorded version. “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.” Technically, “Eruption” is an opus. The first eight bars are bluesy, with legato licks reminiscent of Jimmy Page’s “Whole Lotta Love” solo. Van Halen develops this theme in the following bars, incorporating chromatics from major and minor pentatonic scales. His tapping finale is complex rhythmically, shifting between tapping on different sextuplet notes, adding to the solo’s unpredictable brilliance. “Eruption” remains a benchmark of guitar innovation and technical prowess.
YouTube Van Halen Eruption solo
1. Pink Floyd | “Comfortably Numb”
GUITARIST: David Gilmour (1979)
David Gilmour’s Soulful Solos in Pink Floyd’s “Comfortably Numb.”
In a 1992 interview, David Gilmour resonated with Keith Richards’ theory that songs and solos exist “out there in the air,” waiting to be captured. Gilmour agreed, stating, “I think he’s right. They sort of appear as if they are out there in the air. But I don’t know how they get there.” He added that the best solos often “just happen,” while others require hard work and struggle.
YouTube Pink Floyd Comfortably Numb solo
Gilmour’s two solos in “Comfortably Numb” are undeniably among his finest, and our readers’ top choice in this poll. While fans often favor the first solo, both are exceptional and justify the song’s number one ranking. Gilmour’s tone is legendary, achieved with his black Strat (DiMarzio FS-1 bridge pickup), HiWatt DR103, and EHX Ram’s Head Big Muff. The FS-1’s thickness and Big Muff’s smoothness eliminate the harshness often associated with Strats. An MXR Dyna Comp provided additional sustain, allowing Gilmour to hold notes seemingly indefinitely. He combined a WEM 4×12 cab with a Yamaha rotary speaker for subtle modulation, with delay added in the mix.
The first solo, in D major, uses the Strat’s neck and bridge pickups together. Its phrasing is more unconventional, featuring arpeggios and sliding passages. Gilmour’s vibrato, achieved with a shortened tremolo arm, sets him apart from typical blues players and has inspired fusion guitarists. He employs raking techniques, similar to Brian May, to maximize the expressiveness of each note. The outro solo, while featuring more conventional licks reminiscent of Hendrix, still sounds both masterful and spontaneous. Gilmour revealed he compiled the outro solo from the best sections of five or six takes, resulting in a composition that balances improvisation with structure. The Hendrix-style blues lick reappears and evolves, and aggressive double-stops become a recurring motif, building excitement.
For the climax, Gilmour ascends an octave, then descends, incorporating a signature three-fret bend, and concludes with a final iteration of the double-stop motif. Both solos demonstrate exceptional rhythmic awareness, with Gilmour seamlessly incorporating triplets, sextuplets, 16th, and 32nd notes within phrases. The interplay between 16th notes and sextuplets at 5:10 exemplifies his rhythmic mastery. A truly great solo combines tone, rhythm, melody, and expression, and Gilmour’s “Comfortably Numb” solos exemplify this brilliance.
