TG Greatest Solos
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The debate rages on among guitar aficionados: what truly constitutes the greatest guitar solo of all time? Comparing the emotional depth of Comfortably Numb to the raw energy of Crazy Train, or the narrative arc of Stairway To Heaven against the sophisticated groove of Sultans Of Swing feels almost like comparing apples and oranges. Each solo is a unique expression, a moment captured in time and tone.
Yet, the collective voice of guitar lovers holds sway, and we at guitarplayers.net were keen to tap into that wisdom. Recently, Guitar World conducted a poll asking readers to weigh in on the most iconic and impactful guitar solos ever recorded. The results are in, and we’re thrilled to present to you the definitive list, starting with solos ranked 50 to 41.
Join us as we delve into the stories behind these selections, exploring the musicality, technique, and sheer magic that elevates these guitar breaks to legendary status. We’ve gathered insights from guitar luminaries like Steve Hackett of Genesis, Justin Hawkins of The Darkness, and Metallica’s Kirk Hammett, among others, to enrich our journey.
Given the breadth of this sonic landscape, we’ve organized this countdown across multiple pages for optimal reading. Navigate using the dropdown menu or the page numbers below to explore the greatest guitar solos of all time, as chosen by you, the passionate guitar community.
The 50 Greatest Solos of All Time: 50-41
50. Parabola – Tool (Adam Jones, 2001)
Tool, the enigmatic progressive rock quartet, is often discussed in terms of two distinct eras. Their early work, encompassing the Opiate EP and Undertow album, was characterized by heavier, more riff-driven compositions anchored by bassist Paul D’Amour.
TG Greatest Solos
The arrival of Justin Chancellor on bass in 1995 marked a pivotal shift towards intricate, progressive soundscapes. By the time Lateralus emerged in 2001, Tool had undergone a profound transformation.
Parabola, from Lateralus, features a solo that, while concise, marks a significant departure for guitarist Adam Jones. Known for his textural riffs and aversion to traditional soloing, Jones steps into the spotlight with a melodic break that transcends the typical guitar work of his 90s and 2000s alternative contemporaries. While not his first recorded solo, the Parabola solo highlights Jones’s evolving compositional approach, incorporating polyrhythmic harmonics and a newfound emphasis on melodic phrasing, showcasing his growth as a guitar innovator within the Tool sound.
49. Jessica – The Allman Brothers Band (Dickey Betts, 1973)
“Jessica,” a beloved instrumental by The Allman Brothers Band, is rumored to be Dickey Betts’s tribute to the legendary Django Reinhardt. Inspired by Reinhardt’s incredible two-fingered playing style (necessitated by an injury), Betts crafted a piece that, while playable with limited digits, is steeped in pure Southern rock spirit. A signature element of The Allman Brothers sound is the incorporation of the perfect 4th into the major pentatonic scale (A-B-C#-D-E-F# in A major), a sonic flavor that permeates “Jessica.”
TG Greatest Solos
Despite the rhythmic guitar part frequently hinting at a Mixolydian mode with the inclusion of G natural, this note is consciously absent from the main melody and sparingly used in the solo itself.
Dickey Betts’s solo in “Jessica” stands as a masterclass in thematic development. Instead of fearing repetition, Betts ingeniously utilizes recurring motifs, building hooks and thematic anchors by revisiting two or three core melodic ideas. This approach creates a solo that is both memorable and musically sophisticated, showcasing Betts’s melodic genius within the Southern rock idiom.
48. Nutshell – Alice In Chains (Jerry Cantrell, 1994)
“Nutshell,” the emotionally raw ballad by Alice In Chains, defies conventional song structure, notably lacking a traditional chorus. Instead, Jerry Cantrell’s haunting pentatonic guitar lines step into the role of a hook, intertwining with the poignant backing vocals. Often cited as one of the most heart-wrenching songs ever written, “Nutshell” sees Cantrell’s guitar become the voice of unspoken grief as Layne Staley’s lyrics reach their peak of despair. The guitar speaks where words fall short.
TG Greatest Solos
The strategic use of delay is particularly striking around the 3:34 mark, where Cantrell executes a dramatic upward slide, echoed by the delay, creating a powerful sonic effect.
Cantrell’s Van Halen influences subtly emerge in the ensuing legato passages, surprisingly shred-like for a grunge-era anthem. Then, in a moment of brilliance, Cantrell abruptly ceases playing, leaving the listener suspended in the emotional space conjured by the band, a testament to the power of restraint and dynamics in guitar soloing.
47. Gravity – John Mayer (2005)
John Mayer has undeniably become the defining blues guitarist of the 21st century. “Gravity,” a masterfully concise track, perfectly encapsulates his appeal. A four-minute pop song punctuated by succinct, melodically rich guitar breaks, “Gravity” delivers precisely the right amount of guitar to serve the song’s emotional core.
TG Greatest Solos
Mayer’s exceptional bending and vibrato techniques immediately evoke the spirit of blues legends Peter Green and B.B. King. Few guitarists have managed to coax such a pristine yet warm tone from a Stratocaster. Mayer demonstrates an innate understanding of musical development, expanding on ideas instead of simply repeating them.
Around 2:17, he introduces a lick and then masterfully doubles its speed in repetition. From 2:25, he showcases a clever double-bend lick, transposing it down the scale. However, it’s his mastery of slides that truly shines, culminating in a spectacular glissando as the vocals re-enter, solidifying Mayer’s place as a modern blues icon.
46. Paranoid Android – Radiohead (Jonny Greenwood, 1997)
Radiohead, pioneers of the anti-guitar-hero movement, have built their influential career by subverting rock clichés. Jonny Greenwood, with his boundless musical imagination and aversion to convention, consistently proves his ability to deconstruct and reimagine the traditional guitar solo.
TG Greatest Solos
“Paranoid Android” exemplifies this approach. The first, shorter solo emerges after three minutes of brooding, ominous riffing, escalating into a noisy, controlled guitar freak-out. Greenwood initiates this chaos with intense tremolo picking – a flurry of notes designed to unsettle the listener.
For the outro solo, Greenwood employs a sonic arsenal including both regular and reversed guitar parts, liberally applying string bends through the envelope filter of his Mutronics Mutator rack unit. It’s no exaggeration to say that Greenwood’s solo evokes the sound of a malfunctioning droid from Star Wars rather than a conventional guitar solo – precisely the intended effect, showcasing his innovative and boundary-pushing approach to guitar playing.
45. Maggot Brain – Funkadelic (Eddie Hazel, 1971)
In the wake of Jimi Hendrix’s untimely passing, the rock press embarked on a quest to identify his successor. Many concluded that Eddie Hazel of Funkadelic was the most deserving heir to Hendrix’s psychedelic guitar throne. “Maggot Brain,” Hazel’s magnum opus, is a ten-minute improvisation, captured in a single take. Echoing Hendrix’s sonic explorations, Hazel revels in fuzz, wah, whammy bar, and feedback, granting himself ample space to explore the full spectrum of his Stratocaster’s sonic capabilities. Around the five-minute mark, the tone cleans up, offering a moment of relative clarity amidst the sonic storm.
TG Greatest Solos
By the eight-minute mark, Hazel unleashes an extreme, Velcro-like fuzz tone, pushing the boundaries of guitar distortion. Initially recorded with the full band, Funkadelic leader George Clinton masterfully sculpted the final track, fading out most of the band and creating a spacey backdrop for Hazel’s guitar explorations, layering multiple Echoplex effects. “Maggot Brain” stands as a testament to the collaborative nature of musical genius, even in the context of a guitar solo.
44. I Believe In A Thing Called Love – The Darkness (Justin Hawkins)
Justin Hawkins of The Darkness, known for his flamboyant stage presence and guitar skills
(Image credit: Mariano Regidor/Redferns)
Justin Hawkins: “In I Believe In A Thing Called Love, I had the first solo, which is quite straightforward, featuring some of those signature licks I tend to incorporate into most things. It’s more of an extended first chorus tag. Then, I was tasked with creating the outro solo near the song’s end. I typically start with a big, ‘saucy’ bend – it’s become my trademark, I suppose.
“There are one or two harmony guitars layered in there as well – in fact, there’s a lot happening beneath the surface, including a brief dramatic monologue for the discerning listener with good headphones. From that opening bend, it’s primarily blues-based vocabulary around the 12th fret.
“I like to refer to it as the ‘humble blues scale’! I descend the scale and conclude that run with another ‘saucy’ bend… What can I say? People respond to ‘saucy’ bends! For the opening section, I was clearly channeling Brian May, but then it transitions into an almost funky section on the D and G strings where I’m aiming for more of a Slash vibe. And there’s more of that ‘humble blues scale’ – honestly, it’s incredibly versatile!
I have to say the guitars were recorded properly on this album. That’s the one thing that we nailed
Justin Hawkins
“It’s not strictly pentatonic because it includes that added note… I actually find that the more ‘extra’ notes you incorporate, the more sophisticated it sounds. The subsequent section is where I was channeling Billy Duffy from The Cult. On their Electric album, particularly the song Bad Fun, he uses hammer-ons and pull-offs against an open string. I decided to adapt that on the high E string to ascend to my desired position.
“I love soloing in E, especially on Les Pauls, because there’s always a convenient ‘escape’ by bending on the highest fret available. It’s visually impressive live because you can reach over the neck and pull the string with your first finger on the fretboard. It’s perfectly viable and justified, in certain contexts. I suppose this solo deserves its place on this list, because I essentially ended up emulating everyone who’s important to me… Justin’s Jive Bunny Megamix!
“For the recording, I believe we were at 2KHZ Studios on Scrubs Lane in Willesden, London. I was playing a black Les Paul Standard. It was actually my first Les Paul – made in 2000. I still have it in the studio, but it’s pretty beat up. I think the electronics have corroded from sweat because we played countless pub gigs with that guitar.
“It’s still a fantastic guitar, made before they started chambering the bodies, so it’s a genuinely heavy Standard with a slim, playable neck. I used it for almost everything on our debut album.
“Amp-wise, I would just use whatever Dan [Hawkins, guitarist] and Pedro [Ferreira, producer] set up for me. I think it was an old Mesa/Boogie Dual Rectifier with no effects, because effects are for the weak-minded. I must say, the guitar recordings on this album were done right. That’s the one thing we absolutely nailed. Any other shortcomings were overshadowed by the fact that the guitars were incredibly loud, well-played, and beautifully recorded!”
43. Shock Me – KISS (Ace Frehley, 1977)
“Shock Me” by KISS is less a solo and more a greatest hits compilation of the pentatonic scale, delivered by the inimitable Ace Frehley. In just 50 seconds, Ace distills the first 25 years of American rock guitar vocabulary, creating a blueprint for aspiring guitarists for the next 25 years and beyond.
TG Greatest Solos
Just as you anticipate the solo’s conclusion at 2:29, it unexpectedly shifts key and continues its energetic roll. Ace’s signature, strictly rhythmic vibrato is ever-present, seamlessly blending major and minor pentatonic lines. His licks are generally accessible, a key factor in their widespread influence. While hair metal and grunge guitarists often occupy separate musical universes, this solo serves as a unifying point of inspiration.
The rapid pull-off flurries at 2:06 involve pulling off 8-7-5 on the E string, then repeating the pattern on the B string (Ace typically tuned down a semitone). The wild blues scale lick at 2:14 is also ripe for emulation; the timing of those dramatic three-fret bends (executed at the 12th fret on the E string) delivers a whiplash-inducing impact. For the full KISS experience, live versions of “Shock Me” are essential viewing.
42. Sloe Gin – Joe Bonamassa (2007)
Joe Bonamassa’s reputation as a high-octane blues-rock performer makes his rendition of this classic ballad all the more compelling. Despite possessing the technical prowess to shred with the best, Bonamassa exercises remarkable restraint throughout “Sloe Gin.” Instead, he relies on impeccable note selection, rhythmic sensitivity, and expressive vibrato to convey profound emotion, punctuated by searing three-fret bends.
TG Greatest Solos
As always, Bonamassa expertly targets chord tones at opportune moments, while the wah-wah and killswitch effects during the second verse mirror the lyrical themes of inner turmoil. Joe’s Les Paul tone is immense, and when he switches to the neck pickup for the raked arpeggios at 2:57, each note is beautifully articulated and resonant.
The Aeolian chord progression, the deliberate tempo, and the epic scope of “Sloe Gin” evoke comparisons to a blues-infused “Comfortably Numb.” Bonamassa rivals Gilmour in both string bending control and emotional intensity, achieving this without resorting to gratuitous shredding.
Guitar solos constitute nearly half of “Sloe Gin’s” eight-minute duration, yet Bonamassa never hints at creative exhaustion. He strategically employs space early in the solo, allowing his sustained, high-register playing towards the end to feel relentless and cathartic. Joe Bonamassa’s “Sloe Gin” is a powerful testament to the inexhaustible depth of the blues tradition.
41. Killing In The Name – Rage Against The Machine (Tom Morello, 1991)
Tom Morello, the innovative guitarist for Rage Against The Machine, is renowned for his revolutionary approach to soloing, often crafting sonic collages of abstract noise that can sound more like a malfunctioning car alarm than a traditional guitar solo. However, this self-proclaimed “DJ of the group” achieves his unorthodox sounds with a surprisingly minimalist pedalboard.
I enjoy embracing limitations. I’ve had the same amp and pedals for the entirety of my career
Tom Morello
In the iconic solo for “Killing In The Name,” a former UK Christmas number one, Morello utilizes his trusty Digitech Whammy pedal (set to a two-octave pitch shift) to complement precise tremolo picking and D minor pentatonic licks. Despite the sonic intensity and complexity, the underlying setup is remarkably simple.
As Morello explained to TG: “I enjoy embracing limitations. I’ve had the same amp and pedals for my entire career. I decided early on not to get caught up in constantly acquiring new gear, but rather to explore the depths of my imagination to maximize the potential of my limited setup.” This philosophy is vividly demonstrated in the groundbreaking solo of “Killing In The Name.”
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Total Guitar editors
Total Guitar is a leading European guitar magazine. Offering lessons for all skill levels, TG’s world-class instruction is accessible and clear, covering technique and music theory. They also feature interviews with guitar icons and in-depth rig tours, connecting readers with the guitarists they admire.
