The quest to pinpoint the greatest guitar solo ever recorded is a journey fraught with passion and subjectivity. Comparing the soulful bends of “Comfortably Numb” to the frantic energy of “Crazy Train,” or the bluesy storytelling of “Stairway to Heaven” against the sophisticated jazz-rock fusion 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 debate rages on, fueled by personal taste and evolving musical landscapes.
To tap into the collective wisdom of guitar aficionados, we at GuitarPlayer.net launched a poll, inviting our readers to weigh in on the solos that resonate most deeply. The results are in, and we’re thrilled to present a countdown of what our community deems the Most Incredible Guitar Solos of all time. Join us as we delve into the stories behind these iconic tracks, exploring the elements that elevate these guitar breaks to legendary status. We’ll hear insights from guitar heroes like Brian May, Kirk Hammett, and Michael Schenker, offering a deeper appreciation for the artistry and innovation behind each masterful performance.
20. Gary Moore – “Still Got the Blues”
GUITARIST: Gary Moore (1990)
The quintessential blues-rock ballad solo.
“Still Got the Blues,” the title track from Gary Moore’s 1990 album, became an enduring anthem for blues guitar enthusiasts. This melancholic masterpiece in A minor marked a significant chapter in Moore’s career, solidifying his transition into a blues icon. The solo is a masterclass in emotional expression and controlled intensity. Listeners can discern the precise moment when Moore switches from the warm, rounded tones of his neck humbucker to the biting attack of the bridge pickup on his cherished 1959 Les Paul Standard, affectionately named “Stripe.” From this point, he embarks on a journey that both adheres to and departs from the song’s central theme. His improvisation primarily navigates the A minor pentatonic scale, punctuated by evocative notes drawn from the Aeolian and harmonic minor scales, adding depth and shading to his blues vocabulary.
Moore’s sonic arsenal for this iconic track included his prototype Marshall JTM-45 reissue head, pushed further into overdrive with the then-newly released Guv’nor distortion pedal. More than three decades later, “Still Got the Blues” endures as a benchmark for raw, emotionally charged blues playing. Moore’s performance is characterized by a palpable struggle with his instrument, a dynamic tension that only amplifies the solo’s profound impact. He wrestles with the notes, bending and sustaining them with ferocious intent, yet always maintaining a melodic thread that captivates and moves the listener.
Gary Moore Still Got the Blues YouTube
19. Metallica – “Fade To Black”
GUITARIST: Kirk Hammett (1984)
Epic and emotive: Kirk Hammett’s groundbreaking ballad solo.
“Fade To Black,” from Metallica’s 1984 album Ride the Lightning, represented a significant evolution for the band. Recorded at Flemming Rasmussen’s Sweet Silence Studios in Copenhagen, Ride the Lightning, their sophomore effort, showcased a more progressive and stylistically diverse approach compared to the raw thrash of their debut, Kill ’Em All. “Fade to Black” epitomizes this shift, incorporating acoustic guitars and a song structure that echoed the epic scope of “Stairway to Heaven.” However, it’s Kirk Hammett’s timeless and melodic guitar solos that truly signaled a stylistic transformation in his playing, marking a departure towards greater depth and emotional resonance.
A signature element of Hammett’s soloing on “Fade To Black,” particularly the final, climactic solo, is his use of arpeggios. “I have been playing that song for so long now,” Kirk 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 I just slide right into those arpeggios.” He emphasizes that these arpeggios are played across two strings, a technique prevalent in the 1980s before the widespread adoption of sweep-picking. “When guitar players first started incorporating arpeggios into their playing… arpeggios were played on two strings – not three or four strings,” he explains, highlighting the stylistic context of the era. This two-string approach, anchored by his middle finger for positional stability, allows for rapid and articulate arpeggiated runs.
For guitarists aiming to learn this iconic solo, Hammett points to two essential scales: the B natural minor scale and the B Phrygian mode. These scales provide the harmonic foundation for the opening 30 bars of the solo, a substantial portion of the musical landscape. While the majority of the solo resides within the natural minor scale, the Phrygian mode introduces a brief but crucial C note around bar 20, adding a touch of exotic flavor. Hammett underscores the improvisational nature of this section, revealing that these are the scale shapes he intuitively employs in live performances.
Kirk Hammett Scale Diagrams Fade to Black
(Image credit: Future)
The two-string arpeggio sections are characterized by blistering 16th notes at a tempo of 142 bpm. While the speed is considerable, Hammett employs pull-offs to facilitate these rapid licks, making them more manageable. He encourages experimentation with hammer-ons as well, offering aspiring guitarists practical techniques to conquer this technically demanding yet emotionally rewarding solo.
Kirk Hammett Fade to Black YouTube
18. Steely Dan – “Kid Charlemagne”
GUITARIST: Larry Carlton (1976)
Larry Carlton’s improvised masterpiece: “Messin’ with the Kid.”
Steely Dan’s discography is a treasure trove of sophisticated musicianship, brimming with exceptional guitar work. Among these gems, Larry Carlton’s solo on “Kid Charlemagne” from The Royal Scam stands out as a particularly celebrated moment. Carlton weaves together a tapestry of tasteful phrases that elegantly navigate the song’s intricate chord changes. His playing is a masterclass in the balance between “inside” and “outside” approaches, seamlessly blending harmonic familiarity with moments of daring dissonance. The result is a solo that is both technically astonishing and deeply emotionally resonant.
Carlton himself describes his approach as purely improvisational. “I was pretty familiar with the tune, so I just improvised,” he explained to Guitar Player. “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.” Indeed, it worked exceptionally well. Perhaps no other aspect of “Kid Charlemagne,” even the song itself, has garnered as much critical acclaim and analysis as Carlton’s spontaneous solo.
Despite the widespread adoration, Carlton remains humble and somewhat bemused by the attention. “When the record came out, there was a wonderful review of the tune in Billboard and they raved about the solo,” he recounts. “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 only adds to the mystique of a solo that many consider to be a pinnacle of jazz-rock guitar improvisation.
Larry Carlton Kid Charlemagne YouTube
17. Cream – “Crossroads”
GUITARIST: Eric Clapton (1968)
Eric Clapton’s “Crossroads”: Reimagining the blues for rock.
“Crossroads,” originally a blues song titled “Cross Road Blues” by Robert Johnson, underwent a seismic transformation in the hands of Eric Clapton and Cream. Clapton, then a 22-year-old guitar prodigy already nicknamed “God,” reimagined the acoustic blues lament as an electrifying rock and roll tour-de-force. His rendition of “Crossroads” became a defining moment, further solidifying his legendary status.
Famously recorded live at San Francisco’s Fillmore West for Cream’s Wheels of Fire album, Clapton’s arrangement retains the raw emotion and spiritual depth of Johnson’s original while injecting it with the explosive energy of contemporary rock. He amplified the song’s intensity and tempo, creating a showcase for virtuosity that resonated with audiences eager for dazzling displays of musicianship.
Ironically, Clapton himself is not entirely satisfied with the recorded performance. He famously laments that the band lost the “one” beat in the first verse of his second solo break, disrupting his phrasing. This self-critique reveals a perfectionist streak in a musician already considered near-divine by his fans. Yet, for most listeners, this minor imperfection is imperceptible. “Crossroads” remains a captivating four-minute testament to Clapton’s genius, a source of fascination and inspiration more than half a century after its release.
Eric Clapton Crossroads YouTube
16. Eric Johnson – “Cliffs Of Dover”
GUITARIST: Eric Johnson (1990)
Texan tone wizardry: The heavenly sounds of Eric Johnson.
“Cliffs Of Dover,” an instrumental masterpiece by Eric Johnson, garnered a Grammy Award for its exceptional guitar playing and breathtakingly pure tones. For the recording, Johnson primarily utilized his early ’60s ES-335, though he opted for his 1964 “Virginia” Stratocaster for the opening lead lines and sections of the main solo. His signal chain involved a 100-watt Marshall Super Lead amplifier, augmented by an Echoplex delay and a BK Butler Tube Driver, meticulously crafted to achieve his signature smooth, violin-like sustain and warm, singing tones.
Joe Bonamassa, another guitar luminary, vividly recalls his first encounter with Johnson’s playing. “I first heard him in 1986 on Live at Austin City Limits,” Bonamassa recounted in a 2015 interview. “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 unparalleled mastery of tone and technique, making “Cliffs Of Dover” a benchmark for instrumental guitar excellence.
Eric Johnson Cliffs Of Dover YouTube
15. Prince – “Purple Rain”
GUITARIST: Prince (1984)
Prince’s “Purple Rain”: A defining guitar moment from The Purple One.
The extended outro solo in “Purple Rain,” consuming nearly two-thirds of the song’s total duration, stands as a testament to Prince’s extraordinary guitar prowess. Wailing in G minor pentatonic, he occasionally incorporates modal notes like the minor 6th, adding subtle harmonic colors. A recurring motif, built around the 2nd and minor 3rd intervals, creates a memorable melodic hook.
The solo’s brilliance lies in its simplicity and effectiveness. It’s not a barrage of complex licks, but rather a carefully sculpted emotional crescendo. Prince strategically employs space between phrases, prioritizing impactful hooks over virtuosic displays. This restraint creates a powerful dynamic tension, setting the stage for the vocal melody that re-enters towards the song’s conclusion.
In live performances, Prince would often stretch this solo to an astonishing 15 minutes, transforming it into an even more expansive and improvisational exploration. Among the many live renditions, his halftime performance at the 2007 Super Bowl in Miami has ascended to legendary status. Shredding on stage amidst a downpour, Prince seemed to embody the very essence of “Purple Rain,” living the song’s emotional core in a breathtaking and unforgettable moment.
Prince Purple Rain YouTube
14. Deep Purple – “Highway Star”
GUITARIST: Ritchie Blackmore (1972)
Ritchie Blackmore’s Bach-inspired “Highway Star” solo: Race with the devil.
Ritchie Blackmore’s solo in “Highway Star” is a remarkable fusion of speed, precision, and classical influence. “I wrote that out note for note about a week before we recorded it,” Blackmore revealed, emphasizing the meticulous planning behind this seemingly spontaneous burst of energy. “And that is one of the only times I have ever done that.” His intention was to musically evoke the sensation of speeding in a fast car, crafting a solo that would be the perfect soundtrack for velocity.
Blackmore consciously incorporated a “very definite Bach sound,” structuring the solo around rigid arpeggios that traverse a familiar Bach progression: D minor, G minor, C major, A major. He believed he was the first guitarist to so overtly integrate Bach’s harmonic language into rock guitar, a pioneering move that contributed to the solo’s enduring appeal.
“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,” Blackmore humorously admitted. This escalating tempo would often vex keyboardist Jon Lord, whose already demanding part became increasingly challenging to keep pace with. Despite the onstage antics, the core of the “Highway Star” solo remains a testament to Blackmore’s compositional brilliance and his innovative blend of classical and rock sensibilities.
Ritchie Blackmore Highway Star YouTube
13. Guns N’ Roses – “Sweet Child O’ Mine”
GUITARIST: Slash (1988)
Slash’s “Sweet Child O’ Mine” solo: A tale of two halves.
Slash’s solo in Guns N’ Roses’ breakthrough hit “Sweet Child O’ Mine” is a study in contrast, a masterful blend of laid-back melody and raw, blues-infused aggression. The first half of the solo unfolds with a modal and melodic character, built around the Eb minor scale and subtly spiced with major 7ths for a hint of harmonic minor flavor. This section is characterized by its warmth and spaciousness.
The second half marks a dramatic shift in intensity. Slash transitions to a more aggressive, bluesier approach, primarily utilizing the pentatonic scale in its first position, an octave higher on the neck. This shift in register amplifies the impact of his bends and vibrato, giving them a wider, more pronounced quality. He also switches from the neck pickup, favored for its thick, warm tone in the first section, to the bridge pickup for added bite and edge, further enhanced by his Cry Baby wah pedal.
Perhaps the most compelling aspect of Slash’s solo is its organic feel, his innate sense of phrasing and how he seamlessly connects musical ideas. This improvisational quality is the hallmark of a truly great guitar solo. Ironically, despite Slash’s riff being the genesis of the song, he initially harbored reservations 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 recalled. “So it’s grown on me over the years.” The song, and its iconic solo, have undeniably cemented their place in rock history.
Slash Sweet Child O Mine YouTube
12. Ozzy Osbourne – “Crazy Train”
GUITARIST: Randy Rhoads (1980)
Randy Rhoads’ “Crazy Train” solo: Fretboard fireworks on Ozzy’s comeback.
Randy Rhoads is often credited by Ozzy Osbourne as the musician who revitalized his career. Listening to Rhoads’ solo on “Crazy Train,” it’s easy to understand why. Rhoads’ guitar style, rooted in classical and modal influences, stood in stark contrast to Tony Iommi’s blues-based approach in Black Sabbath. Yet, like Iommi, Rhoads was an innovator, forging his own distinctive and influential voice.
A particularly memorable moment in the “Crazy Train” solo is a section that sonically mimics a train derailing, achieved through a chromatically ascending trill that then descends in key. Rhoads concludes the solo with a rapid-fire F# minor pentatonic phrase, followed by a blistering Aeolian legato run culminating in a dramatic bend on the 19th fret.
Rhoads recorded this iconic solo using his customized Jackson guitar, plugged into a Marshall amplifier and two 4×12 cabinets, while positioned in the studio 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.” This meticulous approach to tone and performance contributed to the solo’s enduring impact and its status as a benchmark for high-energy rock guitar playing.
Randy Rhoads Crazy Train YouTube
11. Michael Jackson – “Beat It”
GUITARIST: Eddie Van Halen (1982)
Eddie Van Halen’s “Beat It” solo: An unlikely pairing, breathtaking results.
When Michael Jackson sought a guitarist for his Thriller album, Pete Townshend declined but suggested an unexpected name: Eddie Van Halen. Jackson and producer Quincy Jones embraced the idea, bringing Van Halen on board to contribute a solo to “Beat It.” Upon hearing the section designated for his solo, Van Halen felt the chord changes were lacking. With characteristic boldness, he requested the engineer to edit the tape, creating a new chord progression that better suited his vision.
Anticipating Jackson’s potential surprise, Van Halen forewarned him about the alteration. “So I warned him before he listened,” Van Halen recounted to 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.” Jackson’s reaction was overwhelmingly positive. “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.’” Remarkably, Van Halen contributed this iconic solo entirely pro bono, driven by his artistic passion and the sheer fun of the collaboration.
Eddie Van Halen Beat It YouTube
10. The Beatles – “While My Guitar Gently Weeps”
GUITARIST: Eric Clapton (1968)
Eric Clapton’s “While My Guitar Gently Weeps” solo: Slowhand’s uncredited Beatles cameo.
By 1968, George Harrison’s songwriting within The Beatles was reaching new heights, rivaling the output of Lennon and McCartney. “While My Guitar Gently Weeps” was a testament to Harrison’s evolving artistry, a song of profound beauty and emotional depth. However, the track initially lacked the band’s collective enthusiasm. To inject new energy into the recording session, Harrison invited his friend Eric Clapton to contribute, knowing Clapton’s presence would motivate his bandmates.
Utilizing Harrison’s 1957 “Lucy” Gibson Les Paul through a Fender Deluxe amplifier, Clapton’s solo transcends mere accompaniment. Instead, it becomes a haunting and aching counter-melody, a “song within a song.” His descending bends, release notes, and signature vibrato are all on full display, evoking a palpable sense of sorrow and heartbreak. Clapton’s playing weaves a dramatic narrative that builds to a cathartic and emotionally shattering climax, perfectly mirroring the song’s melancholic beauty. His contribution, though uncredited on the original release, is now widely recognized as integral to the song’s enduring power.
Eric Clapton While My Guitar Gently Weeps YouTube
9. Chicago – “25 OR 6 TO 4”
GUITARIST: Terry Kath (1969)
Terry Kath’s “25 or 6 to 4” solo: Wah-drenched ecstasy.
Terry Kath’s solo on Chicago’s “25 or 6 to 4” is a fiery blend of jazz sophistication and hard rock intensity. Guitar Player magazine once aptly described Kath’s playing on this track as “Wes Montgomery meets Jimi Hendrix,” capturing the fusion of his jazz-rooted sensibilities and his later embrace of rock’s raw energy. As a founding member of Chicago, Kath served as the band’s guitarist until his tragic accidental death in 1978.
While Kath’s exceptional guitar work graced numerous Chicago tracks, including “Introduction” and “Free Form Guitar” from their 1969 debut, The Chicago Transit Authority, his solo on “25 or 6 to 4” remains a definitive highlight. Kath liberally employs his wah pedal, imbuing his lines with a deeply expressive and at times frenetic emotional quality. The wah accentuates the dynamic peaks and valleys of his playing, adding a layer of passionate urgency to his performance.
Kath most likely played his Gibson SG Standard, famously pictured on Chicago Transit Authority‘s inner sleeve. He revealed to Guitar Player his preferred string setup: a high E string from a tenor set paired with a standard set for the remaining strings, shifted down one position (high E for the B string, B for the G string, and so on). This customized string gauge likely contributed to his distinctive tone and playing feel, further enhancing the unique character of his “25 or 6 to 4” solo.
Terry Kath 25 or 6 to 4 YouTube
8. Lynyrd Skynyrd – “Free Bird”
GUITARIST: Allen Collins (1974)
Allen Collins’ “Free Bird” solo: The Bird is the word.
The legendary four-minute-and-24-second guitar solo that concludes Lynyrd Skynyrd’s “Free Bird” was initially conceived for a practical reason: to provide singer Ronnie Van Zant with a vocal respite during the band’s demanding tour schedule. At a staggering 143 bars in length (effectively 286 bars due to doubling), it’s by far the most expansive solo featured in this countdown.
“Free Bird” appeared on the band’s eponymous debut album in 1973. Guitarist Allen Collins delivered this marathon solo using his 1964 Gibson Explorer. As Lynyrd Skynyrd’s Gary Rossington 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.” Rossington’s admiration underscores the raw talent and improvisational brilliance of Collins’ iconic “Free Bird” solo.
Allen Collins Free Bird YouTube
7. Dire Straits – “Sultans Of Swing”
GUITARIST: Mark Knopfler (1978)
Mark Knopfler’s “Sultans of Swing” solo: Understated fingerpicked brilliance.
Just 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. Knopfler’s “Sultans of Swing” demonstrated that guitar virtuosity didn’t require walls of distortion to captivate audiences.
Knopfler initially composed “Sultans of Swing” on a National steel guitar, but found the sound “dull.” It wasn’t until he picked up a Stratocaster that the song “came alive.” Using a clean Fender Twin amplifier with no overdrive, Knopfler fingerpicks not one, but two standout solos within the track.
The first solo is a lyrical and elegant section reminiscent of Chet Atkins, featuring single-note runs and chordal bends that evoke dreamy romanticism. While this solo alone would be remarkable, the outro solo is the true showstopper. Knopfler builds to a dazzling crescendo of rapid 16th-note arpeggios, executed with pristine clarity, precision, and an infectious energy that makes it consistently thrilling to hear. His fingerstyle technique, combined with his masterful phrasing and tone, cemented “Sultans of Swing” and its solos as instant classics.
Mark Knopfler Sultans Of Swing YouTube
6. The Jimi Hendrix Experience – “All Along The Watchtower”
GUITARIST: Jimi Hendrix (1968)
Jimi Hendrix’s “All Along The Watchtower” solo: The greatest cover solo.
Jimi Hendrix’s rendition of Bob Dylan’s “All Along The Watchtower” is widely considered the definitive version, surpassing the original in impact and recognition. Guitarists often refer to it as a “Hendrix cover,” a testament to how completely he transformed the song. Hendrix’s rhythm playing is astounding, both in the iconic intro and the nuanced chord-melody work throughout the verses. And then there are the four guitar solos.
The solo at the 2:20 mark is a particular highlight. Following an opening octave run, Hendrix launches into a blues-based improvisation in C# minor pentatonic. At 2:32, the solo explodes into a signature Hendrix blend of lead and rhythm playing, punctuated by funky scratching on muted strings. Attempting to play along with these scratches, focusing on a loose wrist and consistent strumming, offers invaluable insight into Hendrix’s groove and feel.
To approximate Hendrix’s tone, select a bridge-position single-coil pickup, dial in a delay around 350ms, add compression for sustain, and incorporate a Vox wah pedal or similar. With these elements in place, you can begin to tap into the raw power and psychedelic textures that define Hendrix’s “All Along The Watchtower” solo.
Jimi Hendrix All Along The Watchtower YouTube
5. Eagles – “Hotel California”
GUITARISTS: Don Felder & Joe Walsh (1977)
Eagles’ “Hotel California” solo: Twin-guitar harmonies soaring to new heights.
“Hotel California,” the title track from the Eagles’ fifth album, is arguably their most enduring song and consistently ranks high in greatest guitar solo polls. The solo section begins around 4:20, forming an extended coda where guitarists Don Felder and Joe Walsh engage in a captivating interplay of licks before uniting in those iconic harmonized lines at 5:39.
The harmonized guitar lines, a defining feature of the solo, are constructed on a relatively straightforward principle. Felder and Walsh play arpeggios based on each chord in the progression. The harmony is created by one guitarist consistently playing a note one step lower within the chord than the other. For example, in a Bm chord (B, D, F#), if the higher guitar plays F#, the lower guitar will play D, and so on.
This understanding of the underlying harmonic structure provides a valuable key to mastering these descending arpeggios. While replicating the solo by ear is challenging, knowing the song’s chord progression allows guitarists to jam along and explore the harmonic landscape that Felder and Walsh so brilliantly navigated.
Eagles Hotel California YouTube
4. Queen – “Bohemian Rhapsody”
GUITARIST: Brian May (1975)
Brian May’s “Bohemian Rhapsody” solo: Possibly the biggest rock song ever.
Following Freddie Mercury’s passing in 1991 and its resurgence in the 1992 film Wayne’s World, “Bohemian Rhapsody” became a global phenomenon, triggering an outpouring of love and respect 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” is undeniably Queen’s most famous song, and its concise nine-bar guitar solo is a perfectly crafted musical interlude. It bridges the verses and leads into the song’s operatic section, a transition that, on paper, seems improbable. The song defies conventional structure, lacking a traditional chorus and relying on minimal repetition. Yet, “Bohemian Rhapsody” works brilliantly, and Brian May’s solo is an indispensable element of its magic.
May’s phrasing is loose and natural, flowing across the backbeat rather than adhering to a rigid rhythmic grid. His fastest licks are expressive bursts rather than mechanical noodling. His articulate pre-bend and vibrato techniques showcase his exceptional touch and feel. Within the complex architecture of “Bohemian Rhapsody,” May’s solo feels perfectly tailored, an essential component of the song’s unique and enduring power.
3. Led Zeppelin – “Stairway To Heaven”
GUITARIST: Jimmy Page (1971)
Jimmy Page’s “Stairway To Heaven” solo: Heaven-sent soloing.
From the opening phrase played on Jimmy Page’s ’59 Fender Telecaster to the final flurry of notes and wailing bend, the “Stairway To Heaven” solo is widely regarded as guitar solo perfection, a compositional masterpiece. Rather than aimless improvisation, Page constructs a “song within a song,” a journey in miniature.
The opening phrases establish the mood, with Page adding notes to the pentatonic scale to harmonize with the song’s evolving chord progression. A rapid repeating lick midway through elevates the intensity, followed by a haunting call-and-response between the main guitar and an overdubbed guitar. This interplay builds tension leading into the final flurry of notes and the concluding bend. The solo’s brilliance lies in its compositional arc: licks that complement the chord changes, melodic contour, and carefully paced moments of virtuosity, all guiding the listener on an emotional and musical journey.
Three takes of the solo were recorded, all improvised, though Page has mentioned pre-planning the opening line. While the other takes remain legendary and sought-after artifacts, the released version has become so iconic that it’s difficult to imagine any alternative surpassing it.
Jimmy Page Stairway To Heaven YouTube
2. Van Halen – “Eruption”
GUITARIST: Eddie Van Halen (1978)
Eddie Van Halen’s “Eruption” solo: The solo that shook the guitar world.
“Eruption,” Eddie Van Halen’s groundbreaking instrumental solo, is a whirlwind of innovation: fast legato hammer-ons and pull-offs, pinched harmonics, whammy-bar dives, and the revolutionary two-hand tapping technique. This track ignited a generation of guitar heroes. While the tapping often takes center stage, Van Halen’s tone, blistering legato phrasing, and inventive note choices are equally crucial to its impact. Amidst the technical brilliance, Van Halen’s playing is infused with a joyous, unrestrained rock and roll spirit.
Remarkably, Van Halen himself was never completely 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.” Despite his self-critique, “Eruption” remains a technical landmark.
The opening eight bars are blues-infused, with virtuoso legato licks that evoke Jimmy Page’s breakdown solo in Led Zeppelin’s “Whole Lotta Love.” Van Halen develops this theme over the subsequent eight bars, incorporating notes from major and minor pentatonic scales, adding chromatic embellishments. His tapping finale is perhaps the most analyzed and imitated solo section in rock history. Van Halen’s taps are rhythmically unpredictable, creating complex timing shifts as he alternates tapping patterns. From beginning to end, “Eruption” is a masterpiece that represents a lifetime of dedication and innovation, a peak of guitar virtuosity.
Eddie Van Halen Eruption YouTube
1. Pink Floyd – “Comfortably Numb”
GUITARIST: David Gilmour (1979)
David Gilmour’s “Comfortably Numb” solos: Greatness in waves.
In a 1992 MTV interview, David Gilmour echoed Keith Richards’ theory that songs and solos “are just out there in the air and you sort of grab them.” Gilmour agreed, “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, “just happen,” while others require hard work and struggle.
David Gilmour Comfortably Numb YouTube
Gilmour’s two solos in “Comfortably Numb” are undeniably among his finest work, and our readers have voted them as number one. While debates persist over which solo is superior, both are undeniably exceptional.
Gilmour’s tone is legendary, achieved with his iconic black Strat (equipped with a DiMarzio FS-1 bridge pickup at the time) into a HiWatt DR103 amplifier, and the crucial EHX Ram’s Head Big Muff pedal. The FS-1’s thickness and the Big Muff’s smoothness eliminate the harsh treble often associated with Stratocasters. An MXR Dyna Comp added sustain, allowing Gilmour to hold notes seemingly indefinitely. His live setup incorporated a WEM 4×12 cabinet and 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 in combination, enabled by custom switching. Its phrasing is more unconventional, featuring arpeggios and sliding passages. Gilmour’s vibrato technique, using a shortened tremolo arm, distinguishes him from typical blues players, inspiring fusion guitarists. He employs raking techniques at the beginning of phrases, similar to Brian May, extracting maximum expression from each note.
The outro solo, in contrast, features more conventional blues-based licks, with phrases reminiscent of Hendrix. Passages at 4:57 and 5:12 echo “All Along the Watchtower” or “Foxey Lady,” though within the epic scope of “Comfortably Numb,” these connections are subtle. The solo sounds simultaneously masterful and improvised. Gilmour revealed that he crafted it by compiling the best sections from five or six takes, resulting in a solo that is both structurally sound and emotionally spontaneous. The Hendrix-esque blues lick recurs at 5:27, extended and more intricate than before. Aggressive double-stops emerge at 5:15 and evolve into a motif by 5:35.
For the climax, Gilmour ascends an octave, seemingly exceeding the expressive limits of his instrument. He descends, incorporating a spectacular three-fret bend, and concludes with a reprise of the double-stop motif. The result is a solo that possesses the energy of improvisation and the coherence of careful composition. Both solos showcase Gilmour’s rhythmic mastery, seamlessly integrating triplets, sextuplets, 16th, and 32nd notes within single phrases. The effect at 5:10, where a 16th-note lick is immediately repeated and expanded in sextuplets, is a prime example. Exceptional solos may excel in tone, rhythm, melody, or expression, but “Comfortably Numb” embodies all these qualities to an unparalleled degree, securing its place as the most incredible guitar solo of all time according to our readers.
