Top 30 Greatest Guitar Solos Of All Time

Top-30-Guitar-Solos-Of-All-Time

Welcome to WatchMojo, and today we’re counting down our picks for the most memorable lightning-lead guitar performances of all time!

#30: Keith Richards from The Rolling Stones’“Sympathy for the Devil”
The music of The Rolling Stones has never been one that hung its hat creatively upon lead guitar flash. Instead, this short-but-sweet solo by Keith Richards for the Stones’ song “Sympathy for the Devil” utilizes a call-and-response technique to bounce in between the “woo-woo” backing vocals. The lead guitar here takes stutter-steps in between those voices, skittering across the section with a memorable melody that’s simultaneously loose and spontaneous. There’s a sensibility behind Keef’s performance that almost feels like it's going to become unhinged, but the solo ultimately becomes one of “Sympathy for the Devil’s” most noteworthy aspects.

#29: Ace Frehley from KISS’ “Love Gun”
There are legions of guitar players out there that will tell you the exact same story about how they got started in the business: Ace Frehley. KISS’ resident spaceman was absolutely formative in terms of his influence upon hard rock and heavy metal playing back in the 1970s. The man’s still rocking today as a solo artist, but his outro solo for KISS’ “Love Gun” remains one of the man’s certifiable calling cards. Ace starts off with a slow build, like a rocket blasting off into space. Then, the guitarist utilizes a repetitive and aggressive phrasing as Paul Stanley’s choral vocals ring out behind it all. Finally, a harmonized outro melody is added to lend “Love Gun” that all-important “push over the cliff.”

#28: Tony Iommi from Black Sabbath’s“Paranoid”
It’s perhaps the most well-known Black Sabbath song of all time, but that doesn’t nullify the impact “Paranoid” had back when it was released in 1970. Tony Iommi has always been something of an underrated lead guitar player, thanks to so much critical attention being placed upon the man’s monolithic riffage. However, both “Paranoid” and “Die Young” from 1980 showcase a player adept at combining subtle melodic phrasings with immense power. Of course, it helps that the main riff to “Paranoid” is so immediately catchy and iconic, but Iommi still manages to lay some delicious icing on this musical cake via a solo that’s brief but impactful in all the right places.

#27: Kirk Hammett from Metallica’s “Fade to Black”
The influence of classic rock icons like UFO and Scorpions has always been a huge influence upon the guitar playing of Metallica’s Kirk Hammett. This influence is highlighted brilliantly on Hammett’s solo on “Fade to Black,” one that incorporates the big melodic qualities of players like Germany’s Michael Schenker into the mix. The slow-building harmony section serves as the perfect launching pad for Hammett to take to the skies, with notes that ascend to wonderful metallic heights. This solo is much more than a flurry of notes, but rather a journey one can almost sing-along to, and this is no accident. Instead, it’s the musical knowledge of Hammett coming to the forefront, and adapting his childhood musical heroes for a new generation of fans.



#26: Randy Rhoads for Ozzy Osbourne’s “Crazy Train”
It’s difficult to gauge exactly what creative heights Randy Rhoads could’ve scaled, had he not died so tragically young. That said, what we have left from Rhoads’ recorded legacy remains a bedrock for ‘80s heavy metal, including the guitarist’s work on “Crazy Train.” Much has been said about Rhoads’ classical influences, and this inspiration is certainly here, in spades. The end results aren’t stuffy, however, and instead combine those influences with a modern and aggressive approach for a new decade. Rhoads’ solo utilizes hammer-ons and tapping to wondrous effect, while never forgetting to be catchy-as-sin, to boot.

#25: Jeff Beck’s “Cause We’ve Ended as Lovers”
All the flowers need to be laid at the feet of Jeff Beck for being able to transition between so many seemingly disparate genres. The guitar legend was able to thrive within the realms of psychedelic rock to blues to jazz fusion, the last of which is evidenced here on “Cause We’ve Ended as Lovers.” The song was actually written by Stevie Wonder, and Beck’s slow and emotive playing over a steady backbeat is bolstered by feelings of measured restraint and determination. It’s a performance that hides its fiery hand within a velvet glove of blues licks before letting loose with an explosive and dizzying climax.

#24: Eric Clapton for The Beatles’ “While My Guitar Gently Weeps”
The camaraderie and group atmosphere within The Beatles wasn’t the greatest when “While My Guitar Gently Weeps” was released back in 1968. Cream’s Eric Clapton was brought in by the song’s composer, George Harrison, as a result of this inter-band acrimony. This proved to be a brilliant decision, since Clapton’s soloing on “While My Guitar Gently Weeps” would eventually gain critical accolades around the world. Harrison’s composition is given the heavy rock treatment by his Beatles bandmates, a decision that suits Clapton just fine. The guitarist’s rip-roaring solo is raw and unfettered, juxtaposing the sweet-sounding vocals with a bitter melodic counterpoint. Fans at the time claimed “Clapton is God.” And with performances as good as this one, who’s to say they’re wrong?

#23: Prince and The Revolution’s “Purple Rain”
It doesn’t feel unfair to say that when many people listen to “Purple Rain,” all that they really want to listen to is the solo from “Purple Rain.” That’s because Prince spends over half the song basically hammering home his six-string greatness, indulging in a solo that’s as extravagant as The Purple One himself. The influences from Prince’s soul and funk past feel evident within this solo, particularly Eddie Hazel’s performance on the cult Funkadelic track, “Maggot Brain.” Prince’s emotional availability as a player allows him to connect with his instrument in a manner few others were able to achieve. As a result, this solo from “Purple Rain” feels like a truly autobiographical performance from a musical icon.

#22: Carlos Santana’s “Black Magic Woman”
It isn’t too often that a cover song manages to so fully transcend its original version that it basically becomes the creative property of a new artist. This was exactly what happened to the Fleetwood Mac tune “Black Magic Woman,” an excellent blues-rock track that was injected with fiery Latin psychedelia once it got into the hands of Carlos Santana. The latter’s 1970 version with his group still possesses some blues roots, but Santana’s solo takes its listener on an entirely different sort of musical journey. Few players have been able to make their guitars cry and sing the way Carlos Santana does, and this approach is draped across “Black Magic Woman” like some kind of occult tapestry.


#21: Eddie Van Halen’s “Eruption”
It served as ground zero for hair metal and hard rock bands post-1978, a tide of musical magma from one Eddie Van Halen. “Eruption” was a statement of intent that challenged all other guitarists to GET. ON. EDDIE’S. LEVEL. No one could, of course, and Van Halen soon led the charge for electrified arena rock throughout the late ‘70s and beyond. The tapping technique demonstrated by Eddie Van Halen on “Eruption” felt like a lightning strike, while also signifying a changing-of-the guard for hard rock. Van Halen had arrived, “Eruption” was the proof, and there was NO turning back.

#20: Alex Lifeson from Rush’s “Freewill”
On New Year’s Day 1980, Rush dropped their seventh studio album entitled Permanent Waves, and with this track about one’s right to choose between pain or pleasure in life, guitarist Alex Lifeson exhibited his free will to thoroughly shred with the spectacular solo. When you’re playing with someone like this, you need to keep your distance, as Geddy Lee can certainly attest to, and Lifeson himself has recognized “Freewill” as one of his favorite solos. In fact, when the band originally threw down in the studio, he was only trying to keep up with the rest of the band, and well, he succeeded.


#19: Tom Morello from Rage Against the Machine’s “Killing in the Name”
For the lead single off their 1992 debut album, Rage Against the Machine relied on some repetitive phrasing to drive home their political message of institutional racism. Oh, and they also relied on the impressive guitar talents of one Tom Morello who gave us a “Drop D” riff that channeled the intensity of the lyrics. You gotta love how Morello shows complete control while still giving into the powerful sound. He came up with the riff while teaching guitar lessons and his Whammy-pedal based solo subsequently provided a master class to fellow artists.


#18: Jack White from The White Stripes’s “Icky Thump”
It only made sense for the White Stripes to kick it old school for their seventh and final album. For the lead single, the band played off of the British phrase “Ecky Thump,” which actually means “Oh, God.” And when Jack White hits the solo after singing about a cryptic trip to Mexico, well he made us believe in a new religion, and it was called “Icky Thump.” It’s hectic, it’s relentless and it’s that classic White Stripes sound.


#17: Ritchie Blackmore from Deep Purple’s “Highway Star”
With “Smoke on the Water,” the Deep Purple guitarist paved the way for classical music in blues-rock and brought to life one of the best heavy metal riffs in history. But when it comes to solos, it’s hard to overlook “Highway Star.” Machine Head’s fastest track also contains an organ solo by Jon Lord, but it’s Blackmore’s classically-inspired guitar piece that’s the “killing machine, it’s got everything.”

#16: Mark Knopfler from Dire Straits’s “Sultans of Swing”
When the Dire Straits hit the music scene in the late 70s, critics often compared their lyrical and vocal styling to Bob Dylan, but with all due respect to Mr. Dylan, he never busted out any guitar solos quite like this. Based on a chilled-out band that frontman Mark Knopfler saw play in South London, “Sultans of Swing” is smooth to the core, and that’s how Knopfler approached his sprawling solo. Showcasing Knopfler’s unique fingerstyle chops, this solo solidified Dire Straits as an influential sound in rock.


#15: Jonny Greenwood from Radiohead’s “Paranoid Android”
By 1997, many rock fans saw Radiohead as a byword for depression, and while that may be the case for some of their tracks, “Paranoid Android” poked fun at the idea with a reference to a character from “The Hitchhiker’s Guide to the Galaxy.” Recorded at Jane Seymour's ancient English mansion and influenced on a spiritual level by the Beatles' “Happiness is a Warm Gun,” Queen, and the Pixies, this mini-epic sees Jonny Greenwood torture a poor, unsuspecting Telecaster into giving two solos worth of fuzzy, distorted beauty.


#14: Eric Clapton from Cream’s “Crossroads”
As one of the greatest guitarists of all time, it’s no surprise Clapton’s got a number of signature solos to his name. While he and Duane Allman made history with “Layla”’s signature sound, it’s with Cream’s “Crossroads” solo that he really nails it. In fact, this hard-rock arrangement of Robert Johnson’s original blues tune is so good we think Slowhand may have signed a deal with the Devil too.


#13: Brian May from Queen’s“Brighton Rock”
Guitarists are known to have a special relationship to their instruments but none is more special than that of Brian May and “the Red Special.” Built by May and his father, the homemade guitar has been the fifth member of Queen since day one. With a bond that tight you know Mr May and company are going to find a way to show that baby off. What better way than with a three-minute solo crying, moaning, and screaming out from a wall of Vox amps?


#12: Allen Collins & Gary Rossington from Lynyrd Skynyrd’s “Free Bird”
With their remarkable solos and defiant rock ‘n’ roll swagger, Lynyrd Skynyrd became fixtures of the southern rock scene. It’s because of this cut off “Pronounced 'Lĕh-'nérd 'Skin-'nérd” that the band first became household names across America. Due in no small part to its structure – half ballad, half up-tempo guitar solo – “Free Bird” also became their second top 40 hit, keeping crowds pumped for decades.


#11: Slash from Guns N’ Roses’s “November Rain”
A monumental monster ballad needs an equally heroic guitar solo. While this song was originally released in 1992, it dates all the way back to the early 80s and even pre-dates the band, but when Use Your Illusion hit stores in 1991 the long, slow birth was proved to be worthwhile. GNR fans listened patiently through the first nine tracks, before Slash made it rain with his trilogy of soulful solos in the nine-minute “November Rain.”


#10: Randy Rhoads for Ozzy Osbourne’s “Mr. Crowley”
Randy Rhoads exploded into the heavy metal universe after giving Ozzy Osbourne’s music a new lease on life. And while “Crazy Train” off Blizzard of Ozz features one of the genre’s most iconic riffs, it’s actually that album’s second single that captures Rhoads’ guitar skills best. “Mr. Crowley” contains not one, not two, but three standout guitar moments; but the masterpiece’s climax is the outro solo.


#9: David Gilmour from Pink Floyd’s “Dogs”
At 17 minutes in length, this isn’t your typical rock song, but then again, Pink Floyd isn't your typical rock band. Originally titled “You've Got to Be Crazy,” the song took on another form within the structural framework of the 1977 album Animals. Serving as a warning about the effects of business on personal lives, David Gilmour channelled the joys and pains of humanity into mournful, saturated, and harmonically textured guitar solo. Although sonically quite different, Gilmour's playing reached a level of emotion rivaled only by the band's earlier epic, “Shine On You Crazy Diamond.”


#8: Brian May from Queen’s “Bohemian Rhapsody”
With Freddie Mercury’s theatrical vocals and lively stage presence and May’s virtuoso guitar abilities, Queen scored big overseas thanks to “Bohemian Rhapsody.” Featuring elements of hard rock, balladry, and opera, its unconventional style initially baffled critics. But today, it’s one of the Brits’ most popular songs. It’s in this melodic, chorus-less tune that May played one of the most incredible axe solos ever – and the song wouldn’t be the same without it.


#7: Stevie Ray Vaughn’s “Texas Flood”
When folk-rocker Jackson Browne caught a show at the 1982 Montreux Jazz Festival, he discovered a Texas guitarist by the name of Stevie Ray Vaughan and soon invited the guitar slinger to record in his personal studio. From those sessions sprang “Texas Flood,” an old blues song given the Stevie Ray progressive blues treatment. The song, and its hot-as-Texas guitar solos remained a Stevie Ray Vaughn concert staple for the duration of this legend’s tragically short career.


#6: Eddie Van Halen for Michael Jackson’s “Beat It”
Eddie Van Halen appeared earlier on this list with his incredible “Eruption.” But it’s also hard to ignore this solo from a Billboard number one song. By 1983, Michael Jackson had already transcended racial barriers within the music industry, but with his hit “Beat It,” he grabbed attention from people of all races and ages courtesy of a killer solo from special guest Eddie Van Halen. While the guitarist wasn’t allowed to appear in the iconic music video thanks to his label, he still lent his rock and roll gifts for free, thus providing the perfect grit to Michael Jackson’s crossover hit.


#5: Don Felder and Joe Walsh from Eagles’ “Hotel California”
After “One of These Nights” set these country and folk-influenced rockers on pace to live “life in the fast lane,” the Eagles produced another number one with Hotel California. That record spawned the smooth and soulful title track that classic rock radio stations won’t let us forget: aside from its surrealist lyrics, “Hotel California” showcases some of the most memorable electric guitar chemistry ever between Felder and Walsh.


#4: Slash from Guns N’ Roses’ “Sweet Child o’ Mine”
While Slash stood out on a wide array of G N’ R songs – from “Nightrain” to the aforementioned “November Rain,” just to name a few – it’s “Sweet Child o’ Mine” that really set the stage for the band’s later work. Though its brilliant intro riff was conceived as a joke, the track’s chart-topping success and incredible solo were anything but. Its parent album, Appetite for Destruction, also became the best-selling debut in American history.


#3: Jimi Hendrix from the Jimi Hendrix Experience’s “All Along the Watchtower”
Though “Little Wing” or “Voodoo Child” could’ve easily made this list, it’s the Seattle rocker’s cover of “All Along the Watchtower” that lands here. The Jimi Hendrix Experience gave Bob Dylan’s folk rock original a psychedelic rock spin, which included a killer guitar solo that helped Hendrix earn his only top 20 American hit. Even Dylan was inspired: his later performances of the track were influenced by Jimi’s version.


#2: David Gilmour from Pink Floyd’s “Comfortably Numb”
Though “Shine On You Crazy Diamond” is sometimes cited, it’s with The Wall’s third single that Pink Floyd ensured fans weren’t “comfortably numb” to their music. They may’ve been known for introspective lyrics and effects-heavy, extravagant shows, but their sound wouldn’t be the same without Gilmour. His evocative, blues-inspired guitar on “Comfortably Numb”’s two solos, especially the final one, helped solidify the band’s popularity and success.


#1: Jimmy Page from Led Zeppelin’s “Stairway to Heaven”
It's quite fashionable to knock and hate Led Zeppelin's radio staple, “Stairway to Heaven,” but no list of the top guitar solos would be complete without it. With Plant’s bluesy vocals, and Bonham’s thunderous bass drum, you’ve got an unmatched sound blending blues, hard rock and folk. However, it’s Page’s complex guitar work during the song’s climax that’s truly left an immeasurable and all-encompassing influence on later artists.



Which guitar solo gives YOU the chills! Let us know in the comments!