Top 100 Greatest Guitar Solos

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The Best Guitar Solos: 100 Hair-Raising Moments
The best guitar solos – from driving riffs to technical displays of mastery – make a song complete and more often than not, transcend the track entirely.
There are plenty of ways to play a great guitar solo: You can make jaws drop by shredding for minutes on end, or you can do a simple but unforgettable bit that makes a great song even greater. We’ve included both, and everything in between, on this list of 100 indelible, earth-shaking guitar solos – some that you could master with a little practice, some that you may not recreate in your wildest dreams.
While many of the best guitar solos are found in rock music – from classic to alternative and rockabilly to prog – we couldn’t leave out many of the blues, jazz, and country players who taught the rockers their licks.
One rule at the outset: No more than one solo from any one player, so a couple of members of well-known bands are represented by their greatest guest appearances. When in doubt, we opted for the most memorable solo, whether it’s part of a classic song or great overall performance.
Thanks to its title alone, this 1974 single by UK hard rockers UFO would make the list, but thanks to rampaging Schenker solo, the song turns into a powerful shredfest.
Most of the guitar solos here will make your jaw drop; only this one will make you laugh out loud. On this lounge-ballad sendup, Innes – later the songwriter of the immortal “Camelot Song” and other great Monty Python moments – plays a solo of (purposely) exquisite awfulness. It’s the sort of terrible solo that only a really good player could have dreamed up.
Even though Supertramp wasn’t a guitar band, Roger Hodgson grabbed himself some standout moments. The most surprising one came on the finale of bandmate Rick Davies’ smooth pop song, where he cranked up the wah-wah and turned the song into a potent rocker.
Andy Summers was generally a model of taste with The Police, usually avoiding flashy solos when some textural chords would do the job better. When he did play flashy, he made it count, calling on his blues roots. You wouldn’t think so much confident swagger could fit into a song called “So Lonely.”
Fuzz guitar in 1958? Sure enough. On this early single by the future Meter and Neville Brother, the studio guitarist plays some wild stuff that would have made Jeff Beck proud a decade later. The story goes that the guitarist was having amplifier trouble and started distorting at key points, so the producer decided the only solution was to turn it up and let it fully distort.
Less a traditional guitar solo than a sonic orgy, which is of course appropriate to the lyric. The Velvet Underground was never a band for guitar heroics, but Lou Reed rises to the occasion about seven minutes in, with a solo that crosses an Eastern raga feel with punkish anarchy.
No flash here, just some of the most threatening chord strums you’ll ever hear. “Rumble” was famously the first instrumental to be banned on AM radio, since parents feared that Link Wray’s switchblade guitar sound would inspire some real street fights. They may well have been right.
Buck Owens’ axeman was one of the tastiest players country music ever had, and the Buckaroos had a sideline in instrumental hits. Here he has great fun with that chicken effect beloved by country pickers, even building a catchy tune around it.
This begins as a heavy rock song, but during the solo Joe Walsh gets good and spacey with a solo full of slide and echo effects, flowing into a wah-wah take on Ravel’s “Bolero.” His later work with The Eagles was solid, but this is the real deal.
One of the hottest solos ever to appear in a power-pop song, this is simply a blast with its opening hit of power chords and the string-bending at the peak. You can even hear singer Pat DiNizio yelling “Go!” to kick it off.
At its best, English New Wave was a treasure trove of short, memorable solos. The one here (played by Partridge rather than regular lead player Dave Gregory) is as catchy as the song itself, with Partridge muting the strings to give it a Hank Marvin sound and a 60s sock-hop feel that matches the lyrics. It’s especially effective when he un-mutes for the final lick, setting you up for the next chorus.
Tony Iommi got plenty of chances to solo at length on the Black Sabbath classics, but this concise solo in a three-minute song says it all; once Iommi starts riffing, it’s nothing but frustration and release. No wonder so many punk rockers love these guys.
Known as the master of the Telecaster, the Texas guitarist made his name with a string of 60s singles that featured stinging solos and “icy” song titles. He revisited those days with a 90s comeback album; the title tune finds his powers intact and gives him more time to solo than the early singles did.,
The most guitar-slinging tune in the Cheap Trick catalog, “Need Your Love” features a concise killer of a power-chord solo about three minutes in. Later in the song, Rick Nielsen leads the band into a few minutes of jamming and riff-slinging for the pure fun of it.
Speaking of flash, Alvin Lee had more of it than just about any late-60s guitarist; his speed could be unbelievable. But his knowledge of rock history was just as impressive, and 10 Years After’s showpiece was essentially an amphetamined version of classic Elvis and Little Richard bits. Lee’s opening solo alone is a grabber.
Legend has it that Billy Gibbons uses a peso for a guitar pick, maybe that explains the stinging tone of his solo in this scorching slow blues number. For good measure, there’s also a hot solo, using slide this time, in “Waitin’ for the Bus,” the other half of this medley.
Plenty of musicians admired Chicago’s axeman Terry Kath, who really delivers here. This is a two-part song, and the first half is a long instrumental that finds Chicago in uncharacteristic power-trio mode – no horns, not even piano. Kath begins with a strummed lick that’s almost banjo-like, and the solo just keeps building with one hot riff after another.
John Lee Hooker never needed a band to lay down some of the grittiest blues guitar on record, and his groove is especially lowdown on this track – a personalized reworking of the Buddy Guy/Junior Wells classic “Messin’ With The Kid,” done during his sessions with Canned Heat. The Heat don’t appear on this track, but you know they were taking notes.
We can’t be definitive here, since Goodsall – the Brand X guitarist who did plenty of sessions at the time – swears this is him, and regular Billy Idol guitarist Steve Stevens denies it. But Goodsall has a story that sounds right. He’d done one pass at the solo and thought it was perfect, then Idol’s producer moved the mikes around and told him to play the same thing again. This made Goodsall so ticked off that he just started slamming his fist on the fretboard. Of course, Idol loved the result.
When John Martyn played folk music, he was one of the most elegant players around – but then things really got interesting. The finale of 1977’s One World is an unearthly mood piece, where Martyn’s swirling solo is all hypnotic echoes. Music like this simply wasn’t being made in 1977.
Number one fan and Replacements supporter Peter Buck takes the lead from the song’s country-tinged riff and melody and applies those R.E.M. trademarks of jangly tone and lilting arpeggios for a lovely guitar solo.
This track puts Annie Clark’s imagination as a guitarist on full display. The song’s central riff is tricky and sets you up for a shredding guitar solo, but when the solo finally comes, she fires up the guitar synth and heads to headier territory. Instead of choosing between spacey textures and flashy fretwork, she gives you both at once.
The ex-Grease Band guitarist didn’t last long in Wings thanks to his musical instincts; he was never a pop guy. But while he was there, he cut this gem of a solo, which gave a sweet ballad more grit than Paul McCartney probably intended – but he was smart enough to keep it. It’s clear that McCullough would have rather been playing the blues – but for these few minutes, he was.
Spare a thought for Eric Stewart, a great guitarist in a band that wasn’t really known for guitar rock. Their greatest hit, “I’m Not in Love” had no lead at all. Maybe that’s why he gave himself a long solo break on the finale of 10cc’s debut, Deceptive Bends. He plays some beautiful phrases as the song builds to its final peak, also giving himself a grand backing riff to play off of.
This was a viral sensation a few years ago, a clip with a woman in a purple dress playing an absolute scorcher of a slide-guitar solo. The clip went around the world a few times before the artist’s name got attached, but Chicago-area fans have long known Connor as a regional favorite with several albums out. She plays solos like this on a regular basis, but the Robert Johnson tune will forever be her calling card.
John Fogerty was a master at concise solos, like the 20-second marvels in “Travelin’ Band.” But when he stretched out, he didn’t disappoint. On the opener from CCR’s Cosmo’s Factory, he poured on the tension and the distortion, delivering a monster sound from the deep swamps.
Beginning with a wail of feedback, this tune had no problem living up to its title. At a time when alternative rock was getting cynical about everything, J Mascis reminded us how much fun full-tilt guitar heroics could be.
Think of Leslie West and you think of a big guy with a whomping guitar sound to match. But he’s all nuance and sensitivity on this acoustic guitar solo, which has some Greek and Eastern flavors and builds steadily to its big climax (twice). Every 70s hard rock band needed a solo acoustic guitar track, but this was one of the finest.
Before the Breezin’ album made him a star, George Benson had a rep as one of the more imaginative guitarists around. Two years before the hit, he did this audacious funk reworking of Dave Brubeck’s signature tune.
Thanks to Peter Green (and sometimes Danny Kirwan and Jeremy Spencer), Then Play On ranks as one of blues-rock’s great guitar albums. Green gets a handful of big moments but we’re especially fond of his sputtering, chord-based solo at the end of this track. The frustration it speaks is much appropriate for the song’s subject matter.
Hüsker Dü generally made their point and moved on fast, so this 14-minute instrumental was a real anomaly. It’s also one of the most intense guitar instrumentals we’ve ever heard, with Mould layering heavy, searing sounds that rampage through the subconscious. It ends the only way it possibly could, with a minute of piercing feedback.
Mike Bloomfied managed more visionary guitar on this 13-minute track than many players manage in their whole careers, getting two extended solo breaks. The first was among the first meetings of the Eastern raga style with West Coast psychedelia; the second is more tranquil and even has some surf influence between the lines.
By the time she moved toward pop success, Bonnie Raitt had developed one of the more distinctive slide guitar sounds in rock. And she’d learned how to make blues licks work in the context of an upbeat pop song. She’s gritty and concise here, and her solo cuts the one that Ry Cooder – no slouch himself – played on John Hiatt’s original.
At his best, Adrian Belew is wildly inventive and big fun at the same time. That’s the case on this solo track, which introduces his menagerie of sounds. If you wondered exactly what a big electric cat sounds like, now you know. But the two solo breaks also make creative use of the fuzzbox, not something he usually favored.
Jorma Kaukonen basically solos all through this song, playing in and around Grace Slick’s vocalizing. The closing guitar solo is 30 seconds of pure psychedelia, opening with those three sustained wailing notes and closing with those sign-off chords that leave the song forever unresolved.
This mysterious, extended piece is a textbook in building from tranquility to chaos. It begins as one of Sonic Youth’s prettiest tunes, and Moore’s first solo begins haunting and melodic. Over five minutes the melodies fall away, and the anger grows, until his guitar and Kim Gordon’s bass are in apocalyptic mode. One more verse and it all starts again, this time building from near silence to the most extreme of feedback.
This eight-minute track shows the full scope of Mick Ronson’s brilliance, from the psychedelic Eastern flavor of the first solo break to the anthemic English sound of the middle one, and the Yardbirds blues-wailing at the end. David Bowie’s reinvention as a rock god begins here.
Bo Diddley’s trademark beat gets so much attention that his killer skills as a lead player sometimes get overlooked. “Who Do You Love” is enough to remedy that: the guitar solo is all raw nerve, one of those moments that made blues-rock possible.
Brian Setzer has played some longer solos, but this quickie says it all – working wild rockabilly licks into an otherwise faithful version of the Louis Prima swing classic and employing some of the same string-bends that were his specialty in the Stray Cats. It proved that Setzer is a serious muso first, a cool cat second.
The secret weapon in the Sex Pistols was the fact that Steve Jones was a seriously great lead guitarist, even though showing off was the last thing he wanted to do. His best moments were chordal solos that amplified the aggression in the song – the second guitar solo in “Anarchy in the UK” was a prime example, and he pulls the same trick to even greater effect on “EMI.”
Martin Barre always got his big moments in a way that enhanced the structure of Jethro Tull’s pieces. For this one, he and Ian Anderson came up with a structural device – playing the verse chords in half-time, then speeding them back up – that worked. The famous story is that Jimmy Page was looking on while Barre recorded this; Barre’s confirmed that he wanted to wrap the solo so he could wave hello.
The guitar part here is all about that one, despairing chord. It becomes part of a textural solo, where the mood is enhanced with the layered tremolo guitars and some backward pre-echo. Like most of Johnny Marr’s solos, it’s there to magnify the emotions of Morrissey.
“Europa” is one of the few Santana tunes in which Carlos holds the spotlight from beginning to end. This is a spiritually-themed instrumental that begins slow and graceful and has him playing through a Leslie speaker for a chorus or two. Before it’s over, you get all the Santana trademarks – the long sustain, the wailing wah-wah – but the spiritual feel is never lost.
You could say that the Allman Brothers didn’t have two guitarists; they had one guitarist in two bodies. The exchange at the start of this guitar solo shows their synchrony as they answer each other’s phrases, but it’s Duane’s slide that keeps the spotlight. There are plenty of longer Brothers’ solos, but this one says it all in a couple minutes.
Steve Cropper was a master of the concise solo on countless Stax classics. Even on this extended track, he kept the guitar solo right to the point. Every one of his phrases is spare and tasty, and when he’s done soloing, he gets back to syncopated chords that light a fire under Booker T. Jones’ longer workouts.
Josh Homme has always been an unlikely mix of stoner-metal deity and power-pop nerd. His pop side wins out in this track, which was simply one of the catchiest tunes of the late 2000s. The song’s recurring triplet riff is part of the appeal, and he builds on that with a sitar-like solo that’s just weird enough to fit.
A contender for the most brutal hard-rock track of its time, this Jeff Beck showpiece revolves around a monster riff that appears at the beginning, middle, and end. Everything Beck plays in-between is about building tension: nothing pretty or melodic, lots of slide wails, and feedback outbursts. At the end, he builds the tension to a peak, heading for the huge climax, and then…the tape cuts dead.
Rush may be the only power trio where the lead guitarist often got overshadowed by the other two players. But this track is one of many reasons why Lifeson was an MVP himself: It’s his riffs that drive the song along, increasing the sense of freedom and danger at every turn. And when he gets the chance to play some flashy lead at midpoint, he doesn’t let you down.
Guitar heroics seemed to be the last thing anyone wanted to hear in 1978, especially in the UK when punk still reigned. Mark Knopfler still managed to sneak his way in, with a guitar sound that seemed to come from deep in the swamps – the swamps of London, of course. Everything about this track is tasty and spare, even the flash that Knopfler finally applies in his closing guitar solo.
What do you do when your song needs a motorcycle revving up, but you can’t afford to race one throu
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