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Few things defined the genre of rock and roll more than the guitar solo. Sometimes powerful and loud, at other times gentle and orchestrated, the guitar solo changed pop culture and the way rock musicians approach composing songs.
Ranking these solos isn't easy: There are countless solos throughout rock and roll's history that are worthy of recognition. To narrow down the selection process, our ranking only includes studio versions of songs, rather than live performances.
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Throughout the song, Betts conjures a playfully upbeat melody that fits right in the middle of Chuck Leavell's top harmony on the electric piano and Gregg Allman's bottom harmony on the organ. Although the song is grounded by a dominant riff, Betts' playing constantly wheels through new rhythmic variations to keep the train rocking.
Released in 1973 two years after the death of band leader Duane Allman, Betts shines here as the lead guitarist on the track.
Chuck Berry shaped all future rock and roll songs with the release of his 1958 hit song Johnny B. Goode. Though it's not the craziest guitar solo ever recorded, it certainly was integral to the development of the instrument and rock and roll because Berry brought elements of the blues and country to electric guitar.
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This is apparent from the opening lick when Berry uses a double stop to play two notes at once while sliding down the first two strings. Throughout the rest of the song, he uses bends and slurs in ways that would be copied by everyone from The Rolling Stones to Jerry Garcia.
It's safe to say that most of the other solos on this list wouldn't be here without Berry and this song, and that electric guitar wouldn't have played such a primary role in the success of rock and roll without Johnny B. Goode.
When OK Computer dropped in 1997, it was clear that Radiohead had a masterpiece on its hands. This was ever apparent in the band's lead single Paranoid Android, which, inspired by The Beatles' Happiness Is A Warm Gun, can be separated into four distinct parts.
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Guitarist Jonny Greenwood has two solos in the song — a short one in the second section and an epic one in the last part of the song that sends it spiraling to its end. As it switches between 4/4 and 7/8 time, Greenwood's solo weaves through distorted sound effects before ending on a descending chromatic riff.
Eric Clapton's spin on Robert Johnson's 1936 Delta blues song Crossroads is a classic from the guitar legend's catalog. Over the years it has become one of Clapton's most iconic solos and is a fan-favorite to see live, as the guitarist improvises a new solo each time.
On the initial recording from 1966, Ginger Baker lays down a driving beat and Clapton goes to work with a dominant riff that he frequently repeats throughout the song. During his solos, Clapton draws from the blues and dances on the high strings, giving us tasty triplets and bends.
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What might make the solo most impressive is that Clapton is actually playing on the off beat. He told Guitar World, Most of that solo is on the wrong beat. Instead of playing on the two and the four, I'm playing on the one and the three and thinking, 'That's the off beat.' No wonder people think it's so good — because it's f---ing wrong.
In my opinion, Alex Lifeson is one of the most criminally underrated guitarists in progressive and classic rock, largely because he was overshadowed on recordings by Neil Peart's virtuosic drumming and Geddy Lee's imaginative bass playing. But on La Villa Strangiato Lifeson showcased his abilities with two insanely crisp solos.
The first is a Spanish classical guitar solo that starts out slow to ease us in before gradually building to an impressive winding flamenco riff.
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The second solo is the vehicle that lets the band build up to the song's climactic breakdown. It starts out ambient and grooves along until Lifeson is screeching through slides and landing mind-bending licks. What stands out here is Lifeson's use of silence; it makes the delivery of each new phrase that much more impactful.
Known for Hendrix-esque stage antics and effortless blues solos, Stevie Ray Vaughan had a certain magic to his playing, as well as soloing that is unrivaled. When he was in a groove it was like he and the guitar were one entity, and listeners could feel the emotion being portrayed through his playing.
Arguably his best solo is on the track Texas Flood. He seamlessly weaves stanky blues licks in between each of the song's verses and relies heavily on vibrato and string bends to achieve his signature sound.
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An underrated part of these solos is the warm and tender tone of Stevie's guitar, which delivers the idea of devastating floodwaters to listeners' ears with ease.
Sympathy for the Devil is amazing in many aspects: It's one of popular music's best songs ever recorded, it's an amazing dance song, and it also features Keith Richards' best guitar solo.
As Mick Jagger sings from the perspective of the devil in each verse, he's building up for Richards to take over with his solo. Against the background of the samba rhythm coming from the percussion, Richards lets loose a howling solo.
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He isn't constantly shredding throughout the entire last three minutes of the song. Instead, the empty space in between each of his crunchy licks emphasizes the power of his solo and keeps the listener on edge waiting for the next run to grace their ears.
Over the years this quintessential Laurel Canyon jam has turned into somewhat of a yacht rock classic, but Hotel California features one of the best solos in rock history. While others on this list earned a spot for their technicality, what Felder and Walsh prove here is that sliding into the pocket and grooving a more laid back solo can also prove to be just as successful.
As the two duel back and forth it's like they're communicating through their guitars. The solo features dramatic slides and iconic triplets that have become a favorite for air-guitaring over the years.
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From the beginning of the song, the power of Santana's tone is apparent, driving the sorrowful nature of the track home. With about a minute-and-a-half left in the song, Santana's playing begins to seem frenetic. Energized by the clash of the drums, Santana speeds up and begins to shred, sustaining bends on the high strings and spitting out licks effortlessly.
Not counting session musicians, The Beatles almost never featured other artists on their records. On the rare occasion when George Harrison tapped his friend Eric Clapton to play guitar on While My Guitar Gently Weeps, he surprisingly didn't want to record the track because nobody ever plays on The Beatles' records. But after some convincing and a promise that it would sound Beatles-y, he laid down one of the rock world's most legendary solos.
What makes this solo so poignant is the meaning behind the song. Harrison wrote it as a social commentary about the abundance of hate in the world and humanity's inability to love one another. The song is summed upperfectly in the lyric the love there that's sleeping.
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Clapton captured the emotion of the song perfectly; it's as if with each sorrowful string bend he is pouring out his heart through his guitar. Unsurprisingly the meaning still holds up well today. Despite the fact that a non-Beatle recorded it, I'd argue this is the best guitar solo in the band's catalog.
Upon hearing the first few notes of Voodoo Child, even a non-guitar player can tell that there's something about the way Jimi's playing the guitar that's
While Frank Zappa originally put the wah-wah pedal to use before introducing it to Hendrix and Eric Clapton, Hendrix would ultimately popularize the effect. Throughout the song, Jimi's guitar also features his signature feedback screech — something else he helped popularize — which he created by bringing his guitar in close range to his amps.
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The solo is a masterclass in shredding and showcases Jimi's toolbox of effects that helped leave his mark in rock guitar history.
Brighton Rock is a song often overshadowed by Queen's other hits, partly because the energetic soloing on the track is out of character compared to the theatrical solos found on more grandiose tracks like Bohemian Rhapsody.
But May's solo on this track is arguably his best. About two minutes into the song, May begins small with some tasteful triplet runs, with lots of echo and delay. A minute later, he picks up the pace and shreds some blues riffs.
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But one of the best parts is May's energy with drummer Roger Taylor,
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