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100: UFO: Rock Bottom (Solo: Michael Schenker) The other is producer Al Kooper who keeps it all textural, with the acoustic guitars under the solo. But “Free Bird” has two unsung heroes: One ios co-guitarist Gary Rossington who plays that expressive slide in the sung section. The star of this Southern rock monolith is of course Lynyrd Skynyrd’s lead guitarist Allen Collins, whose big solo takes the theme of the lyrics and soars into the heavens with it.

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101: Lynyrd Skynyrd: Free Bird (Solo: Allen Collins/Gary Rossington) The solo’s final peak is vicious and tuneful at once. Randy Rhoads’ solo fits perfectly: He shreds, but with a strong sense of melodic development. Crowley”?!) But we went for this one, which reflects Ozzy’s closet Beatles fandom. Randy Rhoads has some of the finest solos of all time on Ozzy Osbourne’s debut album, Blizzard of Ozz. 102: Ozzy Osbourne: Crazy Train (Solo: Randy Rhoads) Shredding wasn’t for him the solo here (like his other greatest solo on “ In Bloom”) is 100 percent melody. This one was so upbeat that he initially buried it as a bonus track on a benefit album. Kind of ironic that one of Megadeth’s classic guitar moments happens in the context of a relatively sensitive breakup song.Ĭlick to load video 103: Nirvana: Sappy (Solo: Kurt Cobain)įor all the darkness in his lyrics (and soul), Kurt Cobain could come up with a perfectly exhilarating power-chord rocker when the mood struck. Instead of diving right into the furious runs of notes, Friedman builds suspense until the peak.

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Guitarist Marty Friedman’s showpiece is a classic example of how to build a guitar solo: it begins with some tasty melodic riffage that sets you up for the big onslaught that follows.

104: Megadeth: Tornado Of Souls (Solo: Marty Friedman) The closing Downing solo adds power to the majesty, hitting the wah-wah pedal at the peak. Tipton’s first solo is grand and majestic in a Pink Floydian way, ending with a perfect shot of feedback. There are plenty of outright shredder guitar solos in the Judas Priest catalog (we recommend “Painkiller’ for that), but Glenn Tipton and K.K. 105: Judas Priest: Beyond The Realms Of Death (Solo: Glenn Tipton/K.K. Their dual playing on the outro sports the bagpipe-like sound that would later become Big Country’s trademark. He and Scott Gorham both step out on the first guitar break: First Moore playing bluesy and tasty, then Gorham adding flash and Moore jumping back in to harmonize. In the closing section, Allman’s slide soars while Clapton does some fluid Eastern-style acoustic.Ĭlick to load video 106: Thin Lizzy: Waiting For An Alibi (Solo: Gary Moore/Scott Gorham)įrom the first harmony riff, you can hear how Gary Moore’s arrival energized Thin Lizzy. In the guitar break that closes the title song’s first half, they both reach for their highest and most desperate notes, as mixed by Tom Dowd to sound like one big guitar.

The best parts of the Layla album were fuelled by the instant synchrony of Eric Clapton and Duane Allman. 107: Derek & the Dominos: Layla (Solo: Eric Clapton/ Duane Allman) And he makes the most of his guitar partnership with Joe Walsh in the finale, another slow-build that resolves with that circular riff – which fades out just as you’re savoring it. He crafted the opening instrumental section, which sets up tension for nearly two minutes before the band crashes in. “Hotel California” also solidifies how essential Don Felder was to the band. The Eagles were always about songwriting, so it makes sense that their greatest guitar moment is a non-flashy guitar solo that enhances the tune. 108: The Eagles: Hotel California (Solo: Don Felder/Joe Walsh)

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