'A religious journey up and down his fretboard' … Chloe Scannapieco on Slash's Sweet Child O' Mine solo. Photograph: Kim D Johnson/AP
The response has been astonishing. Here's a brief selection of the emails we received – and, given we didn't want this enormous body of work to go to waste, we've posted as many as we can to this Tumblr. Take a look and see if your favourite guitar solo has been mentioned – and join in the discussion below.
My vote for best solo goes to Elliott Randall's sublime effort on Steely Dan's Reelin in the Years. It's the sheer joyous ebbulliance with which it starts, going on to demonstrate virtuosity and originality before it winds down to a perfect conclusion. It also acts as a perfect counterpoint to the chugging rhythm section with a mixture of slow and medium paced runs that add wit and melody to a classic song. It's not indulgent or flashy and allegedly, it's Jimmy Page's favourite solo, so that's good enough for me.
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For me the most clueless and wrongest guitar solo ever (and therefore great) is by Neil Hegarty on Royal Trux's staggering (by staggering I mean clearly not well) and majestic Stevie.
Imagine a blindfolded drunk pretending to be sober and smashing his way through an antiques shop, occasionally backing up, cowering a bit, then regaining his confidence and striding through the smouldering remains only to collapse and nod off near the exit.
This is among many of the visual scenarios I have in mind when listening to Neil Hegarty's extraordinary solo on Stevie. I don't care that its a tongue in cheek celebration of the worlds shittest action hero. Its how guitar solo's should be played- without the slightest idea about whats coming next or where to go from here/there.
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It's a subject that you could ponder for a lifetime and still never come to an apt conclusion. So don't. The best guitar solo of all time is Slash's unholy contribution to Sweet Child O' Mine. It's likely that even those who aren't too familiar with the band have at least heard the song once and been simultaneously astounded by the magnificently nimble fret-work of the guitar God, as he takes you on a religious journey up and down his fret-board for a few decadent minutes.
Another symptom of what makes this particular solo so incredibly epic is that at the time of recording Slash's teenage years were barely in his rear-view mirror; he had nothing to prove nor live up to, it was part and parcel of one of his very first offerings as a professional musician. Even if you don't agree, you must admit that it's up there. You also must admit that when it comes on in a bar or club, you and your mates will air-riff to it like morons.
For a direct injection of electricity to the ear drums or a sharpened stiletto plunged into the soul, there are few solos to match that extracted from his Les Paul by Keith Richards on the Rolling Stones' Sympathy for the Devil.
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Sympathy is the Stones at their late 60s demonic best. Richards captures the dark themes of the record with a blistering solo delivered on the back of Mick Jagger's demonic lyrical confession. Listen to how notes are fired from the fretboard like the sting from a scorpion's tail and then as the vocal comes back in the guitar lines weave between the words with accuracy only a legend entering his playing and songwriting prime could muster.
Sure it's not the most technical solo, it's not the longest and it certainly isn't the fastest. But hell it's good, it captures with perfection the mood of the song and it's not one of those boring exercises in self gratification that many of even the greatest players are guilty of. Keef is best known for his riffs but Sympathy for the Devil proves he can turn his hand to solos with the best of 'em.
The greatest guitar solo of all time – there are so many viable contenders that it inevitably comes down to situation, temperament and mood, with the crown changing hands according to those criteria. But through careful deliberation I have found the solo that fits those criteria most often for me; Neil Young's first solo on On the Beach.
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For me, it encapsulates Young's best attributes, with all the tenderness of his softest, shakiest acoustic numbers, and the little flurry of grit and aggression at the end of the solo. While Young is not traditionally considered to be among the best lead guitarists, the passion and feeling he pours into his work is clearly visible, and he has a feel for the subtle and delicate like no other. The sign of a great solo is its ability to have an effect on you, no matter how many times you've heard it, and On the Beach still gets me every time.Facebook Icon The letter F. Facebook Email icon An envelope. It indicates the ability to send an email. Email Twitter icon A stylized bird with an open mouth, tweeting. Twitter Snapchat icon A ghost. Snapchat Fliboard icon A stylized letter F. Flipboard Pinterest icon The letter P styled to look like a thumbtack pin. Pinterest Link icon An image of a chain link. It symobilizes a website link url. Copy Link
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.
Best Of Steely Dan For Solo Guitar: 9781575603179
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
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