A few years ago, the editors of Guitar World compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.
The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (01).
To quote our "Stairway to Heaven" story that ran with the list, "If Jimmy Page is the Steven Spielberg of guitarists, then 'Stairway' is his Close Encounters."
On June 10, we kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We pitted Guitar World's top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we asked you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket. Now Rounds 1 and 2 have come and gone, leaving us with 16 guitar solos and eight matchups.
WELCOME TO THE SWEET 16 ROUND, where all 16 still-standing solos will go head to head before your eyes! As always, you can vote once per matchup, and the voting ends as soon as the next matchup is posted.
In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo. But please get real, people! They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic or important? or Which one kicks a larger, more impressive assemblage of asses?"
Winner: "Voodoo Child (Slight Return)" (63.36 percent)
Loser: "Whole Lotta Love" (36.64 percent)
Today's Sweetwater Sweet 16 Matchup (7 of 8)
"Hotel California" Vs. "Brighton Rock"
Today and tomorrow (Wednesday and Thursday), we'll watch as the Eagles' "Hotel California" (08), featuring a classic guitar solo by Don Felder and Joe Walsh, competes against Queen's "Brighton Rock" (41), which features the fretwork of Brian May. Because Queen's "Bohemian Rhapsody" was eliminated by Pink Floyd's "Comfortably Numb," this is May's last chance to advance to the next round. This is also the only appearance of Don Felder and Joe Walsh in the Sweet 16.
HOW THEY GOT HERE
• "Hotel California" defeated Pantera's "Walk" (57) in Round 1 and Steely Dan's "Reelin' in the Years" (40) in Round 2.
• "Brighton Rock" defeated Metallica's "Fade to Black" (24) in Round 1 and Ozzy Osbourne's "Crazy Train" (09) in Round 2.
Get busy! You'll find the poll at the very bottom of the story.
08. “Hotel California”
Soloist: Don Felder, Joe Walsh
Album: The Eagles—Hotel California (Asylum, 1976)
Credit for the guitar majesty of “Hotel California” is often given to Joe Walsh, who toughened up the Eagles’ laid-back California sound when he joined the band just prior to the Hotel California album’s recording. Actually, the primary guitar heard throughout the solo belongs to Don Felder, who wrote the music for the track and actually conceived and played the solo’s intricate harmonies on his initial, instrumental demo.
“Every once in a while it seems like the cosmos part and something great plops into your lap,” says Felder. “That’s how it was with ‘Hotel California.’ I had just leased this beach house in Malibu and was sitting in the living room with all the doors wide open on a spectacular July day, probably in ’75. I was soaking wet in a bathing suit, sitting on the couch, thinking the world is a wonderful place to be and tinkling around with this acoustic 12-string when those ‘Hotel California’ chords just oozed out. I had a TEAC four-track set up in a back bedroom, and I ran back there to put this idea down before I forgot it.
“I set this old rhythm ace to play a cha-cha beat, set the right tempo and played the 12-string on top of it. A few days later, I went back and listened to it and it sounded pretty unique, so I came up with a bass line. A few days after that, I added some electric guitars. Everything was mixed down to mono, ping-ponging back and forth on this little four-track. Finally, I wound up with a cassette that had virtually the entire arrangement that appeared on the record, verbatim, with the exception of a few Joe Walsh licks on the end. All the harmony guitar stuff was there, as was my solo.
“Then I gave it to Don Henley on a tape with eight or 10 ideas, and he came back and said, ‘I really love the one that sounds like a Matador…like you’re in Mexico.’ We worked it all up and went into the studio and recorded it as I wrote it—in E minor, just regular, open chords in standard tuning—and made this killer track. All the electric guitars were big and fat and the 12-string was nice and full. Then Henley came back and said, ‘It’s in the wrong key.’ So I said, ‘What do you need? D? F sharp?’…hoping that we could varispeed the tape. But he said no, that wouldn’t work, and we sat down and started trying to figure out the key—and it turned out to be B minor! So out comes the capo, way up on the seventh fret. We re-recorded the song in B minor and all of a sudden the guitar sounds really small and the whole track just shrinks! It was horrible, so we went back and tried it again. Luckily, we came up with a better version in B minor.
“I kept the capo on and recorded the acoustic guitar through a Leslie. They took a D.I. out of the console and a stereo Leslie, and they got this swirly effect. Then I went back and did most of the guitars, except for the stuff where Joe and I set up on two stools and ran the harmony parts down. I play the first solo, then it’s Joe. Then we trade lines and then we go into the lead harmonies.
“Now that I’ve heard it for 20 years, the 12-string part sounds right to me, but it’s still not as nice as the E minor version we did. And even when we’d finished the song and made it the title track, I wasn’t convinced that it should be our single. I thought it was way too long—twice the normal radio length—and sort of weird because it started out quiet and had this quiet breakdown section in the middle. I was very skeptical, but I yielded to the wisdom of Henley.”
41. "Brighton Rock”
Soloist: Brian May
Album: Queen—Sheer Heart Attack (Elektra, 1974)
Universally venerated for his lavish guitar orchestrations and tasteful British restraint, Brian May kicked over the traces on this high energy rocker that leads off Queen’s third album, Sheer Heart Attack. One of May’s most blues-based excursions ever, the song’s extended solo section grew out of the guitarist’s experiments with an Echoplex tape delay unit. His original goal was to reproduce his multi-part guitar harmonies live onstage with Queen, back in the days before harmonizers were invented.
“I started messing around with the Echoplex, the delay that was available at the time,” May recalls. “I turned up the regeneration until it was giving me multiple repeats. I discovered you could do a lot with this—you could set up rhythms and play against them, or you could play a line and then play a harmony to it.
"But I decided that the delay [times] I wanted weren’t available on the Echoplex. So I modified it and made a new rail, which meant I could slide the head along and make the delay any length I wanted, because the physical distance between the two heads is what gave you the delay. Eventually, I had two home-adapted Echoplexes. And I discovered that if you put each echo through its own amp, you wouldn’t have any nasty interference between the two signals. Each amp would be like a full-blown, sustaining, overdriven guitar which didn’t have anything to do with the other one.
“So, ‘Brighton Rock’ was the first time that got onto a record. I’d already been trying it live onstage in the middle of ‘Son and Daughter’ [from Queen’s self-titled ’73 debut album], when Queen first toured with Mott the Hoople. It was rather crude at first. But I certainly had a lot of fun with it.”
[[ When you're done voting, start learning most of the guitar solos in this poll — and and a whole lot more! Check out a new TAB book from Guitar World and Hal Leonard: 'The 100 Greatest Guitar Solos of All Time: A Treasure Trove of Guitar Leads Transcribed Note-for-Note, Plus Song Notes for More Than 40 of the Best Solos.' It's available now at the Guitar World Online Store for $29.99. NOTE: Neil Young's "Cortez the Killer" guitar solo (solo number 39 on our list) is NOT included in this book. ]]