20 Legendary Guitar Solos By Rock Hall Of Fame Artists

Some guitar solos don’t just accompany a song—they define it. The Rock & Roll Hall of Fame honors the artists who revolutionized music, and many of their most unforgettable solos shaped rock history. Each note tells a story, bending, soaring, and leaving a lasting imprint. Get ready to relive 20 solos that showcase why these guitarists became icons.

While My Guitar Gently Weeps by Prince

A surprise showstopper, Prince’s 2004 Rock Hall induction solo turned the Beatles classic into a fiery spectacle. With brilliant bends and cascading notes, he commanded the stage. He tossed his guitar into the air as if sending it straight into rock history as Tom Petty and Jeff Lynne, part of the lead vocals for the song, stepped back to allow these 3 minutes of sheer magic.

All Along the Watchtower by Jimi Hendrix

Nothing in rock sounded like Hendrix’s 1968 reinterpretation of Dylan’s folk tune. His searing lead guitar howled and whispered to bend time with wah-heavy runs paired with overdriven sustain. This solo blurred the line between instrument and voice, forever redefining rock’s sonic possibilities that reverberate a technical virtuosity.

Layla by Eric Clapton

Clapton poured heartache into every note of “Layla.” The final slide solo, played by Duane Allman, embodied raw longing, while its mournful wails cut through the mix like unreciprocated love. The song’s dual-guitar crescendo remains one of rock’s most moving instrumental moments, which stirs deep emotion with each note.

Stairway to Heaven by Jimmy Page

Few solos build tension like Led Zeppelin’s “Stairway to Heaven.” Page’s phrasing, measured at first, erupts into a charged climax packed with rapid-fire hammer-ons and pulsing bends. A favorite among amateur guitarists, it remains one of the most requested—and overplayed—licks in rock music history.

Comfortably Numb by David Gilmour

Gilmour sculpted one of the most emotionally resonant solos of all time. Each sustained note in “Comfortably Numb” drips with aching beauty that floats over the song’s dreamlike orchestration. With the use of a blend of blues and psychedelic textures, he created a lead part that feels like a voice that cries out in isolation.

November Rain by Slash

If a guitar could tell a tragic love story, Slash’s “November Rain” solo would be its voice. His soaring Les Paul lines ascend like a final goodbye, draped in the grandeur of strings and piano. The sustained notes, like a slow fade to black, with his use of the wah pedal, add a vocal-like quality to the melodies.

Highway Star by Ritchie Blackmore

Classical motifs are clear in the rapid arpeggios and harmonized runs that foreshadowed neoclassical metal by nearly a decade. The result? A blistering, note-perfect lead where speed and precision collide, becoming a blueprint for shredders. All this can be heard in Ritchie Blackmore’s “Highway Star” solo, 1972.

Statesboro Blues by Duane Allman

Duane Allman’s fluid bottleneck technique on a 1957 Goldtop Les Paul made this 1971 live recording a high-water mark for blues-inspired rock. His slide work on “Statesboro Blues” became a memorable sound in Southern rock. The track’s searing intensity and Allman’s fiery execution cemented his legacy as one of the genre’s greatest guitarists.

Texas Flood by Stevie Ray Vaughan

Few performances capture the unfiltered passion of Texas blues quite like this 1983 recording. Vaughan’s Stratocaster roared through extended bends and machine-gun-fast trills, channeling raw emotion with every note. “Texas Flood” unleashes a storm of blues licks with Vaughan’s fingers that drove the intensity of a hurricane.

Europa by Carlos Santana

Santana’s “Europa” is an emotion and technique masterclass that blends Latin rock and blues. His signature sustains glides like butter through each phrase, which carries the listener through sweeping highs and soulful lows. It is rich with expressive vibrato and well-placed pauses and proves that true mastery is less about complexities.

Eruption by Eddie Van Halen

Guitar solos changed forever when “Eruption” hit the airwaves in 1978. Eddie Van Halen redefined rock guitar with blistering speed, harmonic squeals, and a revolutionary tap technique that left jaws on the floor. In just 102 seconds, his fluid, fretboard-spanning licks inspired an entire generation.

Bohemian Rhapsody by Brian May

Few solos capture the essence of a song as perfectly as Brian May’s work on “Bohemian Rhapsody.” Instead of flashy speed, he leans into a melody, using precise bends and layered harmonies to amplify the track. Seamlessly bridging the operatic and hard rock sections, this solo defines Queen’s ultimate musical moment.

War Pigs by Tony Iommi

The dark heart of Black Sabbath beats through Iommi’s “War Pigs” solo. Ominous, emo bends contrast with rapid-fire pentatonic runs to reinforce the song’s apocalyptic vision. This 1970 track was a significant step in the evolution of heavy metal, its dark and powerful sound inspiring a legion of guitarists.

Sultans of Swing by Mark Knopfler

Knopfler’s fingerpick technique gave “Sultans of Swing” its unmistakable fluidity. His smooth, articulate phrasing—devoid of pick attack—created a jazz-like sophistication rarely heard in rock. The rolling licks and effortless transitions make this 1978 solo a standout in Dire Straits’ catalog.

Won’t Get Fooled Again by Pete Townshend

Unapologetic and brimming with energy, Townshend’s guitar work in “Won’t Get Fooled Again” is all about power over precision. His unpolished grit cuts through the song’s pulsating synth loop, showing its rebellious core. The climactic outro, punctuated by his signature windmill strums, cements this track as one of The Who’s most standout anthems.

Cause We’ve Ended as Lovers by Jeff Beck

Beck turned guitar playing into an emotional language with this 1975 instrumental. Delicate bends and swells shape a soundscape that feels alive; each note carries a voice of its own. His nuanced control of volume and vibrato makes this one of the most emotionally resonant solos ever recorded.

Back in Black by Angus Young

No frills, no tricks—just pure rock ‘n’ roll. Young’s solo in “Back in Black” proves that simplicity is powerful. His raw, blues-infused phrasing cuts straight in with the swagger and grit of AC/DC’s signature sound. Built around pentatonic licks and impeccable timing, the solo’s call-and-response structure was recorded with a Gibson SG through a cranked Marshall amp.

Roundabout by Steve Howe

In 1971, an intricate fusion of jazz-inspired licks, odd-time signatures, and classical influences redefined rock guitar. The track’s complexity tests precision and creativity, played on a 1964 Gibson ES-175 and recorded at Advision Studios in London. The result? One of the toughest solos in rock history—“Roundabout.”

Walk This Way by Joe Perry

Built on blues-drenched techniques and syncopated licks, Perry’s “Walk This Way” solo locks into the song’s infectious groove. Played on a 1959 Gibson Les Paul, his staccato bends and double-stop licks complement the riff’s funk-infused swagger. The solo’s seamless flow mirrors the song’s call-and-response vocal phrasing, reinforcing its conversational feel.

Just What I Needed by Elliot Easton

Recorded in 1977 at AIR Studios in London, “Just What I Needed” became The Cars’ breakthrough hit. Easton’s brief solo weaves playful bends and tightly structured melodies into the track’s aesthetic. The song was first discovered when bandmate Ric Ocasek overheard bassist Ben Orr playing a rough demo on a local Boston radio station.