Top Guitar Solos of All Time (Top Story)

3. "All Along the Watchtower," The Jimi Hendrix Experience: Although written by Bob Dylan, "All Along the Watchtower's" ownership was transferred to Jimi Hendrix as soon as the guitar god's version was released in 1968. An "overwhelmed" Dylan was all too happy to comply, saying, "He found things that other people wouldn't think of finding in there." While some of those things might be the vigorous opening and Hendrix's wild vocal delivery, Dylan also had to be talking about the guitarist's mind-blowing middle passage. The minute-long solo takes one unbelievable turn after another, drawing on blues, rock and soul, and merging Hendrix's ridiculous technical ability with his knack for melody and smart use of woozy effects. It's one, big psychedelic rocketship that blasts you somewhere else � the Vietnam War, your high school parking lot, a lazer light show, outer space, anywhere. You can get lost in that solo and, quite happily, not find your way back out for days. It's no wonder Dylan started playing the song Hendrix's way. � Bryan Wawzenek

2. "Eruption," Van Halen (Eddie Van Halen): You've heard of the Big Four? With apologies to Metallica, Megadeth, Slayer and Anthrax, I'm referring to the original Big Four: "Mona Lisa" (Leonardo da Vinci), "David" (Michelangelo), "The Thinker" (Auguste Rodin) and, of course, "Eruption" (Eddie Van Halen). The first time I heard "Eruption," I remember asking my friend to play it again for me because I wasn't sure what I had just heard. "Oh, it's a guitar, and it's being played by one guy!" he assured me. It was too difficult for these young ears to comprehend that the symphonic cacophony I had just heard came from one man, one guitar and no overdubs. "Eruption" was an epiphany to me as a fledgling guitarist, as well as to millions of music fans everywhere. Nearly 30 years (and a zillion guitar solos) later, I've yet to hear its equal. � Sean Patrick Dooley

1. "Stairway to Heaven," Led Zeppelin (Jimmy Page): Haters have railed against this song for years because of its ubiquitous presence on FM playlists, but the power of Page's presence in this Renaissance-ballad-turned-hard-rock-Valhalla is undeniable. From the tender acoustic fingerpicking of the song's intro to the power chord barrage at the end, "Stairway" is the ultimate showpiece for one of rock's ultimate guitarists. After allowing the spotlight to shine on John Paul Jones' multi-track maypole-dance recorders, Robert Plant's illustrative lyrics and vocal flourishes and John Bonham's thunderous entrance to the parade, Page finally commands it for himself with the solo to end all solos. Bathed in reverb, as though they were crashing down from the heavens themselves, Page's notes bend and blur in a rising movement that blows into the final verse with a goosebump-raising speed flurry. If you ask me, what makes for a good solo is its ability to propel the song forward; not to distract from the song for the sake of technical showboating, but to actually contribute to the musical ideas put forth in the composition � and to enhance them. Page's solo on "Stairway" does just that. It takes the folkie intro piece and provides a Bifr�stian bridge to the thunderous end verse. Hammer of the Gods, indeed. � Michael Wright

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