Pop music has always featured its fair share of brilliantly ‘inappropriate’ instrumental solos, from the (uncredited) honking tenor break on Frankie Lymon & The Teenagers’ ‘Why Do Fools Fall In Love’ and Tony Peluso’s brilliant fuzz-guitar feature on The Carpenters’ ‘Goodbye To Love’ to Jeff ‘Skunk’ Baxter’s unreconstructed rampage through Donna Summer’s ‘Hot Stuff’.
And then of course there are the jazz solos that occasionally enhance ‘pop’ material – Sonny Rollins lighting up the Stones’ ‘Waiting On A Friend’, Ronnie Ross’s memorable break on Lou Reed’s ‘Walk On The Wild Side’ and Phil Woods/Wayne Shorter/Pete Christlieb’s tasty leads on some of Steely Dan’s best work.
In the ’80s, there was a lot of demand for the wacky solo, often thrown in to pep up some pretty light/fairly inconsequential material. One in particular really set the benchmark for the decade, and it’s naturally where we start our rundown…
6. Michael Jackson – ‘Beat It’ (Solo by Eddie Van Halen)
Eddie’s shock-and-awe break was a perfect distillation of all his trademark techniques: lightning-fast picking, close-interval tapping routines, whammy-bar divebombs and even a cheeky Jimi Hendrix ‘All Along The Watchtower’ homage.
5. Michael Sembello – ‘Maniac’ (1983)
Sembello, hitherto best known as a very able jazz/R’n’B session player for the likes of Stevie Wonder, David Sanborn and George Duke, unleashed this overblown post-‘Beat It’ solo (starting at 2:50) which sounds like it belongs to a completely different song. Maybe he should have stuck to the jazz and R’n’B…
4. Bros – ‘Chocolate Box’ (Solo by Paul Gendler)
Gendler was a respected UK-based session player (and member of Modern Romance!) before getting the call from the Goss boys. He tosses off a Francis Dunnery-esque, way-too-good-for-the-charts solo at 2:40 on this wafer-thin but very catchy single.
3. Europe – ‘The Final Countdown’ (Solo by John Norum)
This song is obviously crying out for a widdly guitar solo, but Norum’s brilliant Malmsteen-esque playing (starting at 3:17) goes beyond the call of duty even by the standards of a mid-’80s hair-metal band.
2. Al Jarreau – ‘Telepathy’ (Solo by Nile Rodgers)
Nicely set up by Steve Ferrone’s wrongfooting half-bar drum fill, Nile plays all the notes he knows and a few more too in this seriously weird but rather brilliant harmonized/double-tracked break (starting at 2:05) from the L Is For Lover album.
1. Allan Holdsworth – ‘In The Mystery’ (1985)
Jazz/rock guitar genius Holdsworth inexplicably saved some of his wackiest solos for vocal-based, ‘commercial’ material. This one, starting at 2:20, is fairly astonishing and, arguably, totally wasted on the song… (Bassist Jimmy Johnson also deserves a mention for his frenetic, Red-Bull-sponsored performance.)