Great Guitar Solos Of The 1980s (Take Two)

We continue our rundown of classic solos from the 1980s. You can check out the first part here. Any missing? Of course. (Wanted: a lot more classic metal/post-punk solos). Let us know in the comments section below.

37. Bireli Lagrene: ‘Rue De Pierre Part 3’

A triumph of solo guitar, and the only acoustic solo in this list, Bireli stunned the cognoscenti with this track from his 1988 Steve Khan-produced album Foreign Affairs.

36. Bros: ‘Chocolate Box’ (Guitarist: Paul Gendler)

Yes, Bros… Gendler had been a fully-paid-up member of New Romantic nearly-men Modern Romance before becoming an in-demand player on the UK scene, and he enlivened this hit with a raunchy, nimble classic.

35. REO Speedwagon: ‘Keep On Loving You’ (Guitarist: Garry Richrath)

Unreconstructed, huge-toned, weirdly double-tracked solo which revels in being almost out-of-tune throughout. Its sheer in-your-faceness always comes as somewhat of a shock.

34. George Benson: ‘Off Broadway’

Slick, tasty solo from a truly great player, exploding out of the speakers from about 3:13 below. The tune is of course a Rod Temperton-penned, post-disco beauty from Give Me The Night.

33. Killing Joke: ‘Love Like Blood’ (Guitarist: Geordie)

This is ‘just’ a melody, but it’s a great melody, escalating in volume and intensity.

32. Phil Upchurch: ‘Song For Lenny’ (Guitarists: Phil Upchurch/Lenny Breau)

A couple of superb solos from a great, totally forgotten 1984 Upchurch solo album Companions. Breau stuns with his array of false harmonics and jazzy runs, while Upchurch brings the blues feeling.

31. Frank Zappa: ‘Alien Orifice’

It’s nice to hear Frank blowing over a few changes rather than his usual one or two-chord vamps. And he really gets a nice ‘flowing’ thing going here, right in the middle of one of his densest compositions. Starts at around 1:32:

30. Cameo: ‘A Goodbye’ (Guitarist: Fred Wells)

From the classic album Single Life, this solo goes way over and beyond the call of duty for an ’80s soul ballad. But it’s mainly included for its brilliant final flourish, spitting notes out like John McLaughlin. Who is Fred Wells and where is he now?

29. Rush: ‘YYZ’ (Guitarist: Alex Lifeson)

Hard to do without this flowing, creamy, Strat-toned classic on one of the great rock instrumentals of all time (though inexplicably it lost out to The Police’s ‘Behind My Camel’ at the Grammies…).

28. Kevin Eubanks: ‘That’s What Friends Are For’

A real hidden gem from the almost impossible-to-find Face To Face album, Eubanks lays down a short but beautifully-structured solo on a cool cover version, from about 2:45 below.

27. Steve Miller Band: ‘Abracadabra’

Good fun and totally unpredictable. Also notable for its lovely Spanish-style flurry of triplets in its last two bars.

26. Starship: ‘Nothing’s Gonna Stop Us Now’ (Guitarist: Corrado Rustici)

Cheesy? Maybe a bit, but who cares when it’s this well-structured and performed. Add a great tone, nice string-bending and a lovely phrase at the end and you’ve got a classic. Starts at 2:58:

25. Queen: The Invisible Man (Brian May)

May played a lot of great solos in the late 1980s, mostly on other people’s records (Holly Johnson, Fuzzbox, Living In A Box etc) but this one was just a kind of ‘play as many notes as possible in eight bars’ solo, and it’s a killer. From about 2:30 below:

24. Lee Ritenour: ‘Mr Briefcase’

Rit found the sweet spot on his Ibanez many times in the early ’80s, no more so than on this single that kicked off the classic Rit album. The solo also sounds double-tracked too, no mean feat considering the crazy bunch of 32nd notes at the end of bar 10.

23. Michael Jackson: ‘Wanna Be Startin’ Something’ (Guitarist: David Williams)

Not so much a solo as a suddenly-foregrounded riff, Williams became one of the most in-demand US session players after laying down this classic.

22. Pat Metheny: ‘Yolanda You Learn’

A marvellous, ‘singing’ guitar-synth solo from the First Circle album, rhythmically interesting and reflecting a strong Sonny Rollins influence, also closing with a cool quote from the standard ‘My One And Only Love’.

21. Frank Zappa: ‘Sharleena’ (Guitarist: Dweezil Zappa)

Frank’s son was apparently just 14 years old when he laid down this absurdly fluid cameo, at 2:05 below:

20. Eric Clapton: ‘Bad Love’

Nice to hear Eric pushing himself for once, delivering a striking solo played right at the top of the neck, demonstrating a mastery of string-bending and precise fingering.

19. Sadao Watanabe: ‘Road Song’ (Guitarist: Carlos Rios)

A classic rock/fusion solo, all the more impressive because it’s apparently double-tracked, from the album Maisha. Rios is still one of the most in-demand session players in Los Angeles (and one of the few leftie fusion players…), probably best known for his work with Gino Vannelli, Chick Corea and Lionel Richie.

18. Prince: ‘Batdance’

It’s the unapologetic volume and raucous tone, almost distorting it’s so hot in the mix.

17. David Sanborn: ‘Let’s Just Say Goodbye’ (Guitarist: Buzz Feiten)

Feiten seems a weirdly unrecognised figure in the guitar fraternity, but he contributed some great stuff to Sanborn’s seminal Voyeur album including this tasty break over a killer Marcus Miller/Steve Gadd groove. There are some lovely moments when Sanborn’s sax cuts in to augment his solo.

16. Paul Simon: ‘Allergies’ (Guitarist: Al Di Meola)

I love hearing ‘jazz’ musicians turning up on ‘pop’ records, and this is a classic of its kind featuring all of Al’s trademark licks in one short, tasty burst. It’s a lot more fun than listening to his solo albums, anyway… Starts at around 2:46.

15. Manhattan Transfer: ‘Twilight Zone’ (Guitarist: Jay Graydon)

At a time when he was getting much more into the production game, Graydon still found time to toss off a double-tracked showstopper on this hit single. All in a day’s work for the session genius who of course unleashed the famous solo on Steely Dan’s ‘Peg’. Speaking of which…

14. Steely Dan: ‘Glamour Profession’ (Guitarist: Steve Khan)

A mini masterpiece of precision and invention. Khan is given his head and takes the classic tune OUT in the last three minutes. When the chord changes, he changes. Stay right through the fade too – he plays some of his best stuff towards the end. Kicks off at 5:30.

13. King Crimson: ‘Elephant Talk’ (Guitarists: Adrian Belew/Robert Fripp)

Two great solos for the price of one on this Discipline opener. Fripp supplies the opening horn-like curio, then Belew adds some fire and a bit of famous elephantosity for good measure.

12. Living Colour: ‘Funny Vibe’ (Guitarist: Vernon Reid)

A classic modern blues solo from a modern master, adding excitement and elan to an already burning piece, helped along by Will Calhoun’s cajoling kit work.

11. Steely Dan: ‘Third World Man’ (Guitarist: Larry Carlton)

Another day, another classic Steely guitar solo, this one recorded in 1977 during the Aja sessions but not unleashed for another three years. Again, double-tracked for lasting power, featuring a superb mastery of tone and melody.

10. Wendy & Lisa: ‘Waterfall’ (Guitarist: Wendy Melvoin)

Sadly this is my only female entry in the list (more suggestions please), but it’s a fuzz-toned, anthemic treat, with shades of Santana and McLaughlin. From around 3:04 below:

9. The Police: ‘Driven To Tears’ (Guitarist: Andy Summers)

It’s the random, off-the-cuffness that appeals on this one. Summers sounds a lot more p*ssed off than usual, possibly reeling from yet another Sting jibe.

8. Steve Vai: ‘Call It Sleep’

Just a superb guitar composition from top to tail, but the moment at 1:22 when he stomps on the distortion pedal and rips it up is a great moment of ’80s music.

7. Propaganda: ‘Dream Within A Dream’ (Guitarist: Stephen Lipson)

Lipson modestly provided three or four extremely memorable guitar features during his golden ZTT period (not least Frankie’s ‘Two Tribes’), but this one gets extra points for the beauty of its infinite reverb and a dynamite fuzz tone.

6. Orange Juice: ‘Rip It Up’ (Guitarist: Edwyn Collins)

Just a funny two-fingers-up to the well-made solo, and also a fond homage to Pete Shelley’s famous break on Buzzcock’s ‘Boredom’.

5. Frank Gambale: ‘Credit Reference Blues’

Just wind him and watch him go. It starts slowly, almost wistfully, but then becomes a fire-breathing classic. Still scary after all these years.

4. Dire Straits: ‘Romeo And Juliet’ (Guitarist: Mark Knopfler)

The closing solo is just an oasis of choice phrases and unique tones.

3. Van Halen: ‘One Foot Out The Door’ (Guitarist: Eddie Van Halen)

Of course ‘Beat It’ is the industry standard, and possibly the greatest guitar solo of all time, but I’m going for this curio which closes out the oft-forgotten Fair Warning album. He just blows brilliantly over the changes with a gorgeous tone.

2. Jeff Beck: People Get Ready

The second and last solo is the one, a feast of Jeff-isms. A rare good bit from the rather poor Flash album.

1. Stanley Clarke: ‘Stories To Tell’ (Guitarist: Allan Holdsworth)

No chucking out any old solo for our Allan – this is a brief but fully-formed, perfectly structured, wide-interval classic that is easily the best thing about the tune. He seems to get a bit ‘lost’ in the middle, but then regroups for a stunning closing section over the rapid chord changes. Starts at 2:04:

Wanna See Something Really Scary? Two Takes On ‘The Twilight Zone’

‘Wanna see something really scary?’ Day Aykroyd’s ‘Twilight Zone: The Movie’ catchphrase was an open invitation to me back in 1983.

I had just seen John Landis’s ‘Thriller’ video, George Romero’s ‘Creepshow’ and John Carpenter’s ‘Halloween’ and was rapidly becoming a ‘confirmed ghost story and horror film addict’, as Jack calls Wendy in ‘The Shining’.

Although ‘Twilight Zone: The Movie’ was briefly a big VHS hit in my house, these days it looks like a bit of a misfire (decent Joe Dante and George Miller sections, less-than-decent Spielberg and Landis). The Miller story was of course a remake of the superb Richard Matheson-penned ‘Nightmare At 20,000 Feet’ which starred William Shatner as the terrified passenger driven insane by the possibility that a gremlin is sabotaging his aircraft.

But I mainly loved the flavour of the 1983 movie’s Landis-directed-and-scripted opening and closing tags. I can still randomly remember chunks of dialogue, especially Albert Brooks’ little ad-libbed songs (‘Look at those two apes/This must be where they live’ etc…).

Then my recent Cassette Revisitation Program brought round The Manhattan Transfer’s ‘Twilight Zone’, recorded a couple of years before the movie was released. Jay Graydon and Alan Paul adapt the original source music (either composed by Bernard Herrmann or Marius Constant, depending on which websites you trust…) with aplomb and, though the track comes a bit too close to disco for my liking, I was really knocked out by Janis Siegel’s lead vocal; her phrasing and enunciation are really something.

And what a band: Graydon on guitar and production, Jai Winding on keys and Toto in the engine room. Graydon’s stunning harmonized solo should possibly have been in my ‘wackiest guitar solos of the 1980s’ list and Winding lays down some excellent Fagen-esque keys. I like the lyric too: ‘Unpretentious girl from Memphis/Saw the future through her third eye…’ Throw in a spot-on impression of Rod Serling (or is it actually Rod?) and you’ve got a nice little tribute song. Released as a single in June 1980, it made #25 in the UK and #30 in the US.

But anyway, where were we? Back to the movie. ‘Happy’ Halloween, heh-heh-heh…

Rod Temperton (1949-2016)

When MJ and Quincy are requesting your songs, you know you’ve made it. Rod Temperton’s compositions are timeless, uplifting, full of detail and subtleties, with lots of vamp-busting major-7th/9th chords and joyful melody lines. It’s also important to note that he arranged all his own tunes for Jackson and Quincy too, outlining the rhythm, vocal and keyboard parts.

Like many kids of my age, I was kind of obsessed with Rod’s ‘Thriller’ during the mid-’80s. It was a perfect musical storm. Jackson’s red-hot vocal performance, the killer groove, brilliant horn arrangements, silly but spooky horror-movie lyrics, intriguing sound effects and Vincent Price’s rap/monologue all left an indelible mark.

But there was much more to Rod Temperton’s career than that obvious highlight. He was born in Cleethorpes, Lincolnshire, beginning his public life playing keyboards and writing songs for Heatwave, writing every song on their 1977 debut album Too Hot To Handle including ‘Boogie Nights’ and classic ballads ‘All You Do Is Dial‘ and ‘Always & Forever’. This led to his work on Michael Jackson’s Off The Wall album for which he wrote the title track, ‘Rock With You’ and ‘Burn This Disco Out’.

Temperton started the 1980s contributing to George Benson’s Quincy-produced Give Me The Night, composing the title track, ‘Love X Love’, killer disco/jazz instrumental ‘Off Broadway‘ and the extraordinary ‘Star Of The Story’:

There were other classic Rod compositions and arrangements around this time for Patti Austin, The Brothers Johnson, Rufus, Herbie Hancock, Karen Carpenter and Bob James, as well as this classic Donna Summer floorfiller:

He contributed to Quincy’s fine 1981 solo album The Dude, supplying the title track, ‘Somethin’ Special’, ‘Turn On The Action’ and of course the stunning ‘Razzamatazz’:

Then came the epochal Thriller. Temperton was all over the record, composing and arranging ‘Baby Be Mine’, soul standard ‘The Lady In My Life’ and of course the title track. He famously wrote most of Vincent Price’s rap/monologue in a car whilst being rushed over to Ocean Way Studios to join Price’s vocal session. In fact, he was so prolific that he found time to write a third verse for the monologue, edited from the album version but available in outtake form here:

In the mid-’80s, Rod supplied three more classic compositions: Michael McDonald’s ‘Sweet Freedom’, McDonald’s duet with James Ingram ‘Yah Mo B There’ (co-composed by Ingram, McDonald and Quincy) and also the underrated ‘Spice Of Life’ by Manhattan Transfer featuring Stevie Wonder on harmonica:

Rod enjoyed somewhat of a songwriting/arranging/producing renaissance in the early ’90s, including some great work for Mica Paris’s Whisper A Prayer album and also Q’s Jook Joint. His contributions to music won’t be forgotten, and he was by all accounts a lovely fellow too.

Rodney Lynn Temperton, 9th October 1949 – October 2016