6 Guitar Solos Considered Legendary but Are Actually Pretty Mediocre

Some guitar solos have been praised for decades, but when broken down, they don’t hold up as well as their reputations suggest. Whether due to simplicity, poor execution, or being overshadowed by better work from the same artist, these solos are more famous than they are impressive.

1. “Smoke on the Water” – Deep Purple

The riff is iconic, but the solo is forgettable. Ritchie Blackmore’s playing here lacks the complexity he displayed in other Deep Purple tracks. It follows a basic blues scale with little variation, relying more on tone than technical ability.

Compared to his work on songs like “Highway Star” or “Burn,” this solo feels uninspired. The song’s legendary status makes people assume the solo is on the same level, but it doesn’t stand out. Many beginner guitarists learn it quickly, which says a lot about its simplicity.

2. “Nothing Else Matters” – Metallica

This song is one of Metallica’s most famous ballads, but the solo is underwhelming. Kirk Hammett, known for speed and aggression, plays something surprisingly plain. It follows predictable phrasing with no real standout moments.

James Hetfield, rather than Hammett, played most of the lead parts, which might explain its lack of flash. While the song’s emotional weight carries it, the solo itself does little to elevate the track. Compared to Hammett’s work on “Master of Puppets” or “Fade to Black,” this solo is a letdown.

3. “Sweet Child O’ Mine” – Guns N’ Roses

Slash’s intro riff is legendary, but the solo is repetitive. The notes don’t push boundaries or introduce anything exciting. Instead, it feels like an extension of the song’s melody with minor alterations.

It also lacks the fire and creativity of his solos in “November Rain” or “Estranged.” While it’s well-known and widely covered, it doesn’t have the technical or emotional depth that people often associate with great guitar solos.

4. “Hotel California” – Eagles

This solo is often called one of the best in rock history, but it’s more about structure than technical skill. Don Felder and Joe Walsh create a memorable harmony, but individually, neither part is remarkable.

Compared to the complex solos in “Life in the Fast Lane” or “Victim of Love,” this one is relatively safe. The dual-guitar effect gives it power, but the actual notes played aren’t that challenging. It’s a well-crafted ending to a great song, but as a standalone solo, it doesn’t deserve its legendary status.

5. “Layla” – Derek and the Dominos

Eric Clapton’s work on “Layla” is respected, but the solo is more emotional than technically impressive. It leans on simple bends and phrasing that don’t show off his full ability.

Compared to his solos in “Crossroads” or “White Room,” this one feels restrained. The slide guitar in the second half, played by Duane Allman, is more interesting than Clapton’s lead work. While the song itself is a classic, the solo doesn’t match the hype surrounding it.

6. “Comfortably Numb” – Pink Floyd

David Gilmour’s solo in “Comfortably Numb” is often called one of the greatest of all time, but it’s more about tone than complexity. His phrasing is smooth, but the actual notes played are not difficult or particularly innovative.

Other Pink Floyd solos, like those in “Time” or “Dogs,” have more variety and technical skill. This one benefits from the song’s atmosphere and production, making it feel bigger than it actually is. While it’s a good solo, it doesn’t quite live up to its legendary status when broken down.