A few years ago, the editors of Guitar World magazine compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.

The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (01).

To quote our "Stairway to Heaven" story that ran with the list, "If Jimmy Page is the Steven Spielberg of guitarists, then 'Stairway' is his Close Encounters."

In June, we kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We pitted Guitar World's top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we asked you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket. Now Round 1 has come and gone, leaving us with 32 guitar solo and 16 (sweet) matchups.

You can vote only once per matchup, and the voting ends as soon as the next matchup is posted (Basically, that's one poll per day).

In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo, for instance. But let's get real: They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic? or Which one kicks a larger, more impressive assemblage of asses?"

Yesterday's Results

Winner:"Comfortably Numb" (67.34 percent)
Loser:"For the Love of God" (32.66 percent)

Today's Round 2 Matchup (11 of 16)
"Crazy Train" Vs. "Brighton Rock"

Today, it's Randy Rhoads' guitar solo on Ozzy Osbourne's "Crazy Train" (09) against Brian May's solo on Queen's "Brighton Rock" (41). "Crazy Train" bumped off Black Sabbath's "War Pigs" to earn a spot in Round 2. Meanwhile, "Brighton Rock" got here by defeating Metallica's "Fade to Black." Get busy! You'll find the poll at the very bottom of the story.

09. “Crazy Train”
Soloist: Randy Rhoads
Album: Ozzy Osbourne—Blizzard of Ozz (Epic, 1981)

Randy Rhoads employed a two-part process when recording his solos for Blizzard of Ozz. First, the classically trained young shredder would take his customized Jackson guitars to a stone room downstairs at England’s Ridge Farm Studios where he would work out each of his solos, among them “Crazy Train.”

“This was after we did the backing tracks,” says Blizzard of Ozz engineer Max Norman. “Randy had a Marshall and a couple of 4x12s, and we had him set up in this room with the cabinets facing up out into the main studio. They were miked at various points: close, at three feet and again at about 12 feet. I would make Randy a loop of the solo section and we’d just let that play into these big monitors downstairs, where he would just sit and jam away for hours and hours until he had composed his completed solo.”

With the solos arranged to his liking, Rhoads would then report upstairs to the control room to record them. “We’d plug the guitar directly into the console,” recalls Norman. “We’d preamp it in the console and send it down to the amp from there. That way we could control the amount of gain that hit the amp, which is always a problem when running a remote amplifier and trying to get a good enough signal to it."

41. "Brighton Rock”
Soloist: Brian May
Album: Queen—Sheer Heart Attack (Elektra, 1974)

Universally venerated for his lavish guitar orchestrations and tasteful British restraint, Brian May kicked over the traces on this high energy rocker that leads off Queen’s third album, Sheer Heart Attack. One of May’s most blues-based excursions ever, the song’s extended solo section grew out of the guitarist’s experiments with an Echoplex tape delay unit. His original goal was to reproduce his multi-part guitar harmonies live onstage with Queen, back in the days before harmonizers were invented.

“I started messing around with the Echoplex, the delay that was available at the time,” May recalls. “I turned up the regeneration until it was giving me multiple repeats. I discovered you could do a lot with this—you could set up rhythms and play against them, or you could play a line and then play a harmony to it.

"But I decided that the delay [times] I wanted weren’t available on the Echoplex. So I modified it and made a new rail, which meant I could slide the head along and make the delay any length I wanted, because the physical distance between the two heads is what gave you the delay. Eventually, I had two home-adapted Echoplexes. And I discovered that if you put each echo through its own amp, you wouldn’t have any nasty interference between the two signals. Each amp would be like a full-blown, sustaining, overdriven guitar which didn’t have anything to do with the other one.

“So, ‘Brighton Rock’ was the first time that got onto a record. I’d already been trying it live onstage in the middle of ‘Son and Daughter’ [from Queen’s self-titled ’73 debut album], when Queen first toured with Mott the Hoople. It was rather crude at first. But I certainly had a lot of fun with it.”