Black Keys – ‘Ohio’

The blues might have risen to prominence in decades past, but its ethos and romanticism are some things which still live on in the hearts of musicians all around the world. One of the biggest champions of this sound is the band Black Keys, who manage to push the blues into the modern age beautifully, without sounding like they’re simply ripping off other artists. 

Despite guitarist Dan Auerbach admitting “I’m not much of a solo guy”, his work on ‘Ohio’ is filled with fuzz and drags classic blues solos into the modern age. It shows that the magnitude of a good solo never really went anywhere. He seems to just let loose with every single note he plays, and it’s enough to send a chill running down your spine. 

BB King – ‘Everyday I Have the Blues’

Billy Gibbons once spoke about how life-changing it was getting to watch BB King jam as a young kid when his dad took him to a studio session. “Well, the blues may only be three chords, but the complexity is fascinating,” he said, “I’ve listened to those old blues records forever. And I can still learn something from these guys. These giants.” 

Gibbons is right; while there might not be complex chord structures in the blues, musicians are able to reach into them and bring out every emotion under the sun. BB King may well be the very best at this. He could dance around the same three chords playing the same two notes and still break your heart in pieces. When he expands beyond that, he taps into something really magical. Picking his greatest solo is a tall order, but his gorgeous offering on ‘Everyday I Have the Blues’ has to be up there.

Cream – ‘Crossroads’

Ian Anderson once credited Cream with essentially inventing prog rock because they had a real knack for merging different genres together. It’s true that the band weren’t in the business of giving themselves creative barriers when it came to exploring different styles of music; however, the one genre that lies at the heart of everything was the blues.

They were always true to their blues inspiration, as can be heard on their cover of ‘Crossroads’. The track was originally recorded by Robert Johnson, but the British trio managed to put their own spin on it. Eric Clapton’s solo on this track is one of the greatest that you will ever come across in the entire genre, and it’s one he found incredibly difficult to play.

In his book, he mentioned Robert Johnson’s playing style and complimented it for its range and complexity. He specifically referred to how Johnson would be “simultaneously playing a disjointed bass line on the low strings, rhythm on the middle strings, and lead on the treble strings while singing at the same time”.

Otis Rush – ‘I Can’t Quit You Baby’

If there was ever a guitarist who doesn’t get the attention that he deserves, it’s Otis Rush. He was always ambitious when it came to both the blues and the six-string, and perhaps the best reflection of this is his solo on ‘I Can’t Quit You Baby’. 

It takes a lot of work to cover a Led Zeppelin song in general, let alone take on a Jimmy Page guitar solo, but Rush managed to add a bluesy spin to it. The whole thing has a life of its own, and Rush put a toned-down effect on his guitar, which made the whole thing sound a bit more soulful. If you like Led Zeppelin but want them to sound a bit more blues-like, this is a great song to turn to.

Albert King and Stevie Ray Vaughan – ‘Don’t Lie to Me’

Perhaps the most exciting thing about the blues is the ability for different artists to join forces and improvise great solos together, and its off-the-cuff nature means that those who have a mastery over the genre don’t need any preparation time in order to make something great; Albert King and Stevie Ray Vaughan are a pretty good testament to this. 

Vaughan always said that he was a big fan of King, and you can see that in the connection that both guitarists seem to have with one another. As they trade solos, the listener is delivered to a masterclass in bending, vibrato and everything that makes a blues solo so special.