Why Brian May’s Solos Speak to the Soul
Brian May doesn’t think a solo should be a guitar flex — louder than everything else just to show off. For him, a record’s heart is the song and the singer. The guitar is there to support, to add color, to express emotion.
And yet — when it counts — May’s solos burst with feeling. He often adds last-minute flourishes: a little bend, a subtle slide, a haunting note. He recommends — if you write a solo — to “sing it in your head.” That way, the guitar becomes like a second voice, rich with emotion.
When you listen to some of his solos — maybe from Queen — you might hum them afterward. That’s the magic: solos you don’t just hear, but feel.
The Solos That Changed His Mind
Brian May has named a few songs — by other guitar legends — that changed how he thought about soloing. They’re not always shredding displays. Instead, they speak like a voice, like a cry, like a confession.
Key to Love — by Eric Clapton (with John Mayall & the Bluesbreakers)
He calls this solo “the hottest, burning, high-passion piece I’ve ever heard.” When Clapton hits those top notes, it’s like lightning after a storm — raw, powerful, unforgettable.
Hi Ho Silver Lining — by Jeff Beck
May admired how Beck makes the guitar sing. The solo feels like a human voice — smooth, expressive, alive. That’s the kind of tone and emotion May always tries to capture.
Since You’ve Been Gone — by Rainbow / Ritchie Blackmore
Here, May loves the blend: pop-song structure + passionate guitar feeling. The solo lifts the whole song, making it sing even stronger.
The Takeaway
If you ask Brian May what makes a great guitar solo, it’s not speed or fireworks. It’s heart, soul, melody.
A solo should sing. It should tell a story. It doesn’t need to show off — it just needs to make you feel.
Next time you pick up a guitar (or listen closely), try singing the solo in your head. Let it breathe. Let it speak. And maybe — just maybe — you’ll play something someone will hum for years.