The 5 Best Soft Rock Solos Of The '70s

Soft rock might seem like an odd contradiction of terms — how can "rock" be "soft?" But then you hear some of the guitar solos in some of the classic songs that built the genre in the 1970s, and it suddenly all makes sense. This is a genre of different sonic textures, pairing heartfelt songwriting with some of the best rock solos of all time. There's the haunting outro to a landmark song once called "Mexican reggae" to a vivacious vibrato closing out a track about a dingy jazz band in a London dive bar. The '70s soft rock movement even produced one of the greatest rock solos that you can barely even hear!

Many of the following songs came in the latter half of the '70s (some argue that 1977 was the best year for soft rock, since it produced a handful of No. 1 hits). This makes sense: The seeds of soft rock were planted in the '60s, and the genre really took off the following decade with fans who wanted something different than the hard rock that had become so popular. As you'll see, these songs managed to bridge the gap between soft and hard, creating rock staples that are now considered timeless classics. And yes — there are at least two Michael McDonald appearances. You knew that was coming.

Dire Straits will forever be entwined with the '80s, thanks to "Money For Nothing," their chart-topping hit that boasts both a groundbreaking music video with computer animation and a guest appearance by Sting (who sings the now-iconic "I want my MTV" falsetto). But the British rock group formed in the middle of the prior decade, and they announced their arrival in 1978 with "Sultans of Swing." Inspired by Mark Knopfler's real-life experience witnessing a dingy jazz band playing to a deserted London pub one night, "Sultans of Swing" became a late-70s soft rock staple thanks to its infectious groove and Knopfler's blistering guitar solos at the end.

Initially, "Sultans of Swing" seemed to strike out in Britain. "Then it went to the States and took off there," bassist John Illsley told Classic Rock. "The radio stations started playing 'Sultans of Swing' like crazy." Eventually, the track became a Top 10 hit in the U.K. while going to No. 4 on the Billboard Hot 100.

Knopfler once told Guitar World that he originally wrote the song on a National Steel guitar (likely the guitar featured on the Dire Straits' 1982 album "Brothers in Arms"). "I thought it was dull," he said, adding that the song only "came alive" after buying his 1961 Fender Stratocaster. The guitar allowed him to develop his finger vibrato, becoming his signature instrument for many years. "It's really a good example of how the music you make is shaped by what you play it on, and is a lesson for young players," Knopfler said.

If you're talking 1970s soft rock with memorable solos, you're talking "Hotel California." The title track to the Eagles' landmark 1976 album contains some of the finest guitar work in rock history, courtesy of Don Felder (who joined the Eagles in 1974) and Joe Walsh (who joined a year later). Felder and Walsh played on the latter's live album, "You Can't Argue With A Sick Mind," and Felder told Classic Rock that he wrote the solo in a way that would "incorporate how [Walsh] and I played together." 

"Hotel California" was one of many demos that Felder had put on a cassette for Don Henley and Glenn Frey to ponder over. "I didn't necessarily think it was the best song, but Don called me up after a few days living with the music and said, 'I really like that one that sounds like Mexican reggae,' and I knew which one he meant," Felder told Classic Rock. Henley liked the song so much that when it came time to record the solo, he wanted Felder to recreate what he put on the demo, note-for-note. 

"We worked all the descending lines," Walsh explained on a 2021 episode of "Long Distance." "After the basic track was done and Don had sung it, it was our turn. We agreed on who was gonna play when at the end at the big solo, and we tried to complement each other and build it up to the very last part. So the solos were not planned, they were spontaneous playing off of each other. We were really good at that."

On the one hand, it's unfair that Gerry Rafferty's "Baker Street" is remembered mostly for Raphael Ravenscroft's unbelievable saxophone riff. On the other hand, Ravenscroft did deliver one of, if not the best rock sax licks of all time. But, for those who listen to the 1978 single in full, there's an incredible surprise around the 3:30 mark: A snarling, steamy, scorching solo. It's equally resilient and despondent, capturing the song's beleaguered spirit of persevering because you have no other choice. It's not hard to imagine it soundtracking a lot of late-night drives and late-'70s last calls.

Rafferty first experienced chart success as part of Stealers Wheel, the one-hit wonder behind 1972's "Stuck in the Middle with You." But as the song became a success, Rafferty was gone, having quit the band. "Perhaps I was on the edge of a nervous breakdown — that's how it felt, anyway," he told Rolling Stone in 1978. "I just had to get away, away from groups, managers, record companies, the whole thing." Rafferty was convinced to rejoin the group, but the band fell apart in 1975. Rafferty spent the next three years untangling himself from his management deal, prompting multiple trips to London from Glasgow. "Baker Street" is named after the London street where he would stay at a friend's flat.

"Baker Street" reached No. 2 on the Billboard Hot 100 and No. 3 in the U.K. Sadly, Rafferty died in 2011 at age 63 after bouts of professional turmoil and alcohol use issues.

A lot has been written about Steely Dan and "Aja," like how it's one of the classic albums that defined soft rock and the group somehow sounds much cooler today than they did in the '70s). The groundbreaking album that took the band's jazz-inspired rock to new frontiers includes the hit single "Peg," a song that gave Steely Dan a Top 20 hit when it went to No. 11 on the Billboard Hot 100. It also features a masterful guitar solo that stumped half a dozen guitar players who tried to play it.

"Six or seven ... eight players," Donald Fagen told Guitar Player. Walter Becker, the other half of the duo, was the first to attempt the solo. Robben Ford gave it a shot. Session veterans Larry Carlton and Elliott Randall (who nailed the "Reelin' in the Years" solo in one take) attempted, but they couldn't give Fagen and Becker what they wanted. Even Rick Derringer attempted the solo, but he couldn't cut the mustard. It wasn't until Jay Graydon — a session guitar wizard who'd worked with George Duke, Cher, Marvin Gaye, and Dolly Parton — came in.

"Jay Graydon came in, and did it with no difficulty whatsoever," Becker said. Graydon credits Fagen, who suggested "blues from time to time" in his approach. "I just played what I felt would be good for the track," Graydon told Guitar Player. "To me, it wasn't difficult. I just went for it!"

When Billie Eilish won the Grammys for album of the year, record of the year, song of the year, and best new artist in 2020, she became only the second artist to do so. The first being Christopher Cross, whose yacht rock-fueled eponymous album swept the "Big Four" categories at the 23rd annual Grammy Awards in 1981. And while it was "Sailing" that beat Kenny Rogers' "Lady," Bette Midler's "The Rose," Barbra Streisand's "Woman in Love," and Frank Sinatra's "Theme From New York, New York," it's "Ride Like the Wind" that contains arguably soft rock's more underrated solos.

Cross released his debut album in December 1979, with "Ride Like the Wind" as its lead single. It reached No. 2 on the Hot 100 in April 1980. It contains what producer/musician Rick Beato dubbed "the greatest guitar solo you can't hear" on his YouTube channel. Cross' solo, a blistering bit of boldness, is buried so deep within the outro you might not hear it — which might be by design. Michael Omartian, who produced "Ride Like the Wind," told Mix that Cross was so insecure about his abilities that he initially wanted someone to play the solo (and only played it himself after Omartian's encouragement).

The song features Michael McDonald — who also sang on "Peg" — on background vocals. Coincidentally, Omartian said that after recording "Ride Like the Wind," both Walter Becker and Donald Fagen wanted Cross to play on one of their records. "He was so intimidated, afraid to do it, and he never did," said Omartian.