When people talk about the guitar heroes of the 1970s, the conversation can get heated fast. Everyone has their favorites, and depending on what part of the rock landscape you came from, your list might look entirely different. For me, I’ll put something on the table right from the start: while I love Jerry Garcia and I’ll always count the Grateful Dead among my all-time favorite bands, Garcia himself is one of the most overrated guitarists of his generation. The endless noodling can sometimes blur into monotony, and though there’s definitely magic in his playing, it isn’t what made the Dead great. Bob Weir? To me, he’s nothing but a rhythm junkie—important, sure, but not someone who defined the guitar sound of the ’70s.
That said, the 1970s were the decade where the guitar truly became king. Distortion pedals, giant Marshall stacks, arena tours, and the raw energy of both blues-based rock and progressive experimentation collided to create some of the most legendary players in history. Some guitarists embodied blues tradition, others pushed into the cosmos with psychedelic tones, some brought technical precision, and some simply turned everything up to eleven and made kids across the world want to buy their first axe.
What follows is a list of the 20 greatest guitarists of the 1970s—presented in reverse order, starting from number 20 and climbing to number 1. Each entry includes a representative song that captures their essence, along with an exploration of what made them essential to the decade’s sound.
20. Lindsey Buckingham
Why He Matters: The subtle magician of Fleetwood Mac.
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Song Example: “Go Your Own Way” (1977)
Lindsey Buckingham wasn’t your typical ’70s guitar hero. He didn’t shred like Eddie Van Halen, nor did he lean on pentatonic blues licks like Clapton or Page. Instead, Buckingham crafted textures—sharp, percussive picking styles and unique voicings that gave Fleetwood Mac’s Rumours its backbone. His solo on “Go Your Own Way” isn’t flashy, but it’s pure emotion—biting, melodic, and unforgettable. Buckingham proved that the guitar could be both pop-friendly and intricate, elevating his band’s sound without ever overpowering it.
19. Angus Young
Why He Matters: The embodiment of pure rock ‘n’ roll energy.
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Song Example: “High Voltage” (1976)
Clad in a schoolboy uniform, Angus Young became the face of AC/DC and one of rock’s great showmen. His guitar work was straightforward but devastatingly effective. No unnecessary flourishes, just riffs that could knock down a brick wall. Listen to “High Voltage” or “Let There Be Rock”—it’s not about technical virtuosity, it’s about electricity. Angus took Chuck Berry’s duck walk and riffing style and turned it into a stadium-filling, fist-pumping spectacle.
18. Steve Howe
Why He Matters: Progressive rock’s master craftsman.
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Song Example: “Roundabout” (1971)
As the guitarist for Yes, Steve Howe stretched the limits of what rock guitar could do. “Roundabout” is an absolute clinic in blending classical influences, folk fingerpicking, and rock power chords. Howe could be delicate one moment and unleash torrents of sound the next. Progressive rock demanded versatility, and Howe delivered it in spades—switching seamlessly between electric, acoustic, and even steel guitars.
17. Peter Frampton
Why He Matters: Arena rock’s golden boy with the talk box.
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Song Example: “Do You Feel Like We Do” (1976, Frampton Comes Alive!)
Peter Frampton may have started the decade in Humble Pie, but his real breakthrough came as a solo artist. Frampton Comes Alive! became the definitive live rock album of the ’70s, and “Do You Feel Like We Do” turned the talk box into a household sound. His style was fluid, melodic, and approachable. Frampton wasn’t about guitar gymnastics—he was about creating a connection with the audience, and his solos sang as much as they screamed.
16. Pete Townshend
Why He Matters: The power chord revolutionary.
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Song Example: “Won’t Get Fooled Again” (1971)
Pete Townshend of The Who didn’t just play guitar—he weaponized it. Windmilling his arm into power chords, smashing guitars on stage, and driving his band with relentless rhythm, Townshend was as much an innovator as he was an icon. Songs like “Won’t Get Fooled Again” showed how he could balance aggression with elegance, using simple structures to create towering anthems. He wasn’t always a technical virtuoso, but his influence is undeniable—without Townshend, punk rock and hard rock both would sound very different.
15. Allen Collins
Why He Matters: Southern rock’s secret weapon.
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Song Example: “Free Bird” (1973)
Allen Collins of Lynyrd Skynyrd gave us one of the most iconic solos in rock history. “Free Bird” is practically a rite of passage for guitarists, and Collins’s extended outro solo is the heart of the song. He balanced bluesy phrasing with fiery runs that went on and on without ever feeling indulgent. Southern rock lived on riffs and storytelling, and Collins embodied both. Tragically, his career was cut short, but his influence remains immortal.
14. Tony Iommi
Why He Matters: The father of heavy metal.
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Song Example: “Iron Man” (1970)
After an industrial accident left him missing fingertips, Tony Iommi adapted by detuning his guitar and reshaping how riffs were played. The result? Black Sabbath, and essentially, heavy metal as we know it. The crushing power of “Iron Man,” “Paranoid,” and “War Pigs” came directly from Iommi’s downtuned, sinister guitar work. He proved that limitations could spark innovation, and in doing so, he defined an entire genre.
13. Alex Lifeson
Why He Matters: The architect of Rush’s progressive sound.
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Song Example: “La Villa Strangiato” (1978)
Alex Lifeson was often overshadowed by Geddy Lee and Neil Peart, but his guitar work was every bit as vital to Rush’s sound. “La Villa Strangiato” showcases his ability to combine jazz, hard rock, and prog precision into one sprawling instrumental masterpiece. Lifeson didn’t just riff—he painted with chords and dynamics, creating expansive soundscapes that elevated Rush above their peers.
12. Mark Knopfler
Why He Matters: Fingerpicking sophistication in a rock world.
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Song Example: “Sultans of Swing” (1978)
Mark Knopfler brought a jazz-influenced, fingerpicked elegance to the guitar that felt refreshing in the late ’70s. Dire Straits’ breakout hit “Sultans of Swing” showed his ability to make the guitar sing without distortion, relying instead on touch, nuance, and phrasing. His tone was instantly recognizable—smooth yet sharp, casual yet brilliant.
11. Billy Gibbons
Why He Matters: Texas tone personified.
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Song Example: “La Grange” (1973)
As ZZ Top’s frontman, Billy Gibbons fused Texas blues with hard rock swagger. His guitar tone was fat, greasy, and unmistakable, and his riffs were pure gold. “La Grange” remains one of the great boogie rock riffs of all time. Gibbons didn’t just play guitar—he embodied it, with every slide, pinch harmonic, and growl oozing personality.
10. Joe Walsh
Why He Matters: The laid-back innovator who made it look easy.
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Song Example: “Life’s Been Good” (1978)
Joe Walsh could be funny, eccentric, and casual, but underneath the humor was a guitarist of serious ability. With the James Gang, Barnstorm, and later The Eagles, Walsh developed a reputation for tasty licks and melodic solos. “Life’s Been Good” captures his playful style, while his solo work on “Hotel California” (with Don Felder) is one of the decade’s definitive twin-guitar moments.
9. Carlos Santana
Why He Matters: The Latin-blues fusionist.
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Song Example: “Black Magic Woman” (1970)
Carlos Santana brought something entirely new to the rock world—Latin rhythms combined with soaring blues guitar. His sustain-heavy, fluid tone on songs like “Black Magic Woman” and “Oye Como Va” became instantly recognizable. Santana’s ability to merge cultures and genres made him not just a great guitarist, but a trailblazer who opened doors for countless others.
8. Ritchie Blackmore
Why He Matters: The riff master of Deep Purple and Rainbow.
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Song Example: “Smoke on the Water” (1972)
Ritchie Blackmore gave us the riff that every beginner guitarist learns first: “Smoke on the Water.” But his talent went far beyond that. With Deep Purple and later Rainbow, Blackmore balanced raw rock energy with classical influences. His solos were sharp, fiery, and precise, and his stage presence made him one of the defining guitar heroes of the era.
7. Duane Allman
Why He Matters: The slide guitar messiah.
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Song Example: “Whipping Post” (1971, At Fillmore East)
Duane Allman’s slide guitar playing was unmatched, and with the Allman Brothers Band, he brought blues, country, and rock together in a way that felt timeless. His improvisations on At Fillmore East remain some of the greatest live guitar work ever recorded. Though his life was tragically cut short in 1971, his influence has echoed for decades.
6. Brian May
Why He Matters: The scientist of sound.
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Song Example: “Bohemian Rhapsody” (1975)
Brian May built his own guitar, crafted his own tone, and became one of the most distinctive guitarists of the decade. His orchestrated layers on Queen’s albums, combined with his soaring melodic solos, made every song unforgettable. The solo in “Bohemian Rhapsody” is a masterclass in emotion over speed—proof that guitar playing is as much about what you don’t play as what you do.
5. Eric Clapton
Why He Matters: The blues god of the British Invasion.
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Song Example: “Layla” (1970, Derek and the Dominos)
By the ’70s, Eric Clapton had already been through Cream, Blind Faith, and Derek and the Dominos, leaving behind a trail of legendary riffs and solos. “Layla” is arguably his defining moment—a searing riff and a passionate solo that captured everything great about his style. Clapton was less about fireworks and more about feel, and that’s what made him endure.
4. Jeff Beck
Why He Matters: The innovator’s innovator.
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Song Example: “Cause We’ve Ended as Lovers” (1975)
Jeff Beck may never have had the commercial success of Clapton or Page, but he was the guitarist other guitarists worshipped. His ability to manipulate tone, his expressive use of the whammy bar, and his genre-hopping curiosity set him apart. “Cause We’ve Ended as Lovers” from Blow by Blow is a perfect example—soulful, experimental, and breathtaking.
3. Eddie Van Halen
Why He Matters: The game-changer.
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Song Example: “Eruption” (1978)
No guitarist changed the instrument more in the ’70s than Eddie Van Halen. With “Eruption,” he redefined what was possible, introducing two-handed tapping to the mainstream and blowing the minds of every guitarist who heard it. His tone, his speed, and his sheer joy of playing made him a phenomenon. By the end of the decade, every kid with a guitar wanted to be Eddie.
2. David Gilmour
Why He Matters: The master of atmosphere and emotion.
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Song Example: “Comfortably Numb” (1979)
David Gilmour didn’t need to play fast—he played perfectly. His solos with Pink Floyd, especially “Comfortably Numb,” are studies in emotion, melody, and space. Gilmour painted landscapes with his guitar, making it an instrument of storytelling. In a decade filled with technical players, Gilmour reminded us that less could be more, and that feel was king.
1. Jimmy Page
Why He Matters: The ultimate guitar hero.
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Song Example: “Stairway to Heaven” (1971)
Jimmy Page was the defining guitarist of the 1970s. With Led Zeppelin, he built riffs that will never die—“Whole Lotta Love,” “Black Dog,” “Kashmir.” His live improvisations were legendary, his production skills unparalleled, and his ability to move between acoustic delicacy and thunderous electric power made him untouchable. The solo on “Stairway to Heaven” alone could secure his place at number one.
Conclusion
The 1970s were the decade when the guitar reigned supreme, shaping the sound of rock and roll forever. From Lindsey Buckingham’s subtlety to Jimmy Page’s bombast, from Eddie Van Halen’s innovation to David Gilmour’s emotion, each guitarist brought something unique to the table.
And while I’ll always spin the Dead and smile at Garcia’s wandering leads, the truth is that the real giants of the decade stood elsewhere. They weren’t just playing notes—they were changing culture, bending time, and making kids across the world pick up a six-string and dream.
