Every year, to mark Rory’s birthday, I like to set myself the near-impossible task of creating a themed countdown and handing it over to you, the readers, to help shape by submitting your favourite choices and why.

In 2023, I compiled your highlights from the final decade of Rory’s career, in keeping with the broader aim of Rewriting Rory. In 2024, I developed a history of Rory in 30 objects, each chosen by you as holding significance in his life. Last year, we celebrated Rory as a songwriter, gathering your favourite lyrics and why they resonate with you. This year, I decided to raise the bar even higher (and perhaps a little unfairly!) by asking you to submit your favourite guitar solos.

I know, I know… how on earth to do this justice when the man never played any one solo the same way twice and we have such a tremendous wealth of live material to wade through? Not to mention his incredible studio work, either as a solo artist, with Taste or the numerous albums he guested on. But I couldn’t resist setting the challenge, nonetheless.

As your choices came in and I worked my way through them (all 477 of them!), it became clear that I was going to have to tackle this slightly differently and develop two lists – one for the studio and one for live – to truly do the topic justice. I also decided on a Top 40 countdown to allow for a broader range of selections and accompanying justifications. Of course, this means that not every choice could make the final cut, but I am immensely grateful for all your submissions because this wouldn’t have been possible without you.

So, without further ado, here’s the live list to kick off this birthday morning. The studio list will follow later this evening. It’s over to you all now – your words form the heart of what follows. Thank you!

40. Souped Up Ford (Rockpalast 1977)

“Man, there’s just no comparison between the studio and live versions of this song. The live version is so superior and I think Rockpalast 1977 is the finest example of this. Rory’s energy is off the scale. That first slide solo is absolutely blistering and we get the Chuck Berry duckwalking too. No matter how many times I watch it, I sit there shaking my head in disbelief at just how talented one man could be” (Frank)

39. When My Baby She Left Me (Cork 1987)

“Rory and Mark at their finest – what musical chemistry they had! The way they call and respond to each other is so thrilling. I also love how happy Rory seems here – you can tell he knows they’re absolutely killing it! I remember you once saying how this was something that couldn’t be watched just once; it has to be played over and over again, and you’re absolutely right!” (Susie)

38. Calling Card (Hammersmith 1977)

“Calling Card with its jazzy sounding intro doesn’t indicate that there will be a strong solo to follow. However, the [Hammersmith] version is where Rory duels note for note with Gerry in the mid section. This continues until Rory doesn’t seem to be able to control himself any longer and he launches into a searing powerful solo. The tone of the guitar is perfect and the notes blast off into the stratosphere” (Pat)

37. Tore Down (Beat Club 1971)

“The second solo has great phrasing. I don’t think anyone else would or could play what he played and how he came up with it is a mystery to me” (Jack)

36. Ride on Red, Ride On (Good Evening Ulster 1982)

“Here it’s just Rory on his own in a TV studio, and yet he plays like he’s in front of a full concert of fans. The way he handles guitar and harmonica together is amazing. And then, at the end, he almost looks like he’s just come back down to earth with a bump, like even he doesn’t realise where that music came from. The man was a genius, pure and simple” (Anon)

35. Fuel to the Fire (Rock Goes to College, 1979)

“It’s funny – as a kid, I much preferred Rory’s hard-rocking numbers, but as I’ve got older, I’ve learnt to appreciate just how stunning his slower songs were. This version of Fuel to the Fire is a perfect example. That first solo is absolutely packed with emotion – it kind of reminds me of Thin Lizzy’s Still in Love with You from Live and Dangerous. The feeling Rory put into every note is just extraordinary” (Gerry)

34. Politician (Rocklife 1990)

“What makes this one a real winner for me is that Jack Bruce is literally explaining the song to Rory backstage seconds before they go on. Then Rory comes on stage and totally owns it. He has his eyes shut the whole time, just enjoying the groove and playing the most bad ass solo I’ve ever heard. The way he keeps weaving it back to the original Politician riff is so masterful. And then later in the song, he and Bruce face off against each other. Bruce has such a look of admiration on his face. I wish they had done more together. One of the best things Rory ever did, I swear!” (Edna)

33. Double Vision (Belfast 1984)

“Powerful… drifting up in Hendrix style. Slide… also a wow factor. Also an iconic night, I think” (Michael)

32. King of Zydeco (Rocklife 1990)

“I know this is all about Rory, but you can’t pick King of Zydeco without giving a shoutout to Geraint Watkins on accordion. What a talent! That first solo he takes is jawdropping. And then Rory’s own solo… the tone is simply beautiful. I honestly share your view that he was at his very best musically at this period in his career. Everything he does is so effortless” (Sarah)

31. What in the World (BBC Sessions 1982)

“Abrupt simple vocals alternate with heartwrenching, very short powerful solos” (Claudia)

30. As the Years Go Passing By (Montreux 1975)

“Rory plays the long solo, sweet and velvety, to my ears incomparably more remarkable than King’s playing! Those idiots who later released the CD version didn’t keep that song, thus to be found only on the vinyl. It’s a pity my old record player no longer works… Another idiot is the commentator on the LP sleeve, describing Rory’s sound as “mellow but smaller” than Albert’s. Of course, as if he had not understood that Rory purposely turned down his amp out of respect for King, willing not to steal the show… I believe Donal and the team should have included it on the Blues compilation, instead of You Upset Me Baby, which they selected out of that Montreux jam” (Joël)

29. I Could’ve Had Religion (Marquee Club 1972)

“The first Rory song I ever heard and the reason I fell in love with his music. No words can do it justice. It just needs to be watched. The solo is pure magic. No wonder Dylan wanted to record it” (Amanda)

28. Do You Read Me (Check Shirt Wizard ’77)

“It has to be the very first song I heard and experienced from Rory. I’ve listened to Rory endlessly since then, as I think you know. The one I stumbled upon is ‘Do You Read Me’ and, after exploring so many versions, I find the version on Check Shirt Wizard being perhaps extra strong. This song made me dig into the world of Rory music and what a trip it has been and will continue to be” (Christina)

27. Philby (Rockpalast 1982)

“I love everything about this performance. Every time Rory busts out the sitar, it just sounds incredible, and the edition of horns works really well here too. There’s a great crowd singalong at one point, and the interplay between Rory and Gerry is fantastic. The main solo is excellent, but honestly, the best part is the ending with the false finish. You think the song is over, and then Rory starts up a sitar riff that builds all this tension. The audience claps along, Brendan pounds the drums and then Rory launches into some otherworldly solo and John gets these crazy sounds from his keyboard. And then there’s that little dance Rory and Gerry do. Everyone just looks like they’re having the time of their lives!” (Siobhan)

26. Gamblin’ Blues (Isle of Wight 1970)

“I am just mesmerised by this performance, no matter how many times I watch it. Rory’s slide work is hypnotic. And his tone is so clean!” (Barry)

25. Walkin’ Blues (with Bela Fleck, Montreux 1994)

“I think everything there is to say about why this performance is so good is said in your excellent book, but I’ll try to add my own thoughts here. Rory and Béla sound like they’ve been playing together forever, not for the first time. That’s the mark of two top-class musicians. The absolute highlight for me is the solo in ‘Walkin’ Blues’, where Rory lets Béla shine on banjo and happily sits back on rhythm guitar, before handing over to Mark on harmonica. It’s a perfect example of Rory as a leader, crafting a solo that shows how a band can meld together flawlessly” (Catherine)

24. A Million Miles Away (Irish Tour ’74)

“A Million Miles Away has to be one of the most beautiful songs ever written and the Irish Tour ’74 version is my absolute favourite version of it. Both solos are hauntingly beautiful, but I think it’s that second one that ultimately wins out for me. The way that Rory plays with volume swells, it’s so different and unusual. It’s not just another blues/rock solo. It fits the overall melancholy feel of the song” (Anon)

23. All Around Man (Old Grey Whistle Test 1976)

“If this one doesn’t make the list, I’ll be so disappointed cos it’s my own personal favourite. Rory is an unstoppable one-man machine here in this 11-minute epic. That harmonica solo he busts out in the middle is one of the most impressive things I’ve ever seen him do. Man, he is really feeling it! And then he just effortlessly straps back on his guitar and rips into a killer solo. Can I also say just how damn sexy the whole thing is too, please?” (Anon)

22. Walkin’ Wounded (Ohne Filter 1990)

“This is a great rhythmic piece where Rory uses flanger effects.  There are two solos, the first solo is rather short.  The second solo is powerful sweep of notes, broken up by Rory and Brendan playing a short rhythmic riff together, then back to the sweeping solo to end the song.  I loved the piece enough to learn it on my keyboard.  So now I put the video on, and play along. I’ve listened to this piece at least one hundred times, and just noticed that the stage is bathed in a lot purple and blue light and a fog machine is used. I doubt any of that was Rory’s idea!” (Terry)

21. Cradle Rock (Irish Tour ’74)

“This lovely slide is magic. I could listen to it always every minute day and night!” (Monique)

20. What’s Going On (Isle of Wight 1970)

“After seeing unknown Rory play it August 1970 at Plumpton Jazz and Blues Festival first and then 3 weeks later at Isle of Wight Festival, this track hit me in the GUT. Loved it. I think it got a few plays on Radio 1 over the three week festival gaps. Then it came out on the Taste Isle of Wight DVD after decades of Donal trying to get it out. Seeing him play that on the DVD just cements that track in my soul! I am a pixel on the LP cover. Prefer the solo live than on LP as it was so raw, hard hitting and fabulous!” (Pete)

19. Shadow Play (Montreux 1979)

“Might not be one of Rory’s most technically dazzling solos, but it’s the sheer energy here and the crowd reaction that make it a winner for me. And of course, we have the whole epic scene with his Strat being dragged across the stage as it screeches, the fanning of it down etc… it’s just unforgettable” (Eric P)

18. Out on the Western Plain (Celtic Festival 1994)

“Just Rory and his guitar, at his prime. Rory once said that the acoustic set reaches the audience’s heart, while the electric set reaches the body. During the performance of this song, he is so immersed into his playing that it is like his heart is guiding his fingers from the beginning until the magnificent ending of the song, as he evokes a Celtic ambience full of magic. It always makes my heart shake inside my chest, so I believe he was right about his statement” (Erika)

17. Just a Little Bit (Irish Tour ’74)

“This one is such a toe tapper and kind of rolls along like an express train. The part from about 4:07 onwards is especially brilliant: Rory keeps repeating the same riff but plays with the volume taking it up and down repeatedly. Then Lou comes in on keyboards playing the same thing but at a higher pitch. It’s such a clever, thrilling way to layer the music” (Aisling)

16. Shadow Play (Rockpalast 82)

“I expect most people will pick the Montreux ’79 version, but I actually like this one more, particularly the last solo. I don’t know where Rory draws the energy from after already having played 90 mins at full throttle, but he clearly still has something left in the tank. It’s ferocious” (Arthur)

15. Crest of a Wave (Beat Club 1971)

“I honestly cannot possibly pick between the solos in this song. They are both an absolute masterclass in how to play slide guitar. And while I’m at it, I have to give a shoutout to ‘In Your Town’ from the same session, which is another brilliant lesson in slide work” (Cormac)

14. Just Like a Woman (Bonn 1992)

“The solo just transfers the emotions of the song so perfectly” (Amelie)

13. Big Guns (Belfast 1984)

“This was Rory on top form and one of the best performances of Big Guns I’ve ever seen. Also… I loved Brendan O’Neill’s green drum kit. Wonder if he still has it?” (Bob)

12. I Wonder Who (Vienna 1978)

“There is such a controlled dynamic to that solo with the contrast of fierceness to sweetness. It is absolutely perfect and tasteful. The stop, pick slide then trill is like the cherry on top! The sweetness that follows will make anyone melt” (Sharon)

“Our man’s on fine form on this ultra bluesy take on the Muddy Waters classic. I love the addition of the harp and when he takes things down ‘real low’ – sounding to my ears like a BB King ‘single note’ style” (John W)

11. Do You Read Me (Rock Goes to College 1979)

“An absolutely overwhelming performance. The energy, control, and sheer force of Rory’s playing here are astonishing. For me, this is a perfect example of why he stands among the greatest live performers of all time” (Francesca)

“People have often asked me why I rate Rory Gallagher so highly and my answer is always the same. The man never played the same solo (or show!) twice! And there’s SO much to love about this particular version of one of my faves. The ‘I Feel Fine’ tribute to The Beatles (4:38mins), the tapping, the scat singing, the funky rhythm section in the middle and the sheer power of the solos in general. Awesome!” (John W)

10. Messin’ with the Kid (Live in Europe, 1972)

“One of the first Rory tracks I heard was Messin’ With The Kid, the opening track of Live in Europe. You can almost hear the valves of the AC30 burning, buzzing and about to explode at the start. Then Rory launches into the song after Gerry gives him the signal of two notes on the bass. The solo is carefully crafted note by note until Rory seems to lose control and lets fly” (Pat)

“Live in Europe was my first Rory album and it just blew me away! I think I am going to choose “Messin with the Kid”. The tone of Rory’s guitar was like a knife through butter. I like the way the solo builds and ebbs. The whole album is an absolute masterpiece! Again, so much to choose from but I am going with Messin with the Kid.” (Anon)

9. I Could’ve Had Religion (Celtic Festival 1994)

“What a performance. I’m in awe that Rory could play like this when he was so incredibly sick. I’ve never heard such an angry, gut-wrenching version. The slide work cuts right to my soul” (Anon)

8. Shinkicker (Montreux 1979)

“High energy rock ‘n’ roll. Solo played with a lot of passion, feedback, pinch harmonics. Wow, wow, wow!” (Michael)

7. Tattoo’d Lady (Irish Tour ‘74)

“It’s just ferocious, playful and joyful all at once” (Anne S)

6. Tattoo’d Lady (Rockpalast ’79)

“For me, the finest ever version of this song. The second solo is probably my favourite where Rory seems almost possessed by the music. The sounds he’s dragging out of that poor Stratocaster are unbelievable” (Declan)

5. Walk on Hot Coals (Madrid 1975)

“The end solo with Rory flailing about is sublime!” (Nora)

4. I Wonder Who (Belfast 1984)

“Hard to put into words just how much I adore this version of the much performed classic. There’s just something about this particular version that I could never tire of. I think it’s simply the sheer fact that Rory rinses every drop of blues out of his trusty Strat as the solos build and build to a blistering crescendo (8:22 mins)” (John W)

3. Tattoo’d Lady, (Check Shirt Wizard ’77)

“Amazing ride along the galaxy, It couldn’t have been done better” (Claudia)

“I think this has to be the best ever version of Tattoo’d Lady. Rory makes the guitar sing, scream and laugh all at once!” (Anon)

“Rory is IN THE ZONE here! Both solos are BLISTERING! He truly was a check shirt wizard” (Jackie) 

2. Moonchild (Rockpalast 1982)

“One of a kind. My absolutely number one. Moonchild, Rockpalast Loreley 1982. Solo number two. That contains everything for what Rory’s playing is known for. Fascinating finger vibrato, pinch harmonics, wild and roughness in sound, show elements, wild boy, tight band” (Michael)

“This is an obvious one but that string pull is simply breathtaking! It is perfectly placed within the solo and seems like something out of this world took him over. Watching him translate his emotions into his playing is next level” (Sharon)

“In this solo, Rory showcases his extraordinary technical skill and complete mastery of the instrument. It’s breathtaking from start to finish, with an incredible flow that feels both effortless and electrifying” (Francesca)

1. Walk on Hot Coals (Irish Tour ’74)

“He manages to improvise a 3-minute solo that’s memorable and isn’t stale. He keeps introducing new parts while not sounding aimless, all off the top of his head. It’s superhuman” (Jack)

“This solo has an almost mystical quality. Rory’s improvisation draws you in completely, creating a powerful atmosphere that feels raw, intense, and deeply emotional. It’s one of those performances that transports you somewhere else entirely” (Francesca)

“This is the song and version that has rocked my music paradigm – not a small thing. This is the one where I surprised myself by starting to cry of emotions listening to Rory and his guitar solo – you can call it an epiphany” (Christina)

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And that’s a wrap! Let me know what you think of the list below!

I’m personally thrilled to see so many of my favourites in the top 10, from ‘Moonchild’ at Rockpalast ‘82, ‘Tattoo’d Lady’ at Rockpalast ’79 and ‘I Could’ve Had Religion’ from Celtic ’94. It’s fantastic to see such great representation across Rory’s whole career – a true testament to what an incredible musician he always was.

For those hungry for more, keep your eyes peeled: Rory’s Greatest Studio Solos countdown drops later today!