STOCKHOLM – In the pantheon of heavy metal, few debates are as polarized or as perennial as the battle for the title of Ozzy Osbourne’s greatest guitarist. For decades, the conversation has largely been a hagiography of the late Randy Rhoads, the neo-classical prodigy who gave “The Prince of Darkness” his solo wings. However, a growing contingent of technical purists is beginning to speak up for the man who stepped into the heaviest shoes in rock: Jake E. Lee.
Among those leading the charge for a critical re-evaluation is Sebastian Ramstedt, the renowned guitarist for Swedish blackened death metal titans Necrophobic. In a recent deep-dive interview with Micha Kite of V13 Media, Ramstedt bypassed the usual diplomatic tropes of the industry to declare that Lee’s work represents the absolute zenith of the genre.
Beyond the “Denim Hell” of the Eighties
Ramstedt’s perspective is shaped by a journey from youthful elitism to mature appreciation. Reflecting on the tribalism of the 1980s metal scene, he admitted to a certain “guard” that many extreme metal fans held during the height of the MTV era.
“In the ’80s, I hated all hair metal except for early Mötley Crüe and W.A.S.P.,” Ramstedt recalled. He described the frustration of sitting through videos by Cinderella while waiting for the visceral thrash of Sepultura. However, with the benefit of hindsight, the Swedish musician has dropped his defenses, acknowledging the immense technical proficiency required to craft the hits of that decade.
“I don’t have my guard up like that anymore,” he noted. “Those bands have very good guitar players. It takes a lot to write a great love song or an ’80s metal song.”
The Ultimate Lead Work: Lee vs. Rhoads
While Ramstedt paid dues to the “Big Three” of the era’s technique—Eddie Van Halen, George Lynch of Dokken, and Warren DeMartini of Ratt—it was Jake E. Lee who he crowned as the king of the fretboard.
The debate usually centers on Rhoads’ foundational work on Blizzard of Ozz and Diary of a Madman. Rhoads brought a revolutionary European classical sensibility to American metal. Yet, Ramstedt argues that Lee’s contributions on “Bark At The Moon” (1983) and “The Ultimate Sin” (1986) pushed the boundaries of what lead guitar could achieve in a heavy metal context.
“Jake E. Lee was my favorite,” Ramstedt stated emphatically. “His work on ‘Bark At The Moon’ and ‘The Ultimate Sin’ is the ultimate lead guitar work ever.”
What sets Lee apart for many professional musicians is his unique physical approach. Eschewing the heavy use of the Floyd Rose tremolo system that defined the 80s, Lee relied on staggering finger stretches, aggressive “thumb-over” techniques, and intricate riffing that felt more “street” and muscular than the polished, academic feel of his predecessor. For Ramstedt, this represents a level of “ultimate” mastery that transcends the tragedy-fueled nostalgia often associated with Rhoads.
A Legacy Re-Examined
The 2026 perspective on 1980s metal is increasingly focused on technical longevity. While Rhoads is the martyr of the movement, Lee is the survivor whose riffs—like the iconic, jagged opening of “Bark at the Moon”—continue to challenge modern players.
Ramstedt’s endorsement is particularly significant coming from the extreme metal world. It suggests that Lee’s influence isn’t just confined to the “hair metal” bin he once shared with the likes of Ratt or Dokken, but is baked into the DNA of technical death metal and beyond. By focusing on the “lead work” as a standalone craft, Ramstedt highlights Lee’s ability to weave complex, non-linear solos into accessible radio anthems.
As the debate rages on in dive bars and guitar shops globally, the Swedish veteran’s stance serves as a reminder: immortality in rock isn’t just about who came first, but who took the instrument to its absolute limit.