29 Guitarists that have inspired me

Since we're in a Listmania kind of phase, I thought I'd list the 29 guitarists that have inspired me the most. Not only that, but also the 29 guitarists whose style and influence can be heard in my playing. Why 29? 'Cause we're rollin' with that theme, and because it's a prime number. So there. The guitarists are not necessarily ranked in order of importance.

1. Yngwie J. Malmsteen. THE single biggest influence on my approach, technique and tone. All A harmonic minor, sweep picking and Dorian modes. Some of what makes Yngwie unique is that his solos are beautiful even when played slowly - they're not just a bunch of adjacent notes thrown together in order to sound fast. Baroque & Roll!
2. Joe Satriani. The last two years or so, my appreciation for Satriani's ultramelodic approach has really boomed. I find myself using his "pitch axis" theory for soloing, as well as his approach to chordal two-handed tapping a lot. Also, many of his signature licks keep appearing in my vocabulary spontaneously - I'll start playing something out of the blue, and suddenly realize that it's something Satriani.
3. Steve Vai. I've even got his signature guitar, so that ought to tell you something right there. Listening to Vai taught me to play with a certain abandon. Oh yeah; I also stole some of his licks...
4. Gary Moore. Hyooge influence when I started playing. His tone and vibrato are almost unmatched, and I find myself incorporating many of his stylistic elements in soloing, like sections from The Loner, Over The Hills And Far Away and Still In Love With You.
5. Nuno Bettencourt (Extreme). When I started out, I never thought it was possible to play faster and more technical than Bettencourt and Vai, and then I stumbled onto Yngwie. What I really like about Nuno's style, is the fact that he almost never plays the same riff twice without some variation, which is something I really try to emulate. Also, his use of harmonics to spice up rhytm sections is something I strive for.
6. Chris Holmes (W.A.S.P). When I started playing for real, I practiced 10 hours a day trying to figure out "Live...In The Raw" by W.A.S.P. I'm still using many of Holmes' licks for solos (especially the pick-tapped ascending or descending trills), and I absolutely love his way of structuring songs.
7. Dave Mustaine (Megadeth). 90% of the angry, pedal-note based riffs and progressions I come up with are derivations of The House That Dave Built. In my opinion one of, if not THE best rhytm guitar player in metal. His solo style is also pretty amazing, if somewhat chaotic.
8. Magnus Karlsson (Last Tribe, Starbreaker, Allen/Lande). This guy is flat out amazing, and I've really opened up to his way of structuring songs - tight during verses, wide open during the chorus. Also, he has helped me improve my sring-skipping, and has single-handedly restored my faith in Wah and Whammy pedals. Kudos, Magnus - U Da Man!
9. Rolf Kasparek (Running Wild). Not only do I use his signature lick every now and then, but I also find myself incorporating his way of organizing the rhytm structure behind guitar solos. Plus, his melodic approach to trem picking makes for excellent riffs. Under Jolly Roger!
10. Jason Becker (Cacophony, David Lee Roth band). More neoclassical guitar and sweep-picking. My playing doesn't use any of his approach to sweeps, but I use plenty of his soloing concepts. Speed Metal Symphony is a great blueprint for any guitarist aspiring to play fast AND melodic.
11. Al DiMeola. Al, or rather two of his songs, have radically affected the way I play muted scalar runs. Mediterranean Sundance and Race With The Devil On A Spanish Highway. Most of what you need to know about alternate picking and palm-muting right there.
12. Michael Romeo (Symphony X). His tapping style really expanded my soloing repertoire. Also, I love employing his time signature changes and trademark descending chorus progression.
13. Kee Marcello (Europe). For his trills and trademark accellerating descending runs, that tottaly liven up solos.
14. Herman Li (Dragonforce). I find myself stealing ideas from the Force all the time now. Both with respect to harmonized riffs and their unison tapped solo licks.
15. Randy Rhoads (Ozzy Osbourne). For his incorporation of bluesly licks and cyclic, descending runs. Also a little bit because I find myself using a guitar tone close to his every now and then.
16. Marty Friedman (Megadeth, Cacophony). Love his use of oriental scales, and I try to spice up lead work using his approach.
17. Stevie Ray Vaughan. Perhaps the most surprising entry on the list, but his chordal, rhytmic soloing style is something I bring with me every now and then.
18. Paul Gilbert (Mr. Big). 'Cause I damn near can't stop using his signature string skipping now.
19. Luca Turilli (Rhapsody). Whenever I try to make some really epic, symphonic and pompous music - preferably with some Tarantella incorporated, I find myself emulating Luca. Also, I like his way of speed-picking riffs and arpeggiating melodies. And did I mention one of my guitars is identical (save for the color) to the one he used on the two first Rhapsody albums?
20. Kai Hansen (Gamma Ray). Through him, I've picked up the essential power metal song and riff structure (check out Future World or Follow Me for a primer), and have realized that main riffs don't need to be played on the lowest strings to sound heavy.
21. CC Deville (Poison). For a primer in the use of G-Cadd9-D for power ballad purposes, and his dramatic high-to-low solo changes.
22. Timo Tolkki (Stratovarius). 'Cause I like using his approach to riffs and fills - what he refers to as hypermegaspeedpicking (yeah; that's actually what he likes to call it). Plus, his use of doublepicking in solos helps create tension and interest.
23. Vito Bratta (White Lion). For his use of counterpoint in solos. Dude's so incredibly underrated...
24. Eddie Van Halen (Van Halen). Not for his soloing style, and not for his tapping (can't stand to tap using his approach), but for his free-form approach to rhytm, where his fills mirror the lyrics.
25. Johnny Öhlin (Dionysus). For his tone and storytelling solos. Also because he has transferred the neoclassical style of guitar to the power metal form. Awesome!
26. Alex Skolnick (Testament). For showing how inserting soft, melodic solos in very hard metal can enhance both the soft and the hard aspects of the music without diminishing either.
27. Kiko Koureiro (Angra). I love his incorporation of chromatic licks in his solos, and the widel-interval legato licks.
28. John Sykes (Whitesnake). Double-picked rhythmical ideas, like the ones found in "In The Still Of The Night"
29. Ronni Le Tekrø (TNT, Vagabond). For his use of machine-gun picking, i.e. heavily muted tremolo-picked structures combined with legato hammer-on/pull-offs.

Anders?