The only other reason for having a meaningless solo on your track is
to give the record some instant profile upon the record's release by
making it known in the media that it features a boring but sainted
muso, thus giving it some fake cred. The tried and tested guest
soloists of the late eighties are: Miles Davis on trumpet, Courtney
Pine on saxophone and Stevie Wonder on harmonica. Untried
possibilities that might create some interest would be Jimmy Page or
Junior Walker. But really we would recommend you don't bother - unless
you can get Jimi Hendrix to do it.
The last time the guest solo really helped on a Number One record was
Stevie Wonder on Chakka Kahn's "I Feel For You". In the end it only
provides the D.J. on Radio One with a bit of a talking point or at
best a clincher angle in getting a Newsbeat interview.
When song writers were craftsmen that sat in front of their pianos,
heads filled with melodies and hands searching for chords and long
before multi-tracked recording studios became a vital aid in modern
song construction, they would call this part of the song the "middle
eight" (it had eight bars). They would entertain themselves by
introducing a different chord structure at this point with a
refreshing new melody. This technique still has its charms but you can
leave it to the people who take a pride in writing songs for the sake
of their craft. Even Elton John doesn't bother with them these days.
It's the sort of thing that Green from Scritti has a go at.