Photo Gallery: Guitar World Magazine Covers Throughout the Years — 1999
Y2K bugs notwithstanding, 1999 was a payoff year for patient music fans.
Several artists made comebacks -- perhaps fearful they had only a few months before computer systems would revert back to 1900 -- and CD players would explode.
The Red Hot Chili Peppers rang in the summer with Californication, but the big news for fans was the return of guitarist John Frusciante, who had not played with the band in eight years. Californication went on to sell more than 13 million copies.
Later in the year, the rock world saw Trent Reznor release The Fragile, Nine Inch Nails' first album in five years. And then there was Peace, Eurythmics' first album in 10.
But ,of course, the comeback king of 1999 was Carlos Santana. The legendary guitarist had begun the decade with dismal record sales and eventually found himself without a contract. By the end of the Nineties, at the recommendation of Arista Records' Clive Davis, Santana recorded Supernatural, with a star-studded cast of musicians including Eric Clapton, Cee-Lo Greene and Dave Matthews. The first single, "Smooth," recorded with Rob Thomas on vocals, spent 12 weeks at Nol. 1 on the Billboard Hot 100 -- Santana's first No. 1 single -- and won three Grammy Awards, including Song of the Year.
Carlos Santana was again the force to reckoned with that he was in the Seventies. But there were other artists pushing for their spot in the limelight in 1999. See who found some in this week's gallery of GW covers from 1999.
The late Nineties were a rough patch for the Red Hot Chili Peppers. One Hot Minute -- the Peppers' only release with Dave Navarro on guitar -- failed to resonate with fans. In a much-needed return to form, guitarist John Frusciante returned to the band, and with the release of Californication, the Chili Peppers reclaimed their title as the funk-rock kings.
Guitar World reached back 30 years to declare 1969 the Greatest Year In Rock. There were good reasons to pick '69: Led Zeppelin I, Let It Bleed, Tommy, Cream's Goodbye and Woodstock, to name just a few.
Call it rap-metal, nu-metal... or junk, as a lot of guitar fans did at the time, the polarized interest in the rap/rock trend of the late Nineties was a force to be reckoned with. Limp Bizkit were the genre leaders and were the stars this special Guitar World 3-D issue.
The passe notion of hair metal that permeated in the early Nineties had passed. Grunge's ominous cloud of self-deprecation lifted, and music fans had regained some interest in the danger than made Eighties rock icons like Motley Crue, Ratt and Cinderella fun. GW explored the decadent decade in this retrospective.
Mix one part shred virtuoso, one part sonic genius, two parts metal kings (James Hetfield and Kirk Hammet appear on the cover's inner-sleeve) and one part ultimate guitar hero, and you get Guitar World's Super Millennium Issue.
Courtney Love and Hole bassist Melissa Auf der Maur are part of a highly exclusive club. Their appearance on the January issue of Guitar World is only the second in GW history to feature female artists (Can you guess who was the first?). Celebrity Skin, Hole's return to the rock world, was assisted by the songwriting talents of the Smashing Pumpkins' Billy Corgan.
John Lennon got some undivided attention in this issue of GW. Yoko Ono and several of Lennon's collaborators talked about the late musician's life after the Beatles.
After a decade, grunge had finally reached the age of retrospective -- and thus could be considered thoroughly dead. The Seattle music movement's impact, however, left a monumental crater in the recording industry's bedrock. Enough so, anyway, that GW named grunge god Kurt Cobain its Artist of the Decade.
It had been nearly nine years since Stevie Ray Vaughan died in a helicopter crash, but his influence on the guitar community had hardly begun to wane. Interviews with the guitarist himself, as well as friends and collaborators, compile this oral history of the seminal blues artist.
The Offspring had separated themselves from the average post-grunge band by injecting their punk-laced rock anthems with pop inflections. This was never more evident than on Americana, the band's mainstream breakthrough album.
Devil Without a Cause had made a Kid Rock a superstar. The album's far-reaching appeal makes sense when one considers Kid Rock's varied influences, including Hank Williams, Public Enemy, ZZ Top and Fleetwood Mac. Much of Rock's sound was hybrid, but mostly it kept in nature with Bob Ritchie's adopted stage name.
It had been over three years since Evil Empire brought Rage Against the Machine worldwide fame. The followup, The Battle of Los Angeles, did not disappoint, debuting at No. 1 on the Billboard 200 and winning Rolling Stone's critic pick for Best Album of 1999.