These videos are bonus content related to the November 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.
One forged the template for heavy metal. The other advanced it with virtuoso shredding. Together, they shaped the guitar universe as we know it today. Tony Iommi and Eddie Van Halen mark Guitar World’s 30th anniversary with a colossal conversation about their careers, friendship and the past three decades of our favorite instrument.
A large painting by Metallica bassist Jason Newsted hangs prominently in the front room of Joe Satriani’s San Francisco townhouse, just above the black, upright piano where Satch composed some of the music for his newest album, Unstoppable Momentum.
The first thing that I did was write a song. As far as I can tell, it was called “Bluebird.” I still have the piece of paper, and it’s a little difficult to decipher. It looks like the scribblings of a mad schizophrenic. I remember playing that for hours and trying to impress my family that I already started writing songs.
Considering that millions of guitarists have spent countless hours staring cross-eyed at glass pipes, it was inevitable that one day someone would put two and two together and make a glass guitar. For guitarist and glass blower Nick Eggert, who built this unique glass guitar with chili pepper embellishments, the concept of a glass guitar was a perfectly natural development.
I’ve always been intrigued by the way pedal-steel players compile notes differently than electric guitarists. Whereas the electric guitar kind of technically limits—or should I say more narrowly influences—how you form chords and craft licks, the pedal steel offers the player a lot of options, what with all those crazy pedals and knee-operated levers, additional strings, open tunings and the slide.