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 Back in Libertyville, Jones used to sit on the edge of his bed studying the pictures of Van Halen's four band members on that first album cover while the vinyl spun on his turntable. The songs shook him in ways both exciting and alarming, much like the first time he heard the Beatles' "A Day in the Life" or, later, "Blackened" by Metallica and "Loud Love" by Sound-garden — shadowy tunes that scratched a nerve to fuel his own creative impulses.

"It's the haunting guitar riff that inspired me," Jones explains excitedly. "Those records just scared me in a creative way. I can't tell you how many Van Halen songs are like that for me: 'Oh my God, they did it again' — this wonderful creep factor."

Jones and Morello ultimately absorbed different les-sons from Van Halen's dazzling example. Both are distinctive players of rhythm and lead, but Morello leaned heavily in the direction of the explosive, hyperactive shredding of EVH and Ozzy guitar phenom Randy Rhoads. (Morello even named his oldest son Rhoads.)

It could be heard in 1992 on the very first album from Rage Against the Machine, which collided that metal guitar god tradition with Morello's layering of deep funk, hip-hop and extravagant special effects that at times had his guitar sounding like turntable scratching, a synth melody or the cello-like cries of a blue whale. It was as recognizably his own as EVH tapping his fingers along the frets and slamming down the tremolo bar.

 

 

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