Anthony Kiedis beszél arról, hogy miért hiányzik neki John Frusciante


Ha jól emlékszem, mióta John Frusciante elhagyta a Red Hot Chili Pepperst, a zenekar tagjai nem szívesen beszélnek erről, és nem is nagyon kerül szóba a dolog. Most viszont Anthony Kiedis egy interjúban megosztotta gondolatait Johnról, és hogy miért is hiányzik neki.

“[John is] a very special person to me, a special person to many people, but my experience with John was one of the most wonderful and easiest people to make music with. We could sit down on the floor, John and I, and I could take out a piece of paper, and I would say, ‘Okay, I wrote these words.’ He would say let me see those words, he would read them, and go okay. He would start to play something, I would start to sing it, and I would say, ‘Can you play something that feels like this?’ He would say, ‘Okay, let me try this.’ Then we would have a song. Never did I meet someone who was so easy to write songs with, and really good songs.

If I called him up and said, ‘I’m very sad today,’ he was like, ‘come over right now, we’re writing a song.’ So I would bring my sadness to John: ‘Sit down, get the notebook, start writing your feelings.’ Then we would have a song.

I miss him, but I also accept the separate lives. But I miss him.”

Chad Smith interjú a Rolling Stone-ban

Chad Smith

A Rolling Stone leült kicsit beszélgetni Chad Smith-tel, természetesen leginkább az új albumról esett szó, de szóba került a turné, az Aeroplane, és még John Frusciante-ról is beszélt kicsit. Felkészülni, lehet jönnek további régi dalok a koncerteken!

Fans were shocked to hear “Aeroplane” earlier this year.

Yeah, we’re doing it. I think we worked up “My Friends” from the bastard album we never played. No one had a real connection to that one. Josh is like, “I don’t care. I like it, man.” And you gotta switch it up. We’re going to play some older ones, stuff off the first album. We’re playing “Nobody’s Weird Like Me” from Mother’s Milk. We’re delving into our back catalog a bit. It’s gonna be tough to figure out which new ones we can do. We can’t do them all. We’ll figure it out and keep ’em rotating.

Do you ever talk to John Frusciante?

I haven’t. Once in a while, he’ll send me a text or an e-mail or something. I know Flea saw him recently and they hung out. But I haven’t had much contact. He’s doing his thing. I love John. He’s one of the most amazing musicians I’ve ever played with. I’m so fortunate he was in our group. But I think he’s happy doing his own thing, what he wants to do, and that’s great. I want him to be happy.

A teljes interjút a Rolling Stone oldalán olvashatjátok el.

John Frusciante – The Almighty Instrumental Mixes


Múlt hét csütörtökön, egy nappal az új Red Hot Chili Peppers lemez megjelenése előtt, John Frusciante is meglepett bennünket egy kis aprósággal. John elég régóta dolgozik együtt a Black Knights rapbandával, mind a három lemezüknek ő volt a producere, és zenészként is részt vett a dalokban, most pedig feltette az utolsó album instrumentális verzióját a saját bandcamp oldalára.

A zene mellé kaptunk John-tól egy új blogbejegyzést is, amiben a lemezhez használt dolgokról beszél.

25 éves a Mother’s Milk

1989 MTV Video Music Awards

25 éve ezen a napon jelent meg a Red Hot Chili Peppers negyedik albuma, a Mother’s Milk. A lemez ugye elég komoly változásokat hozott a zenekar életébe, hiszen Hillel Slovak elvesztése után ezen a lemezen szerepelt először John Frusciante és Chad Smith. Ebből az alkalomból a Rolling Szone magazin készített interjút Chaddel. Szó esik az akkori időkről, és egy lehetséges újra kiadott lemezről.

So you were like 26 around this time?
Yeah, I just turned 27 in ’88 by the time I met them in December. Anthony and Flea were 26 — birthdays always within two weeks of us —and John was like, 18. He was brand new — never been in a band, playing in his favorite band, and he was just a ball of energy. I mean, at the time, everything we did was fast and hard and y’know, it was exciting. I didn’t know that much about the band — “Oh, yeah, y’know, the guys with the socks on their dicks and they’re kind of crazy.”

As soon as I joined, we went right into writing songs — I think they had a couple songs prior to that. Of course, we did the Stevie Wonder cover [“Higher Ground”], which was sort of our breakthrough thing on MTV and all that. But it was like get right in there and started writing. I may have done one gig at the Roxy or something — or half a gig on some other band’s equipment — but we just went right into writing and music and it was pretty exciting and fun. And in a couple months, maybe, we were recording by February or March, which is a pretty short time compared to now. We take six to nine months to write music. But it was that initial excitement of new guys in a band, new music. It felt kind of magical and felt like a new chapter for the band. Anthony was newly sober. It was definitely a new thing for us, and I loved it. I thought, “This is great!”

We did a little tour of, like, Florida. Literally, when I joined the band, I had like $20 in my Bank of America checking account. And we did a little 10-day tour and I made $10,000. And I was like, “I’m fuckin’ rich!” I’ve never even seen that kind of money, or anything with a “thousand” behind it. I couldn’t believe it — I was like, “This is amazing! Oh my God!” It was incredible, like I hit the lottery, man. It was amazing.

What was the last steady job that you had? Did you work in L.A.?
I did, yeah. My friend that I slept on his couch… He moved to California and he was working in production — on films and commercials and music videos. So he got me a job working for a company called Boyington Films and they did commercials and some rock videos. The first rock video I worked on — which was literally only a month after I moved out there — was Keith Richards’s first solo album, Talk is Cheap. The song was called “Take It So Hard,” and I’m of course a huge Rolling Stones fan. There were little mountains in the background — made out of tinfoil and plywood, fake mountains — so I helped make those, but I got to go be on the set, during the video shoot, in Hollywood. I was so excited like, “Wow — breathing the same air as Keith Richards. Wow!”

And I was halfway hoping he wasn’t going to come in or talk to the director like, “Oh, I don’t think the angle of shot is quite right. I don’t know about this or that.” He was like, two hours late, came stumbling out of the limo, big bag of coke and a switchblade. And I was like, “Yes! Rock lives!” They actually plugged in and played, between takes. Steve Jordan, I remember, was playing bass. I was just like, “Wow, this is the coolest thing ever.” And I worked on some other videos — y’know, art department stuff. P.A.: get the coffee, set up the lights, run the spotlights, paint the car in the Huey Lewis video — whatever it was. That was my main thing up until I joined the Peppers.

Then we started doing videos for Mother’s Milk. We did our first two videos back-to-back — and I had the same company that I’d been working for. So the same director I was working with, was now setting up my drums. I was like, “I got it,” and they’re like, “No, no, I got it, it’s our job. You’re the talent, now!” [laughs] So it was a little bit of a change.

A teljes interjú a Rolling Stone oldalán olvasható.