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EspañolJOHN FRUSCIANTE
'John Anthony Frusciante' (IPA pronunciation: ) (born March 5, 1970) is an American guitarist, singer, songwriter and record producer. He is best known as the guitarist of the alternative rock band Red Hot Chili Peppers, with whom he has performed on five studio recordings: ''Mother's Milk'', ''Blood Sugar Sex Magik'', ''Californication'', ''By the Way'' and ''Stadium Arcadium''. Frusciante also maintains an active solo career, having released eight albums under his own name, as well as collaborations with Josh Klinghoffer and Joe Lally under the name Ataxia.
Frusciante supplies a strong mix of funk and rock music in his intricate rhythms and leads, which form a substantial component of the Red Hot Chili Peppers' sound. His solo recordings span many genres and contain elements ranging from experimental rock and ambient music to New Wave and electronica. As a highly respected and influential modern guitarist, Frusciante ranked #18 on ''Rolling Stone's'' list of "The 100 Greatest Guitarists of All Time" in 2003.[1]
Biography
Early life
Frusciante was born in Queens, New York on March 5, 1970. His father, John Sr., was a Juilliard-trained pianist, and his mother Gail, was a promising vocalist who gave up her career to be a stay-at-home mother.[2] Frusciante's family relocated to Tucson, Arizona, and following that, Florida, where his father still serves as a Broward County judge. His parents separated, and he and his mother subsequently moved to Santa Monica, California.
Frusciante's Mar Vista Junior High yearbook photo; circa 1981
A year later, Frusciante and his mother moved to Mar Vista, Los Angeles with his new stepfather who, according to Frusciante, "really supported me and made me feel good about being an artist." Like many youth in the area, he became involved in the L.A. punk scene. By age nine he was obsessed with The Germs, wearing out several copies of their album ''(GI)''. By age ten he figured out most of ''(GI)'s'' songs in a tuning that allowed him to play every chord with a single-finger barre. Soon after, Frusciante began taking guitar lessons from a player who introduced him to the music of the Red Hot Chili Peppers.[3]
Frusciante began studying guitarists like Jeff Beck, Jimmy Page and Jimi Hendrix at the age of eleven. After mastering the blues scale, he discovered Frank Zappa, whose work he would study for hours. Frusciante dropped out of high school at the age of sixteen with authorization from his parents and completion of a proficiency test. With their support, he moved to Los Angeles on his own in order to focus on sharpening his musical skills.[4] He began taking classes at the Guitar Institute of Technology, but soon figured out a way to punch in for classes without actually attending.
1988–1992: Red Hot Chili Peppers
Main articles: Red Hot Chili Peppers
Frusciante first saw the Red Hot Chili Peppers in concert when he was fifteen and became a devoted fan; especially of original guitarist Hillel Slovak. He idolized Slovak, studying and learning virtually all guitar and bass elements from the Chili Peppers' first three albums. Frusciante became acquainted with Slovak by frequenting Chili Peppers shows; they spoke at the last show Frusciante attended before joining the group:
Frusciante became friends with former Dead Kennedys drummer D. H. Peligro in early 1988. They jammed together on numerous occasions, and Peligro invited his friend Flea (bassist of Red Hot Chili Peppers) to jam with them. The chemistry between Frusciante and Flea bore fruit instantly, with Flea later saying that might have been the day he first played the bass riff to "Nobody Weird Like Me".[5] Around the same time, Frusciante was going to audition for Frank Zappa's musical congregation, but abandoned any such ideas before the final try-out as Zappa strictly prohibited illegal drug use among musicians in his band. In an interview Frusciante said, "I realized that I wanted to be a rock star, do drugs and get girls, and that I wouldn't be able to do that if I was in Zappa's band."
Slovak died of a drug overdose in 1988, and Chili Peppers drummer Jack Irons, who was incapable of accepting Slovak's death, left the group. Remaining members Flea and singer Anthony Kiedis regrouped, and were determined to persist in the music industry. The band added Pelligro on drums and DeWayne "Blackbyrd" McKnight (formerly of P-Funk) on guitar.[6] McKnight however, was failing to spark any chemistry within the group; and Flea was considering auditioning Frusciante, whose intimate knowledge of the Chili Peppers' repertoire astonished him. Flea and Kiedis decided to audition Frusciante for the band, and they zealously agreed that he would be a suitable replacement for McKnight, who was promptly fired.[7] When Flea called Frusciante to give him the news of his acceptance into the Chili Peppers, Frusciante was so excited that he ran through his house, jumped up a wall and left permanent boot marks there. He was about to sign a contract with Thelonious Monster at the time (and had actually been playing with them for two weeks), but his unanticipated reception into the Chili Peppers caused him to discard such thoughts.Forsythe, Tom. (February 1991) "Laughing All the Way". ''Guitar Magazine''.
A few weeks into the band's new lineup, Pelligro's performance started suffering due to his extreme drug abuse, and he was fired from the band.[8] Soon after, drummer Chad Smith was added and Frusciante began recording his first album with the Chili Peppers, 1989's ''Mother's Milk''. During recording, Frusciante wanted to focus his playing on emulating Slovak's signature style, rather than imposing his own personal style on the group. Producer Michael Beinhorn didn't agree, and wanted Frusciante to play with an uncharacteristic heavy metal tone.Kiedis, Sloman, 2004. p. 249 Frusciante and Beinhorn frequently fought over guitar tone and layering, and Beinhorn's view ultimately won out.
The Chili Peppers collaborated with producer Rick Rubin for their second record with Frusciante, ''Blood Sugar Sex Magik''. Rubin felt that it was important to record the album in an unorthodox setting, so he suggested an old Hollywood Hills mansion, and the band agreed.[9] Frusciante, Kiedis and Flea isolated themselves in the mansion for the duration of recording. Smith however, felt the mansion was haunted and refused to live there.[10] For the duration of recording, Frusciante and Flea made few ventures into society, spending most of their time consuming immeasurable quantities of marijuana.[11] Around this time, Frusciante started a side collaboration with Flea and Jane's Addiction drummer Stephen Perkins called The Three Amoebas. They recorded roughly 10–15 hours of material, though none of it has ever been published.
''Blood Sugar Sex Magik'' was a huge hit upon its release on September 23, 1991; peaking at #3 on the Billboard charts, and eventually going on to sell over seven million copies in the U.S. alone.[12][13] The album's unexpected success instantly turned the Chili Peppers into rock stars. Frusciante was blindsided by his newfound fame, and struggled to cope with it. Soon after the album's release, he began to dislike the popularity of the band. Kiedis recalled in his memoir that he and Frusciante used to get into heated discussions backstage after concerts: "John would say, 'We're too popular. I don't need to be at this level of success. I would just be proud to be playing this music in clubs like you guys were doing two years ago.'"[14] Frusciante later said that the band's rise to popularity was "too high, too far, too soon. Everything seemed to be happening at once and I just couldn't cope with it."[15] He also began to feel that destiny was leading him away from the band. When the Chili Peppers began their world tour, he started to hear voices in his head telling him "you won't make it during the tour, you have to go now". Frusciante admitted to having once taken great pleasure in a hedonistic existence; however, "...by the age of 20, I started doing it right and looking at it as an artistic expression instead of a way of partying and screwing a bunch of girls. To balance it out, I had to be extra-humble, extra-anti-rock star. Frusciante refused to go on stage during a performance at Tokyo's Club Quattro on May 7, 1992 announcing to his bandmates that he was leaving the band. He was eventually persuaded to perform the show, but left for California the following morning.
1992–1997: Drug addiction
Frusciante developed serious drug habits as a result of touring with the band during the previous four years. He said that when he "found out that Flea was stoned out of his mind at every show, that inspired me to be a pothead." Kennealy, Tim. (July 1995) Chilly Pepper. ''High Times''. Retrieved on 2007-07-07 Not only was Frusciante smoking large amounts of marijuana, he began using heroin and was on the verge of full-scale addiction. He went back to his home in California and fell into a deep state of depression; feeling that his life was over, and that he could no longer write music or play guitar. For a long period of time, he focused primarily on painting and producing 4-track recordings he had made during the time he spent recording ''Blood Sugar Sex Magik''. To cope with his worsening depression, Frusciante dramatically increased his heroin use to a state of abuse; and subsequently spiraled into a life-threatening dependency. According to Frusciante, his use of heroin to medicate his depression was a clear decision: "I was very sad, and I was always happy when I was on drugs; therefore, I should be on drugs all the time. I was never guilty—I was always really proud to be an addict."[16]
Frusciante released his first solo album ''Niandra Lades and Usually Just a T-Shirt'', on March 8, 1994. The majority of the tracks on the album were recorded while he was strung out on heroin in his Hollywood apartment. ''Niandra Lades and Usually Just a T-Shirt'' Johnfrusciante.com The effect drug use had on the album's sound is exemplified on its tenth track, "Your Pussy's Glued to a Building on Fire". ''Niandra Lades and Usually Just a T-Shirt'' was partly recorded during the ''Blood Sugar Sex Magik'' sessions, and was released on Rubin's label American Recordings. Warner Bros., the Chili Peppers' label, had rights to the album because of the leaving-artist clause in Frusciante's Chili Peppers contract. However, because he was living as a recluse, the label gladly handed the rights over to Rubin, who released the album at the urgings of Frusciante's friends.
An article published by the ''New Times LA'' described Frusciante as "a skeleton covered in thin skin" who, at the pinnacle of his addictions, nearly died from a blood infection.[17] His arms became fiercely scarred from improperly shooting heroin and cocaine, leaving permanent abscesses. Frusciante spent the next three years holed up in his Hollywood Hills home; the walls of which were badly damaged and covered in graffiti.[18] During this time, Frusciante's friends Johnny Depp and Gibby Haynes went to his house and filmed an unreleased documentary short called ''Stuff'', depicting the squalor in which he was living. The house was eventually destroyed by a fire that claimed his vintage guitar collection, and left him with a few serious burn injuries after he narrowly escaped.[19] Frusciante released his second solo album, ''Smile from the Streets You Hold'', in 1997. By his own admission, the album was released in order to get "drug money" and was later withdrawn from the market. ''Smile from the Streets You Hold'' Johnfrusciante.com Although his initial motives for releasing the album were ignoble, Frusciante has stated that he likes the album and has promised to one day re-release it.[20]
1997–2002: Rehabilitation and return to the Chili Peppers
In late 1997, after more than five years of visceral addiction to the drug, Frusciante quit using heroin cold turkey.Kiedis, Sloman, 2004. p. 407 However, months later he was still unable to break addictions to crack cocaine and alcohol. In January of 1998, upon the urgings of longtime friend Bob Forrest, Frusciante checked himself into Los Encinos, a drug rehabilitation clinic in Los Angeles, to begin a full recovery. Upon his arrival at the clinic, he was diagnosed with a potentially lethal oral infection, which could only be alleviated by removing all of his teeth and replacing them with dentures. He also received skin grafts to help repair the scars on his ravaged arms. About a month later, Frusciante checked out of Los Encinos and reentered society.Kiedis, Sloman, 2004. p. 408
Fully recovered and once again healthy, Frusciante began living a more spiritual, ascetic lifestyle. He changed his diet, becoming more health-conscious and eating mostly unprocessed foods. Through regular practice of vipassana and yoga, he discovered one of his most vital tenets—discipline. To maintain this increased spiritual cognizance and reduce distraction from his musical focus, Frusciante chooses to abstain from sexual activity stating: "I'm very well without it". All of these changes in his life have led him to a complete change in his attitude toward drugs:
Despite his experience as an addict, Frusciante does not view his drug use as a "dark period" in his life. He has said that he values the period as a time when found himself and got his mind straight with everything he needed to know.Bryant, Tom. (May 3, 2006) "War Ensemble." ''Kerrang!''.
In early 1998 the Red Hot Chili Peppers fired guitarist Dave Navarro and were on the verge of breakup. Flea told Kiedis, "the only way I could imagine carrying on [with the Chili Peppers] is if we got John back in the band."[21] With Frusciante free of his addictions and ailments, Kiedis and Flea thought it was an appropriate time to invite him back. When Flea went over to Frusciante's house and asked him to rejoin the band, Frusciante started sobbing and said "nothing would make me happier in the world."
With Frusciante back on guitar, the Chili Peppers began recording their next album, ''Californication'', which was released in 1999. Frusciante's return restored a key component of the Chili Peppers' sound, as well as their healthy morale. He brought with him his deep devotion to music when he returned, which had a significant impact on the band's recording style during the album. Frusciante has frequently stated that his work on ''Californication'' is his favorite.
During the Californication world tour, Frusciante continued to write his own songs, many of which would be released on his third solo album, ''To Record Only Water for Ten Days'' in 2001. The album was not nearly as stream-of-consciousness or avant-garde as his two previous solo albums, but his lyrics were still very cryptic and the sound of the album was notably sparse and stripped down. ''To Record Only Water for Ten Days'' was significantly different from his previous work; the songwriting and production were more efficient and straight-forward compared to ''Niandra Lades'' and ''Smile''. In terms of genre, the album strayed from the rock pop he had just written with the Chili Peppers on ''Californication'', taking on a more New Wave quality. ''To Record only Water for Ten Days'' Johnfrusciante.com Instead of focusing mostly on his guitar work, Frusciante became interested in synthesizers, which are a distinctive feature of this record.
Frusciante began recording his fourth album with the Chili Peppers, ''By the Way'' in 2001, a time that he considers to be among the happiest of his life. He relished the chance to "keep writing better songs" and improve his guitar playing, on the album is largely driven by a desire to emulate guitar players such as Andy Partridge, Johnny Marr and John McGeoch; or as he put it, "people who used good chords." The album marked Frusciante's shift to a more group-minded mentality within the Chili Peppers, viewing the band as a cohesive unit rather than as four separate entities. ''By the Way'' was released in the U.S. on July 9, 2002.
2002–present: 2004 recordings and ''Stadium Arcadium''
Frusciante wrote and recorded a plethora of songs during and after the ''By the Way'' tour. In February 2004, he started a side project with Joe Lally of Fugazi and Josh Klinghoffer, called Ataxia. The band was together for about two weeks;[22] during which time they recorded approximately 90 minutes of material. After two days in the studio, they played two shows at the Knitting Factory in Hollywood, and spent two more days in the recording studio before disbanding. "ATAXIA - ''Automatic Writing''" Johnfrusciante.com
Frusciante released his fourth full-length solo album ''Shadows Collide with People'' on February 24, 2004. The album featured guest appearances from some of his friends, including Klinghoffer, and Chili Peppers bandmates Smith and Flea.[23] In June of 2004, Frusciante announced that he would be releasing six records over the span of six months:Devenish, Colin. (June 29, 2004) "Frusciante Prepares a Feast". ''Rolling Stone'', Retrieved on August 27, 2007. ''The Will to Death'', Ataxia's ''Automatic Writing'', ''DC EP'', ''Inside of Emptiness'', ''A Sphere in the Heart of Silence'' and ''Curtains''. With the release of ''Curtains'' Frusciante debuted his only music video of 2004, for the track "The Past Recedes". He wanted to produce these records quickly and inexpensively on analog tape, shunning modern studio and computer-assisted recording processes.Payne, John. (July 29, 2004) "Changing Channels: John Frusciante's Brave New Frequencies". ''LA Weekly'', Retrieved on August 27, 2007.
Frusciante playing with the Red Hot Chili Peppers, live at the Voodoo Music Experience in New Orleans, Louisiana in October, 2006
Frusciante began a long series of collaborations with friend Omar Rodriguez-Lopez and his band The Mars Volta, by contributing vocals and electronic instrumentation to their album ''De-Loused in the Comatorium''.[28] He also contributed guitar solos on their 2005 album ''Frances the Mute'';[29] and in 2006, he helped The Mars Volta complete their third album ''Amputechture'' by playing guitar on seven of the album's eight tracks.[30] In return, Rodriguez-Lopez has played with Frusciante on several of his solo projects including two songs from ''Curtains''.[31] Ataxia released their second and final studio album, ''AW II'', on May 29, 2007.
Musical style
Frusciante's musical style has evolved significantly throughout his years of playing. Although he has received moderate recognition for his guitar work in the past, it wasn't until ''Stadium Arcadium'' that music critics and guitarists alike started to recognize his work. Frusciante attributes this to his shift in focus, stating that on the album he chose an approach based on rhythmic patterns which were inspired by the complexity of material Hendrix and Eddie Van Halen produced. In preceding records however, he centered much of his output around various underground punk and New Wave musicians. In general, his sound is also affected by his affinity for vintage guitars. All the guitars that he owns, records and tours with were crafted prior to 1970.Making of "Can't Stop" music video. Red Hot Chili Peppers ''Greatest Hits''.
Frusciante uses a variety of vocal styles on his solo albums, ranging from the distressed screeches found on ''Niandra Lades and Usually Just a T-Shirt'' and ''Smile from the Streets You Hold'', to more conventional styles on subsequent records. With the Chili Peppers, Frusciante provides backing vocals in a falsetto tenor, a style he established on ''Blood Sugar Sex Magik''. He thoroughly enjoys his role in the Chili Peppers as backup singer, and feels that backing vocals are a "real art form". Despite his commitment to the Chili Peppers, he feels very strongly that his solo material and his contributions to the band should remain separate. When he returned to the Chili Peppers in 1999, Kiedis wanted the band record "Living in Hell", a song Frusciante had written several years prior. Frusciante however, opposed this. He feels that these two musical worlds conflict, and choses to divide them into separate entities.
Technique
Frusciante's guitar playing is largely centered on melody and emotion, rather than virtuosity. Although certain elements of his virtuoso influences can be heard throughout his career, he has said that he often downplays this as much as possible. He feels that in general, guitar mastery has not evolved much since the 60s and considers the greatest players of that decade to remain unsurpassed. When he was growing up in the 80s, many mainstream guitarists chose to focus on speed. Because of this, he feels that the skills of many defiant New Wave and punk guitarists were largely overlooked. It is for this reason that Frusciante chooses to accentuate the melodically-driven technique of players such as Matthew Ashman of Bow Wow Wow and Bernard Sumner of Joy Division as much as possible. He feels that their style hasn't been fully developed as a result of being overlooked, and therefore chooses to draw heavily from their technique. Despite this, he considers himself a fan of technique-driven guitarists like Randy Rhoads and Steve Vai, but represses an urge to emulate their style: "People believe that by playing faster and creating new playing techniques you can progress forward, but then they realize that emotionally they don't progress at all. They transmit nothing to the people listening and they stay at where Hendrix was three decades ago. Something like that happened to Vai in the 80s." Through a belief that focusing on only "clean tones" is negative, Frusciante developed an interest in playing with what he calls a "grimy" sound. As a result, he considers it beneficial to "mistreat" his guitar and employ various forms of distortion when soloing. He also tries to break as many "stylistic boundaries" as he can, in order to expand his musical horizons. Frusciante considers much of the output from today's guitarists to lack originality, and that many of his contemporaries "follow the rules with no risk."
Over the years, Frusciante's approach to album composition changed. On his early recordings, he allowed and welcomed imperfections to enter the sound; noting that "even on [''To Record Only Water for Ten Days''] there are off-pitch vocals and out-of-tune guitars". However, on subsequent albums such as ''Shadows Collide With People'', he sought the opposite: "I just wanted everything to be perfect—I didn't want anything off pitch, or off time, or any unintentional this or that." Frusciante views songwriting as a progressive development, which he does not force upon himself: "If a song wants to come to me, I'm always ready to receive it, but I don't work at it." Much of his solo material is initially written on an acoustic or unamplified electric guitar. Frusciante cultivates an atmosphere conducive to songwriting, by constantly listening to the music of others and absorbing its creative influence. He also prefers to record his albums on analog tapes, and other relatively primitive equipment. This preference stems from his belief that the use of older equipment can actually serve to speed up the recording process, and that modern computerized recording technology gives only an illusion of efficiency. Frusciante tries to streamline the recording process as much as possible, because he feels that "music comes alive when [you] are creating it fast". He also enjoys the challenge of having to record something in very few takes, and believes that when musicians can't handle the pressure of having to record something quickly, they often get frustrated, or bogged down by perfectionism.
Influences
Although Slovak and Hendrix were arguably Frusciante's biggest influences prior to joining the Chili Peppers, some of his other early influences include avant-garde acts like Captain Beefheart, The Residents, The Velvet Underground, Neu! and Kraftwerk. Frusciante credits his inspiration for learning guitar to Greg Ginn, Pat Smear and Joe Strummer, among others. Heading into his adolescent years, he began focusing on Hendrix and Led Zeppelin, as well as lesser known bands like Public Image Ltd., Siouxsie & the Banshees and The Smiths. Frusciante likes the acoustic one-man blues of Leadbelly and Robert Johnson, and the two were a notable influence on him during the recording of ''Blood Sugar Sex Magik''.[32] On ''Californication'' and ''By the Way'', Frusciante derived the technique of creating tonal texture through various chord patterns, from post-punk musician Vini Reilly of The Durutti Column. During the recording of ''Stadium Arcadium'' however, Frusciante moved away from his New Wave influences and concentrated on emulating flashier guitar players, such as Hendrix, Van Halen and Rhoads. Recently with his solo work, Frusciante cited electronic music, in which guitar is often completely absent, as an influence. These influences include Ekkehard Ehlers, Peter Rehberg and Christian Fennesz. His music influences are constantly changing, as he believes that without change, he will no longer hold any interest in playing: "I'm always drawing inspiration from different kinds of music and playing guitar along with records, and I go into each new album project with a preconceived idea of what styles I want to combine." Although Frusciante's influences can appear ephemeral, they have each been incorporated to some extent into his style and technique.
Discography
Main articles: John Frusciante discography
| Date of release | Title | Record label |
|---|---|---|
| March 8, 1994 | ''Niandra Lades and Usually Just a T-Shirt'' | American Recordings |
| August 26, 1997 | ''Smile from the Streets You Hold'' | Birdman |
| February 13, 2001 | ''To Record Only Water for Ten Days'' | Warner Music Group |
| March 5, 2001 | ''Going Inside'' | Warner Music Group |
| February 24, 2004 | ''Shadows Collide with People'' | Warner Bros. |
| June 22, 2004 | ''The Will to Death'' | Record Collection |
| September 14, 2004 | ''DC EP'' | Record Collection |
| October 26, 2004 | ''Inside of Emptiness'' | Record Collection |
| November 23, 2004 | ''A Sphere in the Heart of Silence'' | Record Collection |
| February 1, 2005 | ''Curtains'' | Record Collection |
Notes and references
1. The 100 Greatest Guitarists of All Time
2.
3.
4. Fricke, David. (June 15, 2006). "Tattooed Love Boys: After twenty-three years, nine albums, death, love, and addiction, the Red Hot Chili Peppers are at Number One for the very first time". ''Rolling Stone''. Retrieved on August 27, 2007.
5. ''Mother's Milk'' reissue liner notes
6.
Scar Tissue, , Anthony, Kiedis, Time Warner Books, ,
7. Kiedis, Sloman, 2004. p. 239
8. Kiedis, Sloman, 2004. p. 242
9. Kiedis, Sloman, 2004. p. 284
10. Kiedis, Sloman, 2004. p. 285
11. Dalley, Helen (August 2002). "Interview with John Frusciante." ''Total Guitar Magazine''. Retrieved on August 27, 2007.
12. Billboard 200 Billboard.com. Retrieved on 2007-07-04
13. Prato, Greg. All Music Guide Billboard.com. Retrieved on 2007-07-04
14. Kiedis, Sloman, 2004. p. 229
15.
16. ''Spin'' Interview with Flea, Anthony and John
17. Blood on the Tracks
18. Blood Sugar Sex Magic: Damaged Genius John Frusciante is Back, Again!
19. Magazine interview
20. "A Little Message from John to the Fans" Johnfrusciante.com
21. Kiedis, Sloman, 2004. p. 404
22. "Ataxia II is due out on May 29th 2007!" Johnfrusciante.com
23. ''Shadows Collide with People'' liner notes
24. Walker, James. ''Dani California'' review www.purpleradio.co.uk. Retrieved on 2007-06-25
25. ''Stadium Arcadium'' bonus DVD footage
26. ''Stadium Arcadium'' review
27. Red Hot Chili Peppers' John Frusciante
28. ''De-Loused in the Comatorium'' liner notes
29. ''Frances the Mute'' liner notes
30. ''Amputechture'' liner notes
31. ''Curtains'' liner notes
32. Mitchell, Ed. "Robert Johnson - King of the Delta Blues Singers". ''Total Guitar''. February 2006. p. 66
External links
★ Official website
★
★ Official Red Hot Chili Peppers website
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