Autopsy Of A Mad Scientist
Last modified: 9:22:51 CET on 25 Nov, 2011 |
So, you put yourself in Clapton & co’s place...
I get inspiration from those musicians, yes. I hadn’t been conditioned to copy their style, but I clearly studied the way they played. Sometimes, I listen to one of my recording and I think: “This thing reminds me so-and-so”. But at the same time, I would be unable to think: “Let’s record a solo in an Eric Clapton style”. I would be intimidated and couldn’t play a single note, because I have much respect for Eric Clapton. But sometimes, yes, I may think what I play sounds like Eric Clapton. Most of the time, other people as my guitar tech notice that and say it to me. I think people should study again what those masters did, because I don’t think we can find better since them. I’m not trying to do better than them, I just want to explore parallel ways. I focus on my songwriting work, which is more developed than the guitar playing. This is where I get my originality. For instance, a song like “Snow” doesn’t sound as a 60’s song. If you want to be a writer, then you must refer to Shakespeare, and understand that with many aspects, it is the biggest masterpieces ever written.
About the solos, you have never done before what you did on “Turn it again”...
I have always been able to do so, but I always stopped myself doing it, by playing more simply. If you had talked to me three years ago, I would have said the opposite. I would have told you I hated solos, and that people should play more simply. I change, I contradict myself, this is my personality. I work in a cyclic way, and when we started writing this album, I was in a solo mood. But believe it or not, I restrained myself all the same. On “21st century”, the first solo I recorded sounded like Allan Holdsworth. I surpassed myself. But finally, I decided to erase it and to do it again. This is not my role to play that kind of sophisticated stuff. I definitely have more affinity with Jimmy Page or Eric Clapton. I remain in their group, and if I try to surpass them, it’s only with sound and songwriting, never with technique.
As for your solo albums, do you have plans?
Well, there’s a new Ataxia album (band in which John collaborates with bassist Joe Lally and drummer Josh Klinghoffer). We’ll mix it as soon as the Red Hot Chili Peppers album is over.
Hillel Slovak: the shooting star
Hillel, an Israeli immigrant, was the first Red Hot Chili Peppers guitarist, before he died of a heroin OD at 26. His very original style remains forever on the Red Hot records “The Red Hot Chili Peppers” (84), “Freaky Styley” (85) and “The Uplift Mofo Party Plan” (87), his performances of “If six was nine” by Jimi Hendrix (go and find some bootlegs). Hillel was also a painter. After his death, some of his paintings were used by the band for Mother’s Milk CD booklet. The song “My lovely man” (Blood Sugar Sex Magik) is dedicated to his memory. He remains one of the major influences of John Frusciante, whose absolute dream was to play with the Red Hot Chili Peppers.
Dave Navarro: The true/false Red Hot
The common points between John Frusciante and Hillel Slovak weren’t limited to guitar: as his predecessor, Frusciante was addicted to heroin, and in 92, this led to his eviction from the band during the Japanese Tour. Dave Navarro, ex-riffer of Jane’s Addiction was called for help to finish the work and he participated to the recording of the following album, “One Hot Minute”. His gleaming, cosmic and psychedelic style, with many wah-wah and delays, gave the band a boost. Everything seemed to work, but he left the Californian band at the end of the tour. Flea, bassist, got back in touch with Frusciante, who, freed from his old demons, accepted to come back.
