The Observer review of TROWFTD
27th February 2001, The Observer (USA)
John Frusciante is certainly a man with some notable musical and life experiences. As a budding guitarist with the Red Hot Chili Peppers he played on one of the most important rock albums of the ’90s, Blood Sugar Sex Magik.
Then Frusciante started to dabble in hardcore drugs. He quit the Peppers, and put out some weird solo albums. Fast-forward to 1999: Frusciante gets his act together, records a huge album with the Peppers in Californication, and officially announces to the music world that he is back.
To Record Only Water for Ten Days is Frusciante’s latest solo effort, covering 15 songs in a little over 40 minutes.
One would think that Frusciante’s latest success and sobriety would produce a thoughtful, exciting release. Instead, the guitarist offers a self-indulgent, pretentious record.
The most surprising aspect of this disc is that Frusciante’s guitar playing is anything but remarkable. This might not come as much of a surprise to some fans after hearing his progression from Blood Sugar Sex Magik to Californication. On that album his arsenal of effects seemed to mysteriously vanish as his former funk-filled solos became watered-down attempts at dirty modern rock.
The work on To Record falls even below the level of Californication. Simplistic guitar figures make the songs impossible to decipher one from another and the melodies are all easily forgettable.
However, the musical accompaniment is not the worst part of the record. That distinction is reserved for the annoying lyrics that litter the album.
Coupled with Frusciante’s terribly weak voice, the lyrical substance is simply terrible. Frusciante must be trying to be an artsy coffee shop fellow with all of his cute little phrases. “I’m crowded when I’m gone,” “Let the pretend take over” and “Soon the hills will swallow us up” are just some of the juicy nuggets that lead to the conclusion that Frusciante wrote these lyrics while being abducted by aliens. Frusciante tries too hard not to be cheesy and just ends up making non-sensical trash.
Frusciante should be commended for his ambition, and he does show off an ability to layer various keyboards on top of his guitars.
However, his aptitude with the other instruments is masked by weak song structures and bad instrument placement. A poorly inserted instrument track can kill a song, no matter how strong the actual composition is. The only song that really leaps off the disc as a success is the instrumental “Murderers,” whose tracks blend into a harmonious mix which allows the ear to actually come free.
At least there are some pop/rock artists trying something new. Frusciante completely separates himself from the funk genre, but he just can’t find success. The guitars are disappointing, the lyrical content is weak, and the song structures are disjointed. John Frusciante shouldn’t quit his day job just yet.
— Geoffrey Rahie
