Discrete Charm Of Non-Perfection
The rhythm of releasing one album per month would be really a stunt if we were talking about any other creator. However, as some may recall recall, in Lennon and McCartney’s heyday in late ’60s, there was a defining “recipe” for a hit: record it on the day when you come up with it and get it out there the next day.
During the next 4 months, John Frusciante will release 4 new albums. In addition to two albums already out, this will add up to 6 albums in only six months. Was there a person, otherwise familiar with the character and body of work of the last real guitar hero, surprised by such news? Hardly.
Although the term “guitar hero” is itself a suspicious one; especially if we think back of the ’80s hard & heavy/shred maniacs whose treatments of the instruments could as well have turned into some weird Paraolympics discipline than be remembered as essential playing worth attention; John Frusciante is a true representative of the straightforward group of guitar heroes, but also a representative of the likes of ’60s and ’70s heroes: Jimi Hendrix, Jimmy Page, Ron Asheton, Brian Jones. At the same time, he’s the man who should be given most credit for having turned Red Hot Chili Peppers from a joke band known for provocations (back in the days their onstage wardrobe consisted of socks only…strategically placed, though) and the madmen’s energy to a band with a recognisable sound, the biggest attraction around and one of the last real excitements of rock’n’roll.
During his short first stint with the sound-madhouse otherwise known as RHCP, Frusciante had seen both sides of the coin and after only two released albums (very successful ones – 1989’s Mother’s Milk and 1991’s BloodSugarSexMagik) he was already fed up with it. Literally. Unable to resist the ballast of fame and having almost completely gotten into drugs, mainly heroin, he’s leaving the band in the middle of the triumphant BSSM tour. He was only 22 years old and everything seemed to be like just one sad, almost cliché rock story of a great talent which has burnt out in the flames of fame and forbidden things.
During the ’90s he’s releasing two fairly obscure albums – Niandra LaDes And Usually Just A T-Shirt was out in 1995 and Smile From The Streets You Hold two years later. At the same time he’s also writing short stories and painting. Luckily, in the end he goes to rehab and it’s successful. He came back onstage with RHCP, better than ever, which is clear on masterpieces Californication (1999) and By The Way (2002). The guitars on both of the above mentioned albums have stopped being the sound decoration for the hysterical and psychedelic (but nevertheless, master class!) bass. Instead of that, they’re taking the spotlohjt they truly deserve, being of such quality. Frusciante had also released two more solo albums, To Record Only Water For Ten Days and Shadows Collide With People and then, this summer, he exploded with creativity, having announced that he’ll release six albums in six months, consisting of demo-like material, developed during only 3-4 days of studio time. Among these songs, there are some real gems of spontaneity, the charm of raw sound and the imperfection as the base of a rock song.
One should note that John Frusciante is not a perfectionist, pretentious guitarist (you can notice this on any live show). He embraced the idea of a technically non-peerfect songs by listening to some of his favourites, such as Rolling Stones’ classic “Time Is On My Side” where Brian Jones is playing imprecisely and incorrectly and it sounds very, very good all together. So, with the help of his friend Josh Klinghoffer (the two men are playing all instruments on the albums) during only a couple of days in 16-track studio he’s recorded The Will To Death.
“Everyone would think that such a short amount of time is not enough for recording an album, but it is,” says Frusciante, “We really know that these songs are good. When I sing a song, I sing it only once – there’s no need for twenty takes. To me, a band, especially a rock band, should be good enough to play some stuff right the first time already.”
As he promised, he released “Automatic Writing” under the name of Ataxia (besides John and Josh there is also Joe Lally from the legendary Washington-based punk/hardcore band Fugazi) and also DC EP, with a slightly different team.
Until recently, you couldn’t mention John Frusciante without thinking of RHCP. The way it’s started now, the days when it will be the other way round are not so far away.
