Universally Speaking
In 1992, when tensions between Frusciante and Kiedis reached breaking point, Frusciante quit the band. His life began a downward spiral through isolation, introspection and drug addiction; likewise the Chili Peppers' career followed a similar descent. It took three years and four different guitarists before they finally sttled on a replacement - ex-Jane's Addiction man Dave Navarro - but 1995's One Hot Minute album was a pale imitation of earlier sucesses. Things never really gelled with Navarro and his departure two years later was hardly surprising. The band had hit rock bottom.
By 1996 heroin controlled Frusciante's life; his house had burnt down, his teeth rotted away, his body was scarred and his mind ruled by ghosts and demons. The Reaper beckoned. Only a term in rehab clinic saved him from certain doom and he emerged drug-free in 1997, only to be courted soon after by his ex-bandmates who again needed a savior to rescue them from obscurity. John duly obliged, and bingo, here we are two albums and six years later with the Chilis back on top of the world. It's late afternoon and we're backstage, still awaiting John's arrival. Comprised of long white corridors and floors plastered with luminous duct tape guiding the way to the stage, the whole area is sadly rather unglamorous. There are no groupies loitering expectantly, no trays loaded with narcotics being generously passed around, and certainly no sign of any supermodels. These days the Chili Peppers are a highly professional, drug-free unit. And it shows. That said, it's not hard to pick out their dressing room among the almost exclusively plain backstage lounging areas. First of all you can smell it. A heady waft of incense emanates from within, contrasting the cannabis stench synonymous with many rock star dressing rooms. Then there's the lighting. A haze of reds and greens that's ambient, atmospheric, gentle and relaxing - the polar opposite of the stark neon striplighting that dominates elsewhere and perfect for the meditation and stretching rituals that form an important part of the band's pre-show routine. And finally, nestling just inside the doorway, there's the final give away; Flea and John's warm-up guitars - two beautiful eye-catching pieces of luthiery, a customised Modulus bass and an orange Fender Jaguar.
As we stroll by, Anthony Kiedis emerges, glances in our direction and heads off towards hospitality. Once you get past his surprisingly diminutive stature (he's around 5'7'' tall), he looks every inch a star, his healthy LA tan and flowing locks belie the fact that he recently celebrated his 40th birthday. Members of support band The Mars Volta saunter past in the opposite direction looking suitably cool in skin-tight black leathers and funky Afros. Then at last, an hour later than scheduled, Frusciante appears.
Taller than Kiedis by a couple of inches, though similarly shorter than you'd expect, John greets us warmly. We've been warned he doesn't like being photographed, so to make the process slightly less painful we allow him to strap on his Jaguar, plug in to a small Electro-Harmonix amp and start his warm up early. Although initially on edge, as soon he starts to noodle around the fretboard you can see the tension drain away. Indeed, by the time we sit to begin the interview he looks relaxed and ready for questioning. Unsurprisingly, we begin by discussing the huge success of By The Way, Guitarist's Album Of The Year last year. Frusciante's ultra melodic lead lines and lush vocal harmonies dominate proceedings, and considering John sang every backing vocal on the record he must have really worked on his voice.
"Yeah, I have a teacher and it's hepled make me a lot more consistent," he begins, his answers slightly slurred, often leaving random pauses between words as if he's giving every sentence intense thought. "I did a lot of singing on the Chili Peppers record, but on my new solo record I think my singing has got to a much higher place. On the Chili Peppers record, even though I sing a lot on it, to me it seems restrained because I am fitting into a background place. Plus I doubled everything so there's not much personality there. On my album I don't double anything. There are harmonies, but only two or three at a time, so you really hear the personality of the voices that are singing."
