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Jul. 1st, 2002 03:31 pmJohn Frusciante: the final word in guitar.
I recall listening to Blood Sugar Sex Magik years ago and thinking that the saxophone could almost replace the guitar on this album. A couple of years ago, in a guitar magazine interview, John mentioned that he enjoyed playing Coltrane, Coleman and Parker compositions with his guitar. I've been listening to a new song, "I Could Die for You," today and he has mentioned Charles Mingus and the Beatles as being a major influence on the composition. The song has a Cowboy Junkies - "Sweet Jane" - vibe (minus Anthony's vocals which are far too pop) only at a bit faster pace and is growing on me.
I'm not sure what sort of place John has in the current cannon of "guitar idols," but his dynamic ability to express colors and tones ought not go unappreciated. His work is simply magical. People generally regard Flea as the backbone to the music of the Peppers, but I would have to disagree... John has taken this band as his own.
Now, if only he could do something about Anthony Kiedis' habit of challenging a song's credibility.
I recall listening to Blood Sugar Sex Magik years ago and thinking that the saxophone could almost replace the guitar on this album. A couple of years ago, in a guitar magazine interview, John mentioned that he enjoyed playing Coltrane, Coleman and Parker compositions with his guitar. I've been listening to a new song, "I Could Die for You," today and he has mentioned Charles Mingus and the Beatles as being a major influence on the composition. The song has a Cowboy Junkies - "Sweet Jane" - vibe (minus Anthony's vocals which are far too pop) only at a bit faster pace and is growing on me.
I'm not sure what sort of place John has in the current cannon of "guitar idols," but his dynamic ability to express colors and tones ought not go unappreciated. His work is simply magical. People generally regard Flea as the backbone to the music of the Peppers, but I would have to disagree... John has taken this band as his own.
Now, if only he could do something about Anthony Kiedis' habit of challenging a song's credibility.
