John released the Foregrow EP back in 2016 for record store day. This is a 4 track EP which sees John experiement further with electronica style music. Although more famed for his guitar work with the chilis and even his earlier solo work. John has moved more and more into this style of music in recent years. Although his interest in electronica music stems right back to 2004 when him and Josh Klinghoffer released the excellent "Sphere in the heart of silence" record.
I have heard most of John's work and often if can be quite hit or miss, sometimes to both extremes. But I would say overall I like his work a lot more often than I don't. While I don't think "Foregrow" is his best work, it is still a very listenable EP and a good effort. This record sees John experiment more with different sounds and it does not sound anything like what he has done before. Although it may sound Trickfinger which is his alias he has recorded a few EPs under, I just haven't heard those records yet.
On average the tracks are just over 5 minutes long each with the title track being slightly longer sitting just over six minutes. The title track is also the only track on the EP where John sings on it. The rest are instrumentals. While I do like John's voice, I think this type of music works better without vocals. So I feel it slightly weakens this track despite the actual effects and beats used being good. The second track Expre'act is not as good as the title track, it's more laboured and doesn't really get going. But third track "Lowth Forgue" things pick up again. It has a great beat, some great effects and overall just a really well put together track. The EP finishes with "unf" which is a great way to end the record. It has a nice flow to it and actually feels like quite a happy track.
One of the pitfulls I often find when I listen to electronic music is often it can get repetitve. But that is not the case at all with this EP. I wouldn't know most of the time how each sound is created but he manages to keep it fresh and interesting barring "Expre'act". I think if the EP was any longer I would have struggled a bit to keep my attention so I think he did the right thing restricting it to 4 tracks. I have looked it up and he used various synthisizers and a monomachine to make this record.
Overall 3 out of 4 songs being good on a record is a pretty good return and even the weaker song isn't too bad. Especially when you compare it to some of his other records. But overall this venture was worth while and I'm glad to see someone who has mastered one craft, in the guitar. And moving further into this world of electronica and actually producing some great music. Major kudos to Frusciante on this one from me.
Showing posts with label John Frusciante. Show all posts
Showing posts with label John Frusciante. Show all posts
Saturday, 12 May 2018
Saturday, 25 November 2017
Top ten John Frucsicante and conclusion (2008)
Now I have reviewed ten of Frusciante’s albums, ( I realise I have not done Ataxia 2 but I have not had a chance to really get into it yet). I thought it would be good to conclude my findings and also throw in my other thoughts which have gathered along the way but never really fitted into any of the reviews. But first off I’ll give you my top 10. So in order of preference:
1. Shadows Collide with People.
The first Frusciante album I ever bought and still my
favourite. Upbeat Pop/rock songs mixed
with slow down tempo reflective songs with some cool but weird instrumentals.
2. Inside of Emptiness
The album Frusicante fans would have expected at the
start. Worth it for the guitar solo in
‘Look on’ alone. The rest of the album
is great too though.
3. Curtains
Frusciante goes acoustic.
Great stuff, interesting song structures as ever, and amazing vocals.
4. To Record Only Water for ten days
On here is my favourite instrumentals he has done like
‘Ramparts’ and ‘Murderers’. ‘Going
Inside’ is also total genius.
5. A Sphere in the heart of Silence
Frusciante teams up with Klinghoffer producing a fine
electronica record, from the great beats of ‘Afterglow’ to the slow and
reflective ‘My Life’
6. The Will to Death
I seriously cannot believe this is number 6! I love this album. But it just shows how good Frusciante
is. This is actually quite an upbeat
record despite the title. Its more about
accepting death will happen rather than being a morbid record.
7. DC EP
4 solid tracks, nice and chilled out.
8. Ataxia – Automatic Writing
This is Frusciante goes prog. Personally I felt this was a bit slow, but
there are a few highlights such as ‘Sides’ and ’Another’.
9. Niandra &Usually just a T-shirt
Disappointing Debut, with some highlights such as ‘Been
Insane’. But otherwise it is just a mess.
10. Smiles from the Streets you hold
And just when you thought things could not get worse he
released this pile of rubbish
Good if it was a comedy record.
Frusciante has released so many songs at the same time that
some people may wonder how he decided which songs went on what albums, did he
just record all the songs then group similar sounding songs together. Like going fishing then grouping all the
trout together that you’ve caught. Personally
I think he made the albums separately just like any other artist. The difference is, a) he got on with the job
at hand; b) He is a lot more talented than many of his peers, meaning songs are
easier to write.
I find it interesting that John chose not to really publicise
his releases. Now I realise that John
probably did this because he is in the fortunate position that he can just
release music that he wants to and is not doing it for the money. But by not really publicising it, he is only
going to reach out to Chili fans. I know
there are a lot of them and there are many of the fans who like his material,
and will buy all the records. However,
there will be a lot of people who don’t like the Chili’s who I think these
records would appeal to. Maybe not all
the albums, but for example, someone really into their electro music may like
‘Sphere’ and someone into their sing-along guitar albums would love ‘Shadows’
or ‘To record’. Although I feel
fortunate enough to have found Frusciante’s music I feel there is a whole host
of people who is music would appeal to.
Now I don’t hold this against him in any way and respect his decision
for doing what he is doing. But can you
imagine if he did release ‘Time goes back’ from ‘Shadows’ or ‘Going Inside’ as
singles. With his solid reputation
already, they would surely have been massive hits. But at the same time it’s nice to know that
if he does ever play live in Britain
again (FINGERS CROSSED!). It will be a
small venue and would be easier that it would have been to get tickets!
Personally I feel John released these albums too
quickly. The concept was a nice idea and
not well heard of but especially albums like ‘Sphere’ and ‘Ataxia’ take quite a
few listens to get into them. By the time
you start getting into them; the next one is released and I have to start again
and the previous releases kind of get forgotten about. Of course by doing it this way as well you
kind of force feeding the listener and then making them starve for 2 or more
years till the next release. What I
think he should have done is spread them out to every 5 or 6 months. That way
the momentum is still there and the listener gets more time to digest each
album on there own merit.
I think the key to Frusicante which differentiates from a
lot of other artists is that there are no boundaries to his imagination. I think a lot of artists have these
boundaries which limit their creativity which is often associated to the level
of risk. For example, the further away
from mainstream, the higher the risk. Not
only this, but the further away from their comfort zone they go; the higher the
risk. Maybe its not even there comfort
zone, it could be that they want to stay cool.
Perceptions fans have about the band, maybe important to why they like
them and if they change, they may fear they will loose all there fans that got
them there in the first place. Some
people its all in the mind as they don’t even realise what they are capable
of. They think they are not a creative
person and can only go so far. But that
mindset is exactly what is stopping them and can be removed just with a change
in attitude and realising that anything is possible. Through all the albums John Frusciante has
produced both as a solo artist and in his band, it is clear there are no limits
to his imagination. It is not that he
doesn’t care what his fans think, but he wants to make music that he wants to
make. He doesn’t want to just re hash
the same music year after year like bands like Iron Maiden. He is always looking to stretch the
boundaries in his music, whether it’s learning new instruments, new
collaborations or listening to other peoples music and learning things from
them. This way, things are kept fresh
and exciting. The way music should be.
John Frusciante - Shadows Collide With People
In 2004 John released `Shadows collide with people' on Warner Bros Records. This album, in my opinion, is Frusciante's most accessible album overall, as the majority of the record has got all the ingredients for a classic Indie/pop record, (I.E - upbeat, chirpy feel good songs mixed with slow `depressing'/reflective songs). I put the word depressing in inverted commas as these songs don't make me depressed, in fact quite the opposite because they are so well done it makes you feel good because they are enjoyable songs to listen to. But of course the lyrics and feel of the songs have a sad tone.
The difference between this album and your average indie/pop record is that it has 18 tracks on it compared to the usual 10-12 tracks. In addition to this it has 3 instrumental tracks; `-00Ghost27', `Failure33 Object' and my personal favourite '23 Go to the End' where John uses a Doepfer A100 which is an analog modular synthesizer. This makes the tracks stand out and creates some interesting and unconventional sounds. I have to admit it is only until recently where I have really begun to fully appreciate these tracks. The reason I took so long to get them was because I found them uncomfortable and difficult to listen to, compared to the rest of the album which is relatively easy listening. However I now realise these tracks add this ghostly kind of atmosphere. Listening to these tracks, I can picture Frusciante reflecting on his drug era where his demons use to hover about him and he was desperately trying to fight them. Such is strength and power of the sound created in these tracks; they act like a soundtrack to his battle.
If the tracks such as `Omission', ` Second Walk ` and `This Cold' are anything to go by. It shows a man who has definitely won the battle. Not only that but it feels like he is on top of the world, pouring his heart, soul, blood, sweat and tears into these songs. As you may have guessed, these are the feel good, upbeat songs on the album which could brighten up anybody's day on even the coldest of winter mornings. `Omission' sees Josh Klinghoffer sharing vocal duties with John Frusciante for the only time on the album. Josh's singing adds such warmth, honesty and delicacy to the song. `This cold' I think sums up John's fresh attitude towards life the best. While many would be outside in the cold, moaning and whinging, `I want the sun', `It's too cold', etc. John very much like myself just carries on life regardless and doesn't let things like the weather stopping him do what he wants to do. He captures it so well in this song singing `I feel this cold, I never stay, I never grow old', full of passion and enthusiasm along with a backdrop of rampant acoustic guitar playing.
Although the songs mentioned in the previous paragraph clearly show a man on the up. John is not afraid to look back on his past and reflect on what were undoubtedly the toughest years of his life. These are done through the more `depressing' songs on the album, the best of which are `Ricky', `Regret' and `Song to Sing when I'm lonely'. These are slow songs which are designed to `move' the listener. `Regret' has the most minimalistic lyrics on the album with only `I regret my past' and `Stay alone', are repeated regularly throughout the song to echo his sentiments and make sure they are drilled into the listener. I think the most powerful lyrics though, comes in the opening line to `Ricky' with `I was afraid to be me'. I think this lyric sums up best what the problem was and is delivered exquisitely.
The best song on the album for me, which is also in my top ten favourite songs of all time is `Time goes back. The reason for this is it has an epic feel about it because in my opinion it creates a massive impact on the listener. When listening to it, I stop whatever I'm doing because it's the only way I can fully appreciate it and take it all in. It's like a breath of fresh air, which unless you're out in the countryside is hard to come by these days. It is just such a joyful song which sends shivers down my spine with every listen especially the vocal harmony in between the first two versus followed by John singing `Jumping in the mind of a passer by' and `We live as one, two ways at once'. The lyrics to this song are genius.
Overall a great album and out of all his albums it is my favourite. Along with great songs the album has a certain degree of rawness about the production which adds this intimacy and honesty which enhance the songs further. I would definitely recommend this as the first port of call for anyone wishing to investigate John's solo stuff. It was the first John album I bought and I've never looked back....
The difference between this album and your average indie/pop record is that it has 18 tracks on it compared to the usual 10-12 tracks. In addition to this it has 3 instrumental tracks; `-00Ghost27', `Failure33 Object' and my personal favourite '23 Go to the End' where John uses a Doepfer A100 which is an analog modular synthesizer. This makes the tracks stand out and creates some interesting and unconventional sounds. I have to admit it is only until recently where I have really begun to fully appreciate these tracks. The reason I took so long to get them was because I found them uncomfortable and difficult to listen to, compared to the rest of the album which is relatively easy listening. However I now realise these tracks add this ghostly kind of atmosphere. Listening to these tracks, I can picture Frusciante reflecting on his drug era where his demons use to hover about him and he was desperately trying to fight them. Such is strength and power of the sound created in these tracks; they act like a soundtrack to his battle.
If the tracks such as `Omission', ` Second Walk ` and `This Cold' are anything to go by. It shows a man who has definitely won the battle. Not only that but it feels like he is on top of the world, pouring his heart, soul, blood, sweat and tears into these songs. As you may have guessed, these are the feel good, upbeat songs on the album which could brighten up anybody's day on even the coldest of winter mornings. `Omission' sees Josh Klinghoffer sharing vocal duties with John Frusciante for the only time on the album. Josh's singing adds such warmth, honesty and delicacy to the song. `This cold' I think sums up John's fresh attitude towards life the best. While many would be outside in the cold, moaning and whinging, `I want the sun', `It's too cold', etc. John very much like myself just carries on life regardless and doesn't let things like the weather stopping him do what he wants to do. He captures it so well in this song singing `I feel this cold, I never stay, I never grow old', full of passion and enthusiasm along with a backdrop of rampant acoustic guitar playing.
Although the songs mentioned in the previous paragraph clearly show a man on the up. John is not afraid to look back on his past and reflect on what were undoubtedly the toughest years of his life. These are done through the more `depressing' songs on the album, the best of which are `Ricky', `Regret' and `Song to Sing when I'm lonely'. These are slow songs which are designed to `move' the listener. `Regret' has the most minimalistic lyrics on the album with only `I regret my past' and `Stay alone', are repeated regularly throughout the song to echo his sentiments and make sure they are drilled into the listener. I think the most powerful lyrics though, comes in the opening line to `Ricky' with `I was afraid to be me'. I think this lyric sums up best what the problem was and is delivered exquisitely.
The best song on the album for me, which is also in my top ten favourite songs of all time is `Time goes back. The reason for this is it has an epic feel about it because in my opinion it creates a massive impact on the listener. When listening to it, I stop whatever I'm doing because it's the only way I can fully appreciate it and take it all in. It's like a breath of fresh air, which unless you're out in the countryside is hard to come by these days. It is just such a joyful song which sends shivers down my spine with every listen especially the vocal harmony in between the first two versus followed by John singing `Jumping in the mind of a passer by' and `We live as one, two ways at once'. The lyrics to this song are genius.
Overall a great album and out of all his albums it is my favourite. Along with great songs the album has a certain degree of rawness about the production which adds this intimacy and honesty which enhance the songs further. I would definitely recommend this as the first port of call for anyone wishing to investigate John's solo stuff. It was the first John album I bought and I've never looked back....
John Frusciante - The Will to Death
In 2004, fans of John Frusciante were spoilt with six albums in six months. For those who had preconceptions that they would all be the same, they could not be more wrong. The ball started rolling in June 2004, with `The Will to Death'. When I first found out the title for this album, like any other, I began to think of what this album would sound like. Due to the word `Death' I thought it would be metal/rock or at least on the heavy side. I could not have been more wrong...
`The Will to Death' is a very warm, laid back album. It's almost as if Frusciante has accepted he is going die and is happy to talk about the subject which is really the concept of the album. However, until the time comes he wants to live life to the full and not worry about what eventually will happen. For those expecting an album similar to `Shadows collide with People' I think will be disappointed. Although equally as accessible to the listener; the tracks are more designed as album tracks. As oppose to `Shadows' where the tracks are more like a collection of singles with a few instrumentals.
My favourite song on the album is the last, entitled `The Will to Death'. As an album closer I feel it delivers in summing up the concept behind the album nicely. The gentle plucks of his acoustic guitar, mixed with a fine electric guitar, creating a warm, majestic melody. The lyrics are ones spoken straight from the heart; oozing sincerity and honesty. Such as `The Will To Death is what keeps me alive, It's one step away'. I think this lyric sums up best what the album is about and the way it's delivered with such delicacy and at a pitch only few can pull off.
One of the things which stands out about Frusciante's song writing on the album and across all his albums, in his post druggie era; is the intros to each song. Each song has its own unique style of entry which, in my opinion, can be distinguished from any other song by anyone. I often hear songs on the radio and think they are one song, but they are actually another. I really do feel John pays particular attention to this to make his songs unique and instantly recognisable. I think the main reason for this is because of his superior knowledge of the guitar and his endless imagination to go with it. The stand out intros on this album are from `An Exercise', `Helical' and `Far Away'.
The structure and delivery of all the songs on `TWTD' have a simple, logical feel to them. Almost as if they were so obvious, my mind ponders as to why they were not thought of before. Personally I think it's because simplicity is difficult to achieve. I am not a guitarist but when I try and play the guitar randomly, it's easy to make stuff complex because that's what playing randomly is to me. But to actually make things sound simple requires a certain level of skill because what sounds simple is often harder to construct than it seems.
Although not his best, this is still definitely up there and worth a listen as Frusciante takes another turn in his never ending musical journey. This is undeniably an album full of album tracks rather than `Shadows Collide with People' which was more of an album full of singles with a few instrumentals. At the time of purchase it was the first of six to be released in a period of six months and he certainly left this fan eager for the imminent releases with this warm, laid back record.
`The Will to Death' is a very warm, laid back album. It's almost as if Frusciante has accepted he is going die and is happy to talk about the subject which is really the concept of the album. However, until the time comes he wants to live life to the full and not worry about what eventually will happen. For those expecting an album similar to `Shadows collide with People' I think will be disappointed. Although equally as accessible to the listener; the tracks are more designed as album tracks. As oppose to `Shadows' where the tracks are more like a collection of singles with a few instrumentals.
My favourite song on the album is the last, entitled `The Will to Death'. As an album closer I feel it delivers in summing up the concept behind the album nicely. The gentle plucks of his acoustic guitar, mixed with a fine electric guitar, creating a warm, majestic melody. The lyrics are ones spoken straight from the heart; oozing sincerity and honesty. Such as `The Will To Death is what keeps me alive, It's one step away'. I think this lyric sums up best what the album is about and the way it's delivered with such delicacy and at a pitch only few can pull off.
One of the things which stands out about Frusciante's song writing on the album and across all his albums, in his post druggie era; is the intros to each song. Each song has its own unique style of entry which, in my opinion, can be distinguished from any other song by anyone. I often hear songs on the radio and think they are one song, but they are actually another. I really do feel John pays particular attention to this to make his songs unique and instantly recognisable. I think the main reason for this is because of his superior knowledge of the guitar and his endless imagination to go with it. The stand out intros on this album are from `An Exercise', `Helical' and `Far Away'.
The structure and delivery of all the songs on `TWTD' have a simple, logical feel to them. Almost as if they were so obvious, my mind ponders as to why they were not thought of before. Personally I think it's because simplicity is difficult to achieve. I am not a guitarist but when I try and play the guitar randomly, it's easy to make stuff complex because that's what playing randomly is to me. But to actually make things sound simple requires a certain level of skill because what sounds simple is often harder to construct than it seems.
Although not his best, this is still definitely up there and worth a listen as Frusciante takes another turn in his never ending musical journey. This is undeniably an album full of album tracks rather than `Shadows Collide with People' which was more of an album full of singles with a few instrumentals. At the time of purchase it was the first of six to be released in a period of six months and he certainly left this fan eager for the imminent releases with this warm, laid back record.
Ataxia - Automatic Writing
Some might say `Automatic Writing' is Ataxia's debut album, others would say `AW' is Frusciante's 6th album and second in the series of the six albums he released over six months. To me, both these points of view are right. `Automatic Writing' sees John once again teaming up with Josh Klinghoffer, who adds drums and vocals. To complete the Ataxia line up Joe Lally from Fugazi plays bass. This album is definitely `Frusciante goes prog rock', as it is like he is going on an exploratory expedition to expand his music both in terms of length and experimentation and he brought his buddies with him. As to why they are called `Ataxia', rather than JF; I don't know if he doesn't want to personally associate with prog rock because it's deemed uncool or it's because it was more of a band than anything he has done before thus he felt it deserved its own entity. In my opinion, it would be more the latter, as to me Frusciante comes across as the kind of person who doesn't really care if he is cool or not; as long as he is happy.
`Automatic Writing' only has five tracks, but due to the length of them, the album still just falls short of the forty-five minute mark. Three of the tracks; `Dust', `Another' and `Montreal', I feel drag the album down, which is unfortunate as they make up 3/5ths of the album. Don't get me wrong there are some great moments on all these tracks, whether it comes through Frusciante's lyrics, for example in `Montreal' where he sings `I sold all my records, What a stupid thing to do' or the great guitar work and use of syths dotted about in all the tracks. However what I feel brings these songs down is the bass. I get the idea behind it, that the bass line is the one constant through each of the songs and drums, vocals and guitars come and go around it. But for me there are too many points where everything else stops and all you get is bass. It's like they were going for a minimalist approach so the listener can see how the song is built up, but they got carried away. In addition, it is all so slow tempo and repetitive, in particular `Montreal', I find it monotonous and it lasts for 12 minutes plus, so it feels like it takes an eternity to finish. Don't get me wrong, I don't mind a bassist coming in and doing solos or coming to the forefront of songs every now and then. But this I feel is a bit over the top. Personally I think these songs would be better being shorter. As I mentioned previously there are some really great moments in these songs; but it's a challenge trying to keep awake to hear them. It's as if the three of them were jamming and didn't bother editing it.
A track which does not fall in to the pitfalls described previously and is by far and away my favourite track on the album is `The Sides'. This is the second shortest track on the album coming in at six minutes and forty-five seconds. I wish it was the longest as I could listen to it all day. Compared to the other tracks it has such ferocity and passion. There are also great winding guitar solos which come and ago as they please, showing Frusciante doing what he does best. The album is worth it for this track alone which is just as well!
In saying that another good track the album is appropriately titled `Another'. Sorry, can't resist `bad jokes'. This track sees Josh Klinghoffer get full vocal rights for the first time on a Frusciante album. He had done a vocal part on `Shadows Collide with People', but this is the first time he has sung the majority of a song. I feel Josh's vocals bring a certain freshness and a new dimension to Frusciante's music. As it not only differs from Frusciante's style of vocals but also to most artists out there. Josh's vocals have a sense of calm about them, like a gentle breeze. This is in contrast to Frusciante's vocals which are generally got a more rugged and have raw feeling about them. Again the guys limit this song to six minutes twenty-two seconds, which works a lot better than the three tracks I talked about before which were all eight minutes minimum.
Overall I would say this is an okay album, it's not one I listen too often but at the same time I feel it is still, without doubt worth the purchase for `The Sides' and Klinghoffer's vocals on `Another'. Not forgetting there are moments of genius on the other tracks too, but I just feel it's too monotonous a lot of the time. Don't get me wrong I like prog rock music and I like longer songs, but these songs would be better if they were shorter like `The Sides' and `Another'.
`Automatic Writing' only has five tracks, but due to the length of them, the album still just falls short of the forty-five minute mark. Three of the tracks; `Dust', `Another' and `Montreal', I feel drag the album down, which is unfortunate as they make up 3/5ths of the album. Don't get me wrong there are some great moments on all these tracks, whether it comes through Frusciante's lyrics, for example in `Montreal' where he sings `I sold all my records, What a stupid thing to do' or the great guitar work and use of syths dotted about in all the tracks. However what I feel brings these songs down is the bass. I get the idea behind it, that the bass line is the one constant through each of the songs and drums, vocals and guitars come and go around it. But for me there are too many points where everything else stops and all you get is bass. It's like they were going for a minimalist approach so the listener can see how the song is built up, but they got carried away. In addition, it is all so slow tempo and repetitive, in particular `Montreal', I find it monotonous and it lasts for 12 minutes plus, so it feels like it takes an eternity to finish. Don't get me wrong, I don't mind a bassist coming in and doing solos or coming to the forefront of songs every now and then. But this I feel is a bit over the top. Personally I think these songs would be better being shorter. As I mentioned previously there are some really great moments in these songs; but it's a challenge trying to keep awake to hear them. It's as if the three of them were jamming and didn't bother editing it.
A track which does not fall in to the pitfalls described previously and is by far and away my favourite track on the album is `The Sides'. This is the second shortest track on the album coming in at six minutes and forty-five seconds. I wish it was the longest as I could listen to it all day. Compared to the other tracks it has such ferocity and passion. There are also great winding guitar solos which come and ago as they please, showing Frusciante doing what he does best. The album is worth it for this track alone which is just as well!
In saying that another good track the album is appropriately titled `Another'. Sorry, can't resist `bad jokes'. This track sees Josh Klinghoffer get full vocal rights for the first time on a Frusciante album. He had done a vocal part on `Shadows Collide with People', but this is the first time he has sung the majority of a song. I feel Josh's vocals bring a certain freshness and a new dimension to Frusciante's music. As it not only differs from Frusciante's style of vocals but also to most artists out there. Josh's vocals have a sense of calm about them, like a gentle breeze. This is in contrast to Frusciante's vocals which are generally got a more rugged and have raw feeling about them. Again the guys limit this song to six minutes twenty-two seconds, which works a lot better than the three tracks I talked about before which were all eight minutes minimum.
Overall I would say this is an okay album, it's not one I listen too often but at the same time I feel it is still, without doubt worth the purchase for `The Sides' and Klinghoffer's vocals on `Another'. Not forgetting there are moments of genius on the other tracks too, but I just feel it's too monotonous a lot of the time. Don't get me wrong I like prog rock music and I like longer songs, but these songs would be better if they were shorter like `The Sides' and `Another'.
John Frusciante - Inside of Emptiness
When I think of this album, I think of it as his darker rockier album. `Inside of Emptiness' is the 4th album in the series of six albums which were released in six months and his 8th overall. This album sees Josh Klinghoffer return behind the drums and John doing what he does best; guitar wizardry.
The focal point of the album and appropriately the track which is slam in the middle of the album, is `Look on'. There are times when I read reviews and think reviewers totally over-exaggerate. For instance, they tip some unsigned band by saying they are the new Beatles. Basically the aim is really just trying to draw attention to them by making outlandish statements. For this song though, I really do believe this is one of the best guitar solos out there. Starting 2 minutes and 41 seconds into the track, the solo lasts for about a minute and a half and I reckon it's up there with the solo in Stairway to Heaven by Led Zeppelin. It certainly has the same key ingredients which make for a great guitar solo; length, twist and turns and that clean, pure guitar sound. The rest of the song is great too, but the guitar solo really is that good that it takes centre stage. Not just centre stage in the song, but in the whole album. Now pretend songs are people. It would be as if all the other songs on the album are shining bright lights at it making it stand out over the rest, purely out of respect of the genius of the song. It's like the cool kid at school, who everyone wants to be. I think a lot of people, including myself thought this what all the albums would sound like; just one guitar solo after another. How wrong was I?! The diversity, strength and depth of his music is like no other. It's almost as if he wrote this album to say `Yes I can make an album like this, but just one, there is a lot more to me than that'.
`Look on' maybe the centrepiece of the album, but the standard of the rest of the songs is also exceptionally high. Worthy mentions include opener `What I saw', `Inside a break' and `666'. All these songs have a kind of edgy rugged rock feel to them, in particular `666' which it as if John is just putting his blood, sweat and tears into the song, both in his vocals and in his guitar playing. `Inside a break' has a great rhythm to it, using the stop start technique after singing each line, while gathering momentum until a vocal explosion when singing `I go away to turn the dark to light'. Overall this is a great song and has some good changes of pace to keep things interesting.
The album opener `What I saw' swaggers in, showing a man brimming with confidence and on top of his game.
If there was ever any doubt as to whether Frusciante can sing or not, just listen to the last track `Scratches' where he sings 'The weight of my freezing' or the opening line to `I'm around'; `You know I'm around you'. These parts show the purity and range of vocals John possesses. Sometimes I wonder how Anthony Kiedis is still in a job with the Chilis as John as a far better singer. However at the same time John doing the rap bit to the beginning `All around the world' wouldn't really work, although I think it would be hilarious. So although John is the better singer, Anthony's style of singing is far more suited to the funk edged rock which the Chili's deliver year after year.
One thing that intrigues me about this album other than the masterful music on display is the title of the album `Inside of Emptiness'. The first question which springs into my head is `How can you be inside of emptiness?'. It is a very weird yet thought provoking title. On this occasion he doesn't even have the excuse of being on drugs, as he is now completely dry in every sense. This sort of thing though, I think is just another example of how John's mind works. He is always exploring things beyond conventional wisdom, trying to make sense of things which are echoed through his lyrics such as `Emptiness set me free' from the track entitled `Emptiness'. Is he trying to maybe say that if emptiness had a soundtrack this is what it would sound like. I think it probably is a reference once again to his drug era, but the possibilities seem endless. At the end of the day maybe that's really what Frusciante's aim is; to make the listener explore their minds more through his lyrics and try to think more outside the box.
Overall this is an absolutely cracking album and out of the six releases in six months, I would say it's his best. Out of all his albums I would say only `Shadows' is better, and even then it is just by fraction and no more. It's the album Frusciante fans would want him to make all along. A guitar master class. This was before they knew what he was really capable of. For people who have never heard his music before I would strongly encourage you to `Look on'.
The focal point of the album and appropriately the track which is slam in the middle of the album, is `Look on'. There are times when I read reviews and think reviewers totally over-exaggerate. For instance, they tip some unsigned band by saying they are the new Beatles. Basically the aim is really just trying to draw attention to them by making outlandish statements. For this song though, I really do believe this is one of the best guitar solos out there. Starting 2 minutes and 41 seconds into the track, the solo lasts for about a minute and a half and I reckon it's up there with the solo in Stairway to Heaven by Led Zeppelin. It certainly has the same key ingredients which make for a great guitar solo; length, twist and turns and that clean, pure guitar sound. The rest of the song is great too, but the guitar solo really is that good that it takes centre stage. Not just centre stage in the song, but in the whole album. Now pretend songs are people. It would be as if all the other songs on the album are shining bright lights at it making it stand out over the rest, purely out of respect of the genius of the song. It's like the cool kid at school, who everyone wants to be. I think a lot of people, including myself thought this what all the albums would sound like; just one guitar solo after another. How wrong was I?! The diversity, strength and depth of his music is like no other. It's almost as if he wrote this album to say `Yes I can make an album like this, but just one, there is a lot more to me than that'.
`Look on' maybe the centrepiece of the album, but the standard of the rest of the songs is also exceptionally high. Worthy mentions include opener `What I saw', `Inside a break' and `666'. All these songs have a kind of edgy rugged rock feel to them, in particular `666' which it as if John is just putting his blood, sweat and tears into the song, both in his vocals and in his guitar playing. `Inside a break' has a great rhythm to it, using the stop start technique after singing each line, while gathering momentum until a vocal explosion when singing `I go away to turn the dark to light'. Overall this is a great song and has some good changes of pace to keep things interesting.
The album opener `What I saw' swaggers in, showing a man brimming with confidence and on top of his game.
If there was ever any doubt as to whether Frusciante can sing or not, just listen to the last track `Scratches' where he sings 'The weight of my freezing' or the opening line to `I'm around'; `You know I'm around you'. These parts show the purity and range of vocals John possesses. Sometimes I wonder how Anthony Kiedis is still in a job with the Chilis as John as a far better singer. However at the same time John doing the rap bit to the beginning `All around the world' wouldn't really work, although I think it would be hilarious. So although John is the better singer, Anthony's style of singing is far more suited to the funk edged rock which the Chili's deliver year after year.
One thing that intrigues me about this album other than the masterful music on display is the title of the album `Inside of Emptiness'. The first question which springs into my head is `How can you be inside of emptiness?'. It is a very weird yet thought provoking title. On this occasion he doesn't even have the excuse of being on drugs, as he is now completely dry in every sense. This sort of thing though, I think is just another example of how John's mind works. He is always exploring things beyond conventional wisdom, trying to make sense of things which are echoed through his lyrics such as `Emptiness set me free' from the track entitled `Emptiness'. Is he trying to maybe say that if emptiness had a soundtrack this is what it would sound like. I think it probably is a reference once again to his drug era, but the possibilities seem endless. At the end of the day maybe that's really what Frusciante's aim is; to make the listener explore their minds more through his lyrics and try to think more outside the box.
Overall this is an absolutely cracking album and out of the six releases in six months, I would say it's his best. Out of all his albums I would say only `Shadows' is better, and even then it is just by fraction and no more. It's the album Frusciante fans would want him to make all along. A guitar master class. This was before they knew what he was really capable of. For people who have never heard his music before I would strongly encourage you to `Look on'.
John Frusciante - A Sphere in the Heart of Silence
If you asked John's fans 12 years ago that he would be making an electronica album in the future, they would probably burst out laughing. As he was not even in a fit state to play the guitar never mind venture into territories you wouldn't associate with Frusciante back then. But times have changed and `Sphere' sees Frusciante and Klinghoffer make a successful venture into the world of electronica. This is the fifth album out of the six albums Frusciante released in 6 months on the Record Collection label, and his 9th overall. I would say this is the most challenging and experimental album Frusciante has ever produced. Using a range of different instruments from synthesizers to string ensembles, making the complexity achieved stand out amongst his other albums. With 7 tracks it is difficult to know whether this classifies as a full length album or an EP. It certainly does not have EP in the title which seems to be customary for EP's. Furthermore at just over 38 minutes it certainly looks as if it is long enough to classify as a full length album.
The album has a good flow to it. Starting off with `Sphere', and then turning it up with the funked up `Afterglow'. The pair then take it to the next level with `Walls' which at points is just insane, as its just feels they are out of control creating a frenzied wall of sound . Due to the sheer intensity of `Walls' it is as if their energy levels are gradually decreasing through the rest of the songs, as they gradually get slower and slower because John and Josh used all their energy up all in this track. By the time the last track comes around it feels like its crawling along at snails pace with album closer `My life'. I'm not saying this is a bad thing, in fact quite the opposite. It works really well, and even though `My life' comes in at 1 minute 23 seconds; by that time it's like they have nothing more to give. Even the vocals have slowed right down when John sings "Life was never what you thought". It is an appropriate pace, which makes the listener hone in on the deep and meaningful lyrics.
The experimentation and the sounds the various sounds achieved by Josh and John on this album are a testament to how they are always looking to keep things fresh and to keep pushing the boundaries of their music. A fine example of this is in `Communique' which sounds like wind channelling through a small passage, accomplishing a kind of whooshing effect which adds an air of eeriness to the track. Likewise `At your Enemies' has some nice effects through it, like the echo effect used on the synthesiser. Combined with Josh's vocals, this is yet another great chilled out track, but at the same time has that ghostly feel to it like `Communique'.
The album is unique in the sense that is the only Frusciante to release which is credited to not only John Frusciante, but Josh Klinghoffer as well. It does surprise me a bit because Klinghoffer has appeared on at least 5 albums by John, and while he does get credited in the sleeve notes, this is the first album that the artist is `John Frusciante and Josh Klinghoffer'. It could be that this is the first time where it was felt that Josh contributed to the song writing, production etc in an equal proportion to the Frusciante. Maybe it was Josh who didn't want to be accredited in the artist title because compared to Frusciante, as he is a lot lesser known than Frusciante and it would be more like `Frusciante and who?'. Who knows, but one things for sure, like Ataxia, Josh's vocals add so much to tracks like `Surrogate people'. This track in particular, I think is the best vocal combination song they have done. The two of their vocals combined just works so well.
Overall this is a really good album. I would say out of all the albums he has done, it is the one requires the most patient in order to fully appreciate it. It's album which stands out as John's most adventurous, which is saying a lot considering some of the experimentation on his other albums. So much so, that although I've listened to this album a lot, I still think I need to listen to it more, as I think there are more layers I still haven't unearthed. This though, is where the real beauty of the album lies.
The album has a good flow to it. Starting off with `Sphere', and then turning it up with the funked up `Afterglow'. The pair then take it to the next level with `Walls' which at points is just insane, as its just feels they are out of control creating a frenzied wall of sound . Due to the sheer intensity of `Walls' it is as if their energy levels are gradually decreasing through the rest of the songs, as they gradually get slower and slower because John and Josh used all their energy up all in this track. By the time the last track comes around it feels like its crawling along at snails pace with album closer `My life'. I'm not saying this is a bad thing, in fact quite the opposite. It works really well, and even though `My life' comes in at 1 minute 23 seconds; by that time it's like they have nothing more to give. Even the vocals have slowed right down when John sings "Life was never what you thought". It is an appropriate pace, which makes the listener hone in on the deep and meaningful lyrics.
The experimentation and the sounds the various sounds achieved by Josh and John on this album are a testament to how they are always looking to keep things fresh and to keep pushing the boundaries of their music. A fine example of this is in `Communique' which sounds like wind channelling through a small passage, accomplishing a kind of whooshing effect which adds an air of eeriness to the track. Likewise `At your Enemies' has some nice effects through it, like the echo effect used on the synthesiser. Combined with Josh's vocals, this is yet another great chilled out track, but at the same time has that ghostly feel to it like `Communique'.
The album is unique in the sense that is the only Frusciante to release which is credited to not only John Frusciante, but Josh Klinghoffer as well. It does surprise me a bit because Klinghoffer has appeared on at least 5 albums by John, and while he does get credited in the sleeve notes, this is the first album that the artist is `John Frusciante and Josh Klinghoffer'. It could be that this is the first time where it was felt that Josh contributed to the song writing, production etc in an equal proportion to the Frusciante. Maybe it was Josh who didn't want to be accredited in the artist title because compared to Frusciante, as he is a lot lesser known than Frusciante and it would be more like `Frusciante and who?'. Who knows, but one things for sure, like Ataxia, Josh's vocals add so much to tracks like `Surrogate people'. This track in particular, I think is the best vocal combination song they have done. The two of their vocals combined just works so well.
Overall this is a really good album. I would say out of all the albums he has done, it is the one requires the most patient in order to fully appreciate it. It's album which stands out as John's most adventurous, which is saying a lot considering some of the experimentation on his other albums. So much so, that although I've listened to this album a lot, I still think I need to listen to it more, as I think there are more layers I still haven't unearthed. This though, is where the real beauty of the album lies.
John Frusciante - Curtains
`Curtains' was the last in Frusciante's six releases in six months. I don't know if the title was intentionally fitting but pulling the `Curtains' on the six releases, is very appropriate; whether it was intended or not! The album is predominantly chilled out, slow-paced, acoustic songs bursting with passion and tenderness at the same time.
On first listen to this album, I reckon some people would just throw this away as just another slow, boring acoustic record. Especially as most Frusciante fans are Chili fans who are familiar with Frusciante's funk, rock guitar playing with the Chili's or the fuller sounding solo Frusciante which encompasses a whole range of instruments and sounds. But you have to remember this is John Frusciante. Has anything he has ever done been ordinary?
This is an album where once again, Frusciante pushes the boundaries of acoustic music, just like he has done with other genres in every other album he has made. Whether you think they were good or not; is not the point. He is always striving to be a better musician and I feel the majority of albums he has pushed the boundaries of not just his music but also pushed the standards set by other bands in the genres he has delved into.
The album kicks off with `Past Recedes' which is a great opener, as it has a nice warm, summery feeling to it. This is probably the most accessible song on the album, due to its simplicity as if he is breaking listeners in gently. The acoustic guitar chirps along while Frusciante's vocals come in with `1, 2, 3, 4 and then the past recedes'. Then about half way through the mouth organ comes in and makes a good song even better. I have always been a big fan of mouth organs as I feel the instrument releases good positive feeling sound which is very appropriate for this song.
After the initial track, as previously mentioned, it all feels like he is re-writing the acoustic song book. The way the songs are constructed and delivered are once again a testament to his imagination and the sheer talent he possesses. One of the tricks he uses in `Anne' and `Control' is to use silence. Now I know what I would be thinking when reading this. That bands do this all the time; for example Biffy Clyro. Where they have really quiet parts then suddenly go really loud. This is not like that at all. The silence is used in a different way because the purpose is not to make the listener spill their coffee as they jump out their seat. The silence in this case is like it is an instrument in itself. At first I was sceptical, as these songs just feel like they are stopping then starting again a few seconds later. But when you listen to the lyrics and the songs as a whole it really does work. So much so these are now my favourite songs on the album. They are invigorating and are just a couple of examples on the album of how Frusciante keeps his music fresh and different from what is out there at the moment.
Overall I feel Curtains is fitting way to end the series of releases. Not only because of the style of music but also the quality of it is reminiscent of the standards set through the rest of the albums he has released in 2004. Some may not have been as good as others, but with different styles, it's always going to be the case that people have preferences over the albums. But overall the standard has been very high. On the whole `Curtains' is a great album to relax to before you go to bed as it is never in a rush and is full of breathtaking music.
On first listen to this album, I reckon some people would just throw this away as just another slow, boring acoustic record. Especially as most Frusciante fans are Chili fans who are familiar with Frusciante's funk, rock guitar playing with the Chili's or the fuller sounding solo Frusciante which encompasses a whole range of instruments and sounds. But you have to remember this is John Frusciante. Has anything he has ever done been ordinary?
This is an album where once again, Frusciante pushes the boundaries of acoustic music, just like he has done with other genres in every other album he has made. Whether you think they were good or not; is not the point. He is always striving to be a better musician and I feel the majority of albums he has pushed the boundaries of not just his music but also pushed the standards set by other bands in the genres he has delved into.
The album kicks off with `Past Recedes' which is a great opener, as it has a nice warm, summery feeling to it. This is probably the most accessible song on the album, due to its simplicity as if he is breaking listeners in gently. The acoustic guitar chirps along while Frusciante's vocals come in with `1, 2, 3, 4 and then the past recedes'. Then about half way through the mouth organ comes in and makes a good song even better. I have always been a big fan of mouth organs as I feel the instrument releases good positive feeling sound which is very appropriate for this song.
After the initial track, as previously mentioned, it all feels like he is re-writing the acoustic song book. The way the songs are constructed and delivered are once again a testament to his imagination and the sheer talent he possesses. One of the tricks he uses in `Anne' and `Control' is to use silence. Now I know what I would be thinking when reading this. That bands do this all the time; for example Biffy Clyro. Where they have really quiet parts then suddenly go really loud. This is not like that at all. The silence is used in a different way because the purpose is not to make the listener spill their coffee as they jump out their seat. The silence in this case is like it is an instrument in itself. At first I was sceptical, as these songs just feel like they are stopping then starting again a few seconds later. But when you listen to the lyrics and the songs as a whole it really does work. So much so these are now my favourite songs on the album. They are invigorating and are just a couple of examples on the album of how Frusciante keeps his music fresh and different from what is out there at the moment.
Overall I feel Curtains is fitting way to end the series of releases. Not only because of the style of music but also the quality of it is reminiscent of the standards set through the rest of the albums he has released in 2004. Some may not have been as good as others, but with different styles, it's always going to be the case that people have preferences over the albums. But overall the standard has been very high. On the whole `Curtains' is a great album to relax to before you go to bed as it is never in a rush and is full of breathtaking music.
Sunday, 19 September 2010
John Frusciante - To Record Only Water For 10 Days
As John cleaned up his act, it shone through in his music like the sun piercing through clouds. Released in 2001, `To Record' sees Frusciante reflect on what he has been through, which is echoed in the lyrics. But at the same time, to show he has now reached the other side, the tempo and general feel of the album is one of positivity and optimism. You get the sense he really is back on track, not just with his music; but his life as whole. I see this album very much as what should be his debut, as the first 2 albums considering the quality and the state he was in; I deem them as a false start. But I realise that on paper, `To Record' is his third album proper.
The majority of the tracks are up beat pop songs given a funky edge through the use of guitars, a drum machine, sequencers and synthesizer. Highlight for me is the first track on the album; `Going Inside' which is not only my favourite song on the album but one of my favourite songs he has done out of all his material. Most bands shove their good songs in the middle of albums. However I think the idea here was just to come in all guns blazing. By really grabbing the listener's attention and making sure it's not let go till the albums over. The acoustic guitar comes in as if he is just throwing himself in at the deep end. None of this, five minute, slow build-up intro. Not that there is anything wrong with that; But Frusciante I feel did this because he wanted to send a message out from the outset. He's back; He has sorted himself out and has a new improved upbeat optimism which just comes flooding out in the rhythm of the guitar. The lyrics on the other hand are a kind of summary about what happened to him and his new found perspective on the world. For example `You don't throw your life away, going inside' and `I moved this fight away'. It is such a joyous song which conveys messages in such a powerful way, that it is hard not to find yourself completely immersed in it.
The upbeat pop songs are mixed in with some funky instrumentals which act as great tunes in there own right such as `Murderers' and `Ramparts'. Lasting only, 1 minute and 12 seconds, Ramparts is shortest song on the album; but this track shows that length really doesn't matter; as this oozes quality in abundance. It is one of the most wonderful instrumentals I have heard. It has such a nice flow to it, with a variation of acoustic and electric guitar parts layered on top of each other creating a majestic melody. `Murderers' is another great instrumental, and yet another stand out track on the album. It has this really hypnotic guitar riff which runs through the whole song with other guitar sounds, synthesizer and drum machine coming and going to keep things interesting. I am so glad there is no singing in either of these tunes, as the stand up on their own two feet without singing which would have no doubt ruined them.
Overall this is great stuff and is without doubt the first album he has made which has fulfilled his potential. Everyone knew what he was capable of and he well and truly delivered with this effort. We all knew he was a talented guitarist but this is really the first time it became apparent that he could actually sing too. It was clear that this was the start of something special, not just in his solo material but also in his band too.
The majority of the tracks are up beat pop songs given a funky edge through the use of guitars, a drum machine, sequencers and synthesizer. Highlight for me is the first track on the album; `Going Inside' which is not only my favourite song on the album but one of my favourite songs he has done out of all his material. Most bands shove their good songs in the middle of albums. However I think the idea here was just to come in all guns blazing. By really grabbing the listener's attention and making sure it's not let go till the albums over. The acoustic guitar comes in as if he is just throwing himself in at the deep end. None of this, five minute, slow build-up intro. Not that there is anything wrong with that; But Frusciante I feel did this because he wanted to send a message out from the outset. He's back; He has sorted himself out and has a new improved upbeat optimism which just comes flooding out in the rhythm of the guitar. The lyrics on the other hand are a kind of summary about what happened to him and his new found perspective on the world. For example `You don't throw your life away, going inside' and `I moved this fight away'. It is such a joyous song which conveys messages in such a powerful way, that it is hard not to find yourself completely immersed in it.
The upbeat pop songs are mixed in with some funky instrumentals which act as great tunes in there own right such as `Murderers' and `Ramparts'. Lasting only, 1 minute and 12 seconds, Ramparts is shortest song on the album; but this track shows that length really doesn't matter; as this oozes quality in abundance. It is one of the most wonderful instrumentals I have heard. It has such a nice flow to it, with a variation of acoustic and electric guitar parts layered on top of each other creating a majestic melody. `Murderers' is another great instrumental, and yet another stand out track on the album. It has this really hypnotic guitar riff which runs through the whole song with other guitar sounds, synthesizer and drum machine coming and going to keep things interesting. I am so glad there is no singing in either of these tunes, as the stand up on their own two feet without singing which would have no doubt ruined them.
Overall this is great stuff and is without doubt the first album he has made which has fulfilled his potential. Everyone knew what he was capable of and he well and truly delivered with this effort. We all knew he was a talented guitarist but this is really the first time it became apparent that he could actually sing too. It was clear that this was the start of something special, not just in his solo material but also in his band too.
Thursday, 16 September 2010
John Frusciante - Smiles From The Streets You Hold
`Smiles' is the second album from John Frusciante released back in 1997 and is his hardest album to get. In fact the only place I could find this album was on eBay for £18, making it the expensive album in my entire CD collection.
Was it worth it? In a word; NO! This is one of the worst albums in my CD collection. When listening to this album for the first time I did wonder what he was on. Well it turns out it was heroin and lots of it. In his head it probably sounded like the best thing ever. But the reality is that it is extremely badly produced and is just a complete mess. `Smiles' makes his debut album; `Niandra Lades and Usually just a T-shirt' sound like a classic. Not because I think `Niandra' is good, but because this one of the most awkward, unaccessable albums I have ever heard.
Starting off with 8 minuter `Enter a Uh', you can hear Frusciante coughing and footsteps, before coming in with `You see me now'. The vocals in this song and throughout the album are projected in such a way that it is as if Frusciante is in excruciating pain, trying to hang on in there. This was John at one of his darkest moments, even more so than when he recorded `Niandra'. The state he was in is reflected in the album, as it seems he is struggling to even play to any sort of rhythm or melody on the guitar. The lyrics give you the feeling he just blurted out the first thing that came into his head, whether it made sense or not. For example: `Why I paddle thru the clouds. In my oversized canoe,' from the song `I'm Always' or even worse from the song `Height down' the lyrics `Bili lie now despite to go walling'.
When I put my MP3 player on shuffle and a song from this album comes on it is instantly recognisable as it stands out like a sore thumb. This is because the sound quality is so bad; a band made up with 12 year olds could easily make a better sounding record than this, never mind being able to write songs which can actually be distinguished as songs. I do wonder sometimes, if he went back and recorded this album again now that he has cleaned up his act; what it would sound like? In my opinion it would be a real eye opener and probably be one of the best re-masters of all time. Primarily because it could not get much worse and secondly because we know the ridiculous amount of talent and potential he possesses.
I would only recommend this album if you really want to complete your JF collection because apart from that it really is the musical equivalent of diarrhoea. Even the cover looks like it has been done by a five year old. Drugs should not be an excuse. I am not going to listen to an album, and say `It's pretty bad, but I found out he was taking drugs when he wrote it. OK, when I listen to it from that perspective, its actually pretty good'. It is rubbish and it should never have seen the light of day. In saying that if it was designed to be a comedy record, it does achieve its goal of being hilarious but given the state he got himself into; I very much doubt it.
Was it worth it? In a word; NO! This is one of the worst albums in my CD collection. When listening to this album for the first time I did wonder what he was on. Well it turns out it was heroin and lots of it. In his head it probably sounded like the best thing ever. But the reality is that it is extremely badly produced and is just a complete mess. `Smiles' makes his debut album; `Niandra Lades and Usually just a T-shirt' sound like a classic. Not because I think `Niandra' is good, but because this one of the most awkward, unaccessable albums I have ever heard.
Starting off with 8 minuter `Enter a Uh', you can hear Frusciante coughing and footsteps, before coming in with `You see me now'. The vocals in this song and throughout the album are projected in such a way that it is as if Frusciante is in excruciating pain, trying to hang on in there. This was John at one of his darkest moments, even more so than when he recorded `Niandra'. The state he was in is reflected in the album, as it seems he is struggling to even play to any sort of rhythm or melody on the guitar. The lyrics give you the feeling he just blurted out the first thing that came into his head, whether it made sense or not. For example: `Why I paddle thru the clouds. In my oversized canoe,' from the song `I'm Always' or even worse from the song `Height down' the lyrics `Bili lie now despite to go walling'.
When I put my MP3 player on shuffle and a song from this album comes on it is instantly recognisable as it stands out like a sore thumb. This is because the sound quality is so bad; a band made up with 12 year olds could easily make a better sounding record than this, never mind being able to write songs which can actually be distinguished as songs. I do wonder sometimes, if he went back and recorded this album again now that he has cleaned up his act; what it would sound like? In my opinion it would be a real eye opener and probably be one of the best re-masters of all time. Primarily because it could not get much worse and secondly because we know the ridiculous amount of talent and potential he possesses.
I would only recommend this album if you really want to complete your JF collection because apart from that it really is the musical equivalent of diarrhoea. Even the cover looks like it has been done by a five year old. Drugs should not be an excuse. I am not going to listen to an album, and say `It's pretty bad, but I found out he was taking drugs when he wrote it. OK, when I listen to it from that perspective, its actually pretty good'. It is rubbish and it should never have seen the light of day. In saying that if it was designed to be a comedy record, it does achieve its goal of being hilarious but given the state he got himself into; I very much doubt it.
Monday, 13 September 2010
John Frusciante - Niandra Lades and Usually Just a T-shirt
`Niandra Lades and Usually Just a T-shirt' was Frusicante's debut album, released back in 1994. This was like in effect album with the first half being `Niandra Lades' and the second half being `Usually just a T-shirt'. Unlike many double albums, the 25 tracks are crammed onto one CD. In order to distinguish the albums on the CD, all the tracks belonging to `Niandra Lades' have real track names; while `Usually just a T-shirt', the tracks are named `Untitled #1' through to `Untitled #12.
The best tracks on the album for me are Mascara and Been Insane. I feel these tracks show glimpses of what John is really capable of. The raw emotion and energy put into the vocals make these songs stand out, head and shoulders above the rest. You can feel the pain and hurt in his voice and with just an acoustic guitar accompanying the vocals, you get the sense of loneliness he was feeling at the time. At this point in his life he was going through a tough time; hooked on drugs and deep in depression. If only the rest of the album were up to this sort of standard, it would have been a cracker.
Although there are plenty to choose from; the worst track on this album for me is `Your pussy is glued to a building on fire'. Personally, I feel that the comedy name is there to cover up how bad the song actually is. I think he did this to make people hone in on the lyrics so they forget to actually detect any sort of a tune. But even the lyrics are delivered in such an unappealing and grating way; I doubt many will be fooled by this charade.
I think that fact that there are 25 tracks on the one CD sums it up. The average length of track is 2 minutes 50 seconds, this shows that over half the tracks at least don't even clock the 3 minute mark! In my opinion songs less than three minutes don't even constitute songs as by the time its start it's finished again. I don't mind a short filler track here and there, but this is way over the top. This is no more apparent than in the shortest track on the album is `Untitled #10' which is 24 seconds long and really just seems pointless. It doesn't act as a bridge between the two songs around it. The longest track on the CD is `Untitled #8' which does actually sound like a cat being strangled which makes for extremely uncomfortable listening. In my opinion the song lengths show a lack of proper structure, imagination and general song writing ability. We know what he is capable of because of albums with the Chili's such as `Blood, Sugar, Sex, Majic'. But anyone who has not heard any previous stuff would have never guessed.
Overall this is a pretty bad album; with only a few bits and pieces, here and there to shout about. At points it's unbearable with the singing so out of tune you'll find yourself reaching for the skip button in a flash. An album only really for the hardcore fans who want to complete there collection and maybe those who have been through the same sort of thing and can relate. But otherwise I would recommend giving it a miss. No matter what he or anyone else thought about this album though, on refection I'm just so glad he didn't stop here....
The best tracks on the album for me are Mascara and Been Insane. I feel these tracks show glimpses of what John is really capable of. The raw emotion and energy put into the vocals make these songs stand out, head and shoulders above the rest. You can feel the pain and hurt in his voice and with just an acoustic guitar accompanying the vocals, you get the sense of loneliness he was feeling at the time. At this point in his life he was going through a tough time; hooked on drugs and deep in depression. If only the rest of the album were up to this sort of standard, it would have been a cracker.
Although there are plenty to choose from; the worst track on this album for me is `Your pussy is glued to a building on fire'. Personally, I feel that the comedy name is there to cover up how bad the song actually is. I think he did this to make people hone in on the lyrics so they forget to actually detect any sort of a tune. But even the lyrics are delivered in such an unappealing and grating way; I doubt many will be fooled by this charade.
I think that fact that there are 25 tracks on the one CD sums it up. The average length of track is 2 minutes 50 seconds, this shows that over half the tracks at least don't even clock the 3 minute mark! In my opinion songs less than three minutes don't even constitute songs as by the time its start it's finished again. I don't mind a short filler track here and there, but this is way over the top. This is no more apparent than in the shortest track on the album is `Untitled #10' which is 24 seconds long and really just seems pointless. It doesn't act as a bridge between the two songs around it. The longest track on the CD is `Untitled #8' which does actually sound like a cat being strangled which makes for extremely uncomfortable listening. In my opinion the song lengths show a lack of proper structure, imagination and general song writing ability. We know what he is capable of because of albums with the Chili's such as `Blood, Sugar, Sex, Majic'. But anyone who has not heard any previous stuff would have never guessed.
Overall this is a pretty bad album; with only a few bits and pieces, here and there to shout about. At points it's unbearable with the singing so out of tune you'll find yourself reaching for the skip button in a flash. An album only really for the hardcore fans who want to complete there collection and maybe those who have been through the same sort of thing and can relate. But otherwise I would recommend giving it a miss. No matter what he or anyone else thought about this album though, on refection I'm just so glad he didn't stop here....
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