Letur Lefr John Frusciante
John Frusciante in 2006 Background information Birth name John Anthony Frusciante Also known as Trickfinger Born ( 1970-03-05) March 5, 1970 (age 47), United States Genres, Instruments, Years active 1988–present Labels, Funk Soul Recordings, Neurotic Yell Records, Acid Test Associated acts, Website John Anthony Frusciante ( ( ); born March 5, 1970) is an American guitarist, singer, producer and composer. He is best known as the former guitarist of the band, from 1988 until 1992, and again from 1998 until 2009. He recorded five studio albums with them. Frusciante has an active solo career, having released eleven solo albums and five EPs; his recordings include elements ranging from and to and. In 2015, Frusciante released his debut album under his alias,. He has also recorded with numerous other artists, including, for whom he was a studio guitarist (and occasional live performer) from 2002 until 2008; and, with whom he released two albums as; and various collaborations with both Klinghoffer and.
He has also produced and/or recorded with, and Omar Rodriguez Lopez, and others. At the age of eighteen, he joined the Red Hot Chili Peppers, first appearing on the band's 1989 album,. The group's follow-up album, (1991), was a breakthrough success. Frusciante became overwhelmed by the band's new popularity and quit in 1992. He became a recluse and entered a long period of drug addiction, during which he released his first solo recordings: (1994) and (1997).
5 song Letur Lefr EP and 9-song PBX LP digital download, in both 32-bit WAV and 320kbps MP3 formats. John Frusciante ©2013.
In 1998, he successfully completed drug rehabilitation and rejoined the Red Hot Chili Peppers. Their next album, (1999) would eventually go on to sell 16 million copies.
His album was released in 2001. A fourth album with the Chili Peppers, was released in 2002. On a creative spree, Frusciante released six solo albums in 2004; each album explored different recording techniques and genres.
2006 saw the release of his fifth and final album with the Chili Peppers,. In 2009, Frusciante released, which features and Josh Klinghoffer, and announced he had again parted ways with the Chili Peppers. Frusciante has received critical recognition for his guitar playing, ranking at number 18 on 's list of 'The 100 Greatest Guitarists of All Time' in 2003; and again in a second list published in 2011, where he ranked at number 72. He was ranked as number 42 in 's list of the '50 Best Guitarists of All Time'.
He was voted 'The Best Guitarist of the Last 30 Years' in a 2010 BBC poll called 'The Axe Factor'. Frusciante was inducted into the as a member of the Red Hot Chili Peppers on April 14, 2012 although he did not attend the ceremony. Contents. Biography 1970–1987: Childhood and early life Frusciante was born in, New York on March 5, 1970.
His father, John Sr., is a -trained pianist, and his mother Gail was a promising vocalist who gave up her career to be a stay-at-home mother. Frusciante's family moved to, Arizona, and then Florida, where his father served as a judge until October 2010. His parents separated, and he and his mother moved to, California. Frusciante is of descent; his paternal great-grandfather Generoso Frusciante emigrated from. A year later, Frusciante and his mother moved to, Los Angeles with his new stepfather who, he says, 'really supported me and made me feel good about being an artist.' Like many young people in the area, he became intimately involved in the L.A.
At nine he was infatuated with the, wearing out several copies of their record. By ten, he had taught himself how to play most of (GI)'s songs.
He has stated that he did not really know what he was doing, and that he would play every chord with a single-finger. Frusciante began studying guitarists like, and at eleven. He discovered, whose work he would study for hours. Frusciante first heard of the around 1984 when his guitar instructor was auditioning as a guitarist for that band. He dropped out of high school at sixteen with the permission of his parents and completion of a proficiency test.
With their support, he moved to Los Angeles in order to develop his musical proficiency. He began taking classes at the, but turned to punching in without actually attending and left shortly thereafter. 1988–1992: First term with the Red Hot Chili Peppers Frusciante first attended a Red Hot Chili Peppers performance at fifteen and he rapidly became a devoted fan.
He idolized guitarist —familiarizing himself with virtually all the guitar and bass parts from the Chili Peppers' first three records. He became acquainted with Slovak; the two spoke months before Slovak's death and Frusciante's subsequent joining.Hillel asked me, 'Would you still like the Chilis if they got so popular they played the?' It would ruin the whole thing. That's great about the band, the audience feels no different from the band at all.' There was this real kind of historical vibe at their shows, none of the frustration that runs through the audience when they jump around and can't get out of their seat. I didn't even watch the shows. I'd get so excited that I'd flip around the slam pit the whole time.
I really felt like a part of the band, and all the sensitive people in the audience did too. Frusciante became friends with former drummer in early 1988.
They often jammed together, and Peligro invited his friend (bassist of Red Hot Chili Peppers) to join. Frusciante and Flea developed a musical chemistry immediately, with Flea later acknowledging that might have been the day he first played the bass riff to '. Around the same time, Frusciante intended to audition for Frank Zappa's band, but changed his mind before the final try-out as Zappa strictly prohibited illegal drug use.
Frusciante said, 'I realized that I wanted to be a rock star, do drugs and get girls, and that I wouldn't be able to do that if I was in Zappa's band.' Slovak died of a heroin overdose in 1988, and Red Hot Chili Peppers drummer, incapable of coping with Slovak's death, left the group. Remaining members Flea and vocalist regrouped, determined to persevere. The pair added Peligro on drums and, formerly of, on guitar. McKnight, however, failed to connect musically within the group. Flea proposed auditioning Frusciante, whose intimate knowledge of the Chili Peppers' repertoire impressed him. Flea and Kiedis auditioned him and agreed that he would be a suitable replacement for McKnight, who was promptly fired.
When Flea called Frusciante with the news of his acceptance into the Chili Peppers, Frusciante was elated; he ran through his house screaming with joy, and jumped on a wall, leaving permanent boot marks. He was considering a contract with at the time—and had actually been playing with the act for two weeks—but his unanticipated reception into the Chili Peppers prompted him to change his plans. However, Frusciante was not familiar with the funk genre of Red Hot Chili Peppers' sound: 'I wasn't really a funk player before I joined the band. I learned everything I needed to know about how to sound good with Flea by studying Hillel Slovak's playing and I just took it sideways from there.' Several weeks into the band's new lineup, Peligro, whose performance was suffering due to extreme drug abuse, was fired. Soon after, was added as the group's new drummer and the new lineup began recording their first album, 1989's.
Frusciante focused on emulating Slovak's signature style, rather than imposing his own personal style on the group. Producer disagreed, and wanted Frusciante to play with an uncharacteristic tone, largely absent from the band's three preceding records.
Frusciante and Beinhorn fought frequently over guitar tone and layering, and Beinhorn's idea ultimately prevailed as Frusciante felt pressured by the producer's much greater knowledge of the studio. Kiedis recalls that 'Beinhorn wanted John to have a big, crunching, almost metal-sounding guitar tone whereas before we always had some interesting acid-rock guitar tones as well as a lot of slinky, sexy, funky guitar tones.' The Chili Peppers collaborated with producer for their second record with Frusciante,. Rubin felt that it was important to record the album in an unorthodox setting, so he suggested an old mansion, and the band agreed. Frusciante, Kiedis and Flea isolated themselves there for the duration of the recording. Frusciante and Flea seldom went outside, and spent most of their time smoking.
Around this time, Frusciante started a side collaboration with Flea and drummer called The Three Amoebas. They recorded roughly ten to fifteen hours of material, none of which has ever been released.
Blood Sugar Sex Magik was hugely successful upon its release on September 24, 1991. It peaked at number three on the Billboard charts, and went on to sell thirteen million copies worldwide. The unexpected success instantly turned the Red Hot Chili Peppers into rock stars. Frusciante was blindsided by his newfound fame, and struggled to cope with it. Soon after the album's release, he began to develop a dislike for the band's popularity. Kiedis recalled that he and Frusciante used to get into heated discussions backstage after concerts: 'John would say, 'We're too popular.
I don't need to be at this level of success. I would just be proud to be playing this music in clubs like you guys were doing two years ago.' ' Frusciante later said that the band's rise to popularity was 'too high, too far, too soon. Everything seemed to be happening at once and I just couldn't cope with it.'
He also began to feel that destiny was leading him away from the band. When the Chili Peppers began their world tour, he started to hear voices in his head telling him 'you won't make it during the tour, you have to go now.' Frusciante admitted to having once taken great pleasure in; however, 'by the age of twenty, I started doing it right and looking at it as an artistic expression instead of a way of partying and screwing a bunch of girls. To balance it out, I had to be extra-humble, extra-anti-rock star.' He refused to take the stage during a performance at Tokyo's Club Quattro on May 7, 1992, telling his bandmates that he was leaving the band. He was persuaded to perform, but left for California the next morning; according to the guitarist, 'it was just impossible for me to stay in the band any longer.
It had come to the point where even though they wanted me in the band, it felt like I was forced out of the band. Not by any members in particular or management in particular, but just the direction it was going.' He was replaced by former guitarist. In a 2015 interview, said that following Frusciante's departure from the Chili Peppers in 1992 he auditioned for his band the. Kirkwood said '“He showed up with his guitar out of its case and barefoot.
We were on a major label then, we just got signed, and those guys had blown up to where they were at and John needed to get out. John gets to our pad and we started getting ready to play and I said, ‘You want to use my tuner?’ He said, ‘No, I’ll bend it in.’ It was so far out. Then we jammed but it didn’t come to anything. Maybe he wasn’t in the right place and we were a tight little unit.
It just didn’t quite happen but it could have worked.' 1992–1997: Drug addiction Frusciante developed serious drug habits while touring with the band during the previous four years. He said that when he 'found out that Flea was stoned out of his mind at every show, that inspired me to be a pothead'. Not only was Frusciante smoking large amounts of marijuana, but he began to use heroin and was on the verge of full-scale addiction. Upon returning to California in the summer of 1992, Frusciante entered a deep depression, feeling that his life was over and that he could no longer write music or play guitar. For a long time, he focused on painting, producing 4-track recordings he had made while working on Blood Sugar Sex Magik, and writing short stories and screenplays.
To cope with his worsening depression, Frusciante increased his heroin use and spiraled into a life-threatening dependency. His use of heroin to medicate his depression was a clear decision: 'I was very sad, and I was always happy when I was on drugs; therefore, I should be on drugs all the time.
I was never guilty—I was always really proud to be an addict.' Frusciante openly admitted to being a 'junkie', believing that drugs were the only way of 'making sure you stay in touch with beauty instead of letting the ugliness of the world corrupt your soul.' Sample of 'Your Pussy's Glued to a Building on Fire', from Frusciante's first solo album, Niandra Lades and Usually Just a T-Shirt Problems playing this file? In October 1993, came to stay with Frusciante and the duo went on a long drug binge together, doing a lot of drugs and barely sleeping.
According to, the two arrived at together on October 31, 1993 and continued to do drugs. Shortly after their arrival, Phoenix went into seizures and was rushed by ambulance (accompanied by Flea) to the hospital where he died of a drug overdose. Frusciante released his first solo album, on March 8, 1994.
Despite the common belief that most of the tracks were recorded while he was strung out on heroin in his home in the, Frusciante has said that 'That album was not recorded when I was a heroin addict. It was released when I was a heroin addict.' The first half of Niandra Lades and Usually Just a T-Shirt was recorded shortly after the completion of Blood Sugar Sex Magik; the second half between late 1991 and early 1992, during the album's tour. 'Running Away Into You' is the only track recorded after he left the Chili Peppers. The album is a heavily experimental composition whose initial purpose was spiritual and emotional expression: 'I wrote the record because I was in a really big place in my head—it was a huge, spiritual place telling me what to do.
As long as I'm obeying those forces, it's always going to be meaningful. I could be playing guitar and I could say 'Play something that sucks,' and if I'm in that place, it's gonna be great. And it has nothing to do with me, except in ways that can't be understood.' Frusciante further asserted that the album was meant to be experienced as a cohesive unit rather than separate entities or songs. Niandra Lades and Usually Just a T-Shirt was released on Rick Rubin's label., the Chili Peppers' label, owned rights to the album because of the leaving-artist clause in Frusciante's Chili Peppers contract. However, because he was reclusive, the label gladly handed the rights over to Rubin, who released the album at the urging of Frusciante's friends.
An article in the described Frusciante as 'a skeleton covered in thin skin' who at the nadir of his addictions nearly died from a blood infection. His arms became fiercely scarred from improperly shooting heroin and, leaving permanent. He spent the next three years holed up in his Hollywood Hills home, the walls of which were badly damaged and covered in graffiti. During this time, his friends and went to his house and filmed a documentary short called, depicting the squalor in which he was living. The house was eventually destroyed by a fire that claimed his vintage guitar collection along with several recorded tapes of music.
Frusciante released his second solo album, in 1997. The album's first track, 'Enter a Uh', was largely characterized by cryptic lyrics and hysterical screeches. Frusciante also coughs throughout the track, showcasing his deteriorating health. By his own admission, the album was released in order to get 'drug money'; he withdrew it from the market in 1999. The album is also notable for including a recording called 'Height Down' which features River Phoenix. 1998–2002: Rehabilitation and return to the Chili Peppers In late 1996, after more than five years of addiction to heroin, Frusciante quit it. However, months later he was still unable to break addictions to and alcohol.
In January 1998, urged by longtime friend, Frusciante checked into Las Encinas, a clinic in, to begin a full recovery. Upon arrival, he was diagnosed with a potentially lethal oral infection, which could only be alleviated by removing all of his rotten teeth and replacing them with dental implants.
He also received skin grafts to help repair the abscesses on his ravaged arms. About a month later, Frusciante checked out of Las Encinas and re-entered society. Fully recovered and once again healthy, Frusciante began living a more spiritual, lifestyle. He changed his diet, becoming more health-conscious and eating mostly unprocessed foods. Through regular practice of and, he discovered the effect that self-discipline has on the body. To maintain his increased spiritual awareness and reduce distraction from his music, Frusciante decided to from sexual activity stating: 'I'm very well without it.' All of these changes in his life have led him to a complete change in his attitude toward drugs: I don't need to take drugs.
I feel so much more high all the time right now because of the type of momentum that a person can get going when you really dedicate yourself to something that you really love. I don't even consider doing them, they're completely silly. Between my dedication to trying to constantly be a better musician and eating my health foods and doing yoga, I feel so much more high than I did for the last few years of doing drugs.
At this point I'm the happiest person in the world. These things do not fuck with me at all, and I'm so proud of that—you don't know how proud I am. It's such a beautiful thing to be able to face life, to face yourself, without hiding behind drugs; without having to have anger towards people who love you. There are people who are scared of losing stuff, but you don't lose anything for any other reason than if you just give up on yourself. Despite his experience as an addict, Frusciante does not view his drug use as a 'dark period' in his life. He considers it a period of rebirth, during which he found himself and cleared his mind.
Frusciante has since stopped practicing yoga, due to its effects on his back, but he still tries to meditate daily. In early 1998, the Red Hot Chili Peppers fired guitarist and were on the verge of breaking up. Flea told Kiedis, 'the only way I could imagine carrying on with the Red Hot Chili Peppers is if we got John back in the band.' With Frusciante free of his addictions and ailments, Kiedis and Flea thought it was an appropriate time to invite him back.
When Flea visited him at his home and asked him to rejoin the band, Frusciante began sobbing and said 'nothing would make me happier in the world.' With Frusciante back on guitar, the Chili Peppers began recording their next album, released in 1999. Frusciante's return restored a key component of the Chili Peppers' sound, as well as a healthy morale.
He brought with him his deep devotion to music, which affected the band's recording style during the album. Frusciante has frequently stated that his work on Californication was his favorite. During the Californication world tour, Frusciante continued to compose his own songs, many of which would be released in 2001 on his third solo album. The album was stylistically unlike his previous records, less markedly.
However, the lyrics were still very cryptic and its sound was notably stripped down. The songwriting and production of To Record Only Water for Ten Days were more efficient and straightforward than on his previous recordings. The album strayed from the alternative rock he had just written with the Chili Peppers on Californication, focusing more on and elements. In addition to his guitar work, Frusciante experimented with a variety of synthesizers, a distinctive feature of the record.
In 2001, Frusciante began recording his fourth album with Red Hot Chili Peppers, (2002); he considered the time to be among the happiest in his life. He relished the chance the album gave him to 'keep writing better songs'. While working on By the Way, he also composed most of what would become, as well as the songs created for the movie. His goal to improve his guitar playing on the album was largely driven by a desire to emulate guitar players such as, and.
He wanted to listen to these musicians 'who weren’t just about technique but more about textures', or as he put it, 'people who used good chords'. The album marked Frusciante's shift to a more group-minded mentality within the Chili Peppers, viewing the band as a cohesive unit rather than as four separate entities. 2002–2007: The Mars Volta, 2004 recordings and Stadium Arcadium Frusciante wrote and recorded a plethora of songs during and after the By the Way tour. In February 2004, he started a side project with of and, called. The group was together for about two weeks, during which they recorded about ninety minutes of material. After two days in the recording studio, they played two shows at the in Hollywood, and spent two more days in the studio before disbanding.
Later that year, five songs provided by Frusciante appeared on soundtrack. 'The Past Recedes', from Frusciante's 2005 album Curtains, is a return to musical convention from the experimental ideas of his first recordings, Niandra Lades and Usually Just a T-Shirt and.
Problems playing this file? Frusciante released his fourth full-length solo album on February 24, 2004. This featured guest appearances from some of his friends, including Klinghoffer, and Chili Peppers bandmates Smith and Flea. In June 2004, he announced that he would be releasing six records over six months:, Ataxia's, and. With the release of Curtains Frusciante debuted his only music video of 2004, for the track 'The Past Recedes'. He wanted to produce these records quickly and inexpensively on analog tape, avoiding modern studio and computer-assisted recording processes. Frusciante noted, 'These six records were recorded in a period of six months after coming home from touring with the Chili Peppers for one-and-a-half years.
I made a list of all the songs I had and they totaled about seventy. My objective was to record as many songs as I could during the break that I had. In the midst of doing that, I was writing some of my best songs, so some of these albums have as many new songs as old songs.
It was definitely the most productive time of my life.' 'When the intellectual part of guitar playing overrides the spiritual, you don't get to extreme heights.' —John Frusciante ( Rolling Stone, February 2007) Frusciante's musical style has evolved over the course of his career. Although he received moderate recognition for his early guitar work, it was not until later in his career that music critics and guitarists alike began to fully recognize it: in October 2003, he was ranked eighteenth in Rolling Stone's list of the '100 Greatest Guitarists of All Time'. Frusciante attributes this recent recognition to his shift in focus, stating that he chose an approach based on rhythmic patterns inspired by the complexity of material and produced. On earlier records, however, much of his output was influenced by various underground punk and new wave musicians.
In general, his sound is also defined by an affinity for vintage guitars. All the guitars that he owns, records, and tours with were made before 1970. Frusciante will use the specific guitar that he finds appropriate for a certain song. All of the guitars he owned before quitting the band were destroyed when his house burned down in 1996. The first guitar he bought after rejoining the Chili Peppers was a 1962 red. His most-often used guitar, however, is a 1962 Sunburst that was given to him as a gift from after Frusciante rejoined the Chili Peppers in 1998. He has played this guitar on every album since rejoining the Chili Peppers, and their ensuing tours.
He also owns a 1955 Fender Stratocaster, his only Strat with a maple neck. Frusciante's most highly appraised instrument is a 1955, which he used twice per show during the By the Way tour. He has since stopped using it, saying there was 'no room for it'. Virtually all of Frusciante's acoustic work is played with a 1950s 0–15. After leaving the Red Hot Chili Peppers, he switched to using a SG as his primary guitar for his solo work. 'With the Yamaha SG, I could play along with guitar players who were playing, say, Les Pauls, and feel like the sound matched what I was hearing on the record. People like, and particularly from, who played a Yamaha SG, which is why I bought one in the first place'.
Frusciante has also noted his increased use of the for his electronic music, saying that he was at the point 'where I thought as much like a 202ist as I did a guitarist.' The MC-202 has been his primary melodic instrument in his electronic music. With the Red Hot Chili Peppers, Frusciante provided backing vocals in a tenor, a style he started on Blood Sugar Sex Magik. He thoroughly enjoyed his role in the Chili Peppers as backing vocalist, and said that backing vocals are a 'real art form'. Despite his commitment to the Chili Peppers, he felt that his work with the band should remain separate from his solo projects. When he returned to the Chili Peppers in 1998, Kiedis wanted the band to record 'Living in Hell', a song Frusciante had written several years before.
Frusciante refused, feeling that the creative freedom he needed for his solo projects would have conflicted with his role in the band. Technique Frusciante's guitar playing employs emphasis on appropriate melody, tone, and structure rather than virtuosity. Although virtuoso influences can be heard throughout his career, he has said that he often minimizes this. He feels that in general, guitar mastery has not evolved much since the 1960s and considers the greatest players of that decade unsurpassed. When he was growing up in the 1980s, many mainstream guitarists focused on speed. Because of this, he thinks that the skills of many defiant new wave and punk guitarists were largely overlooked.
Therefore, he accentuates the melodically driven technique of players such as of and of as much as possible because he thinks that their style has been overlooked and consequently underexplored. Despite this, he considers himself a fan of technique-driven guitarists like and, but represses an urge to emulate their style: 'People believe that by playing faster and creating new playing techniques you can progress forward, but then they realize that emotionally they don't progress at all. They transmit nothing to the people listening and they stay at where Hendrix was three decades ago. Something like that happened to Vai in the 80s.'
Believing that focusing only on 'clean tones' is negative, Frusciante developed an interest in playing with what he calls a 'grimy' sound. As a result, he considers it beneficial to 'mistreat' his guitar and employ various forms of distortion when soloing.
He also tries to break as many 'stylistic boundaries' as he can to expand his musical horizons. He thinks that much of the output from today's guitarists is unoriginal, and that many of his contemporaries 'follow the rules with no risk'. Frusciante has stated that he became serious about creating and engineering his own electronic music in 2007.
As he progressed in enhancing his skills with electronic instruments and techniques, he has stated that he felt comfortable with how and integrated into his work. He has noted that these and other new techniques were all influences on his EP, Letur-Lefr. PBX Funicular Intaglio Zone was recorded while Frusciante looked to find new ways to play the guitar with the new forms of music and production that he had been studying. In his blog post, 'My Recent History,' he notes that 'Aspects of PBX are the realization of combinations of styles of music I saw in my head many years ago, as potentials, but which I had no idea how to execute.' Frusciante's approach to album composition has changed.
On his early recordings, he welcomed sonic imperfections, noting that 'even on To Record Only Water for Ten Days there are off-pitch vocals and out-of-tune guitars.' However, on later albums such as Shadows Collide With People, he pursued the opposite: 'I just wanted everything to be perfect—I didn't want anything off pitch, or off time, or any unintentional this or that.' Frusciante views songwriting as taking time, and does not force it: 'If a song wants to come to me, I'm always ready to receive it, but I don't work at it.' Much of his solo material is first written on an acoustic or unamplified electric guitar. He also prefers to record his albums on analog tapes and other relatively primitive equipment.
This preference stems from his belief that older equipment can actually speed up the recording process, and that modern computerized recording technology gives only an illusion of efficiency. Frusciante tries to streamline the recording process as much as possible, because he thinks 'music comes alive when you are creating it fast'. He also enjoys the challenge of having to record something in very few takes, and believes that when musicians are unable to handle the pressure of having to record something quickly they often get frustrated or bogged down by perfectionism. With his focus on new styles of music, Frusciante describes having worked with the computer as an instrument, and having found the ability to merge old and new production techniques together. He has noted that there has been a change in how he works on an album. In the past he would work on one song at a time, but with the new 'Progressive Synth Pop' that he has been working on, he feels much more comfortable to work within the album as a whole.
He currently uses the as his main along with some drum machines, sequencers, and other hardware, along with his, Arp, and other modular synthesizers. Influences Frusciante's first major influence was. He then saw (at that point, The was part of their name) in concert in 1985, after which their then-guitarist became his second major influence, with Frusciante coming to idolize Slovak.
Although Hendrix and Slovak were arguably Frusciante's most profound influences, he was also inspired by artists, and; as well as avant-garde acts such as, and. He credits his inspiration for learning guitar to, and, amongst others. As an adolescent, he began by focusing upon Hendrix, as well as bands like, and.
Frusciante's other major influence was of and. 'McGeoch is such a guitarist I aspire to be. He has a new brilliant idea for each song.
I usually play on the stuff he does on Magazine's albums and Siouxsie & the Banshees's like '. During the recording of Blood Sugar Sex Magik, Captain Beefheart and the acoustic, one-man blues of and, were among the most noteworthy influences. Frusciante cites singer as a musical inspiration and admires her voice, calling it “multidimensional” and “inspiring.” In describing her voice and signature sound, he said, “You can't hear the elaborate harmonies with your conscious; you have to hear her voice with your subconscious.” He also mentioned that Brandy was the “main inspiration” behind the guitar work on Red Hot Chili Peppers' 2006 album,.
On Californication and By the Way, Frusciante derived the technique of creating tonal texture through chord patterns from guitarists of and John McGeoch, and bands such as, and. He originally intended By the Way to be made up of 'these punky, rough songs', drawing inspiration from early punk artists such as the Germs and.
However, this was discouraged by producer Rick Rubin, and he instead built upon Californication's melodically-driven style. During the recording of Stadium Arcadium, he moved away from his new wave influences and concentrated on emulating flashier guitar players such as Jimi Hendrix and Eddie Van Halen.
With his recent solo work, he has cited —in which the guitar is often completely absent—as an influence. His electronic music influences include, and.
His interests are constantly changing, as he believes that without change he will no longer have any interest in playing: 'I'm always drawing inspiration from different kinds of music and playing guitar along with records, and I go into each new album project with a preconceived idea of what styles I want to combine.' Personal life In 2011, Frusciante married Nicole Turley, drummer and lead vocalist of the experimental band. On May 8, 2015 it was announced that Turley had filed for divorce.
On October 3, 2015, Turley announced that she was seeking $75,000 a month as part of their divorce settlement. According to court documents, Turley, who was already being paid $20,000 a month, needs a higher payment to maintain her quality of living. She claims her finances are down to only $30,000. Turley said that Frusciante was worth $14 million and she was entitled to more money saying that together the couple employed a team of personal assistants, and owned three homes and a private music studio. A week later Frusciante responded to Turley's demands saying that he refuses to pay her any more money and that she is also seeking $2,600 a month for gifts and expenses for her adult brother. He also said he was done footing the bill for her musical career saying “I don’t know if you can call her recording efforts a hobby or a past-time but it seems improper to characterize Nicole as a professional musician.” On October 19, 2015, a judge ruled in favor of Turley saying Frusciante had to pay his former wife $53,000 a month. Frusciante was also forced to pay $71,000 for Turley's legal expenses.
Discography. Prince.org (Google Web Cache). Archived from the original on December 5, 2011.
Retrieved December 9, 2011. CS1 maint: BOT: original-url status unknown. Rolling Stone. Archived from on June 9, 2011. Retrieved June 4, 2011. Rolling Stone.
Archived from on November 26, 2011. Retrieved November 24, 2011.
Retrieved 2010-09-17. ^ Rotondigic, James (November, 1997).
'Till I Reach the Higher Ground'. Kay, Julie (June 1, 2010).
Archived from on August 21, 2014. Retrieved 2010-12-17. Amato, Emiliano (June 28, 2006).
Archived from on September 24, 2015. Retrieved 2015-06-28. ^ Kramer, Dan. Archived from on August 21, 2007. Retrieved 2007-08-31. ^ Fricke, David (June 15, 2006). Rolling Stone.
Archived from on 2008-12-24. Retrieved 2007-10-02. ^ Nelson, Artie (November 23, 1994).
Raw Magazine, Issue #163. Archived from on 2007-10-11. Retrieved 2007-08-31. Mother's Milk 2003 reissue liner notes. Kiedis, Sloman, 2004.
234. Kiedis, Sloman, 2004. Retrieved 2007-08-27. Forsythe, Tom.
(February 1991) 'Laughing All the Way'. Guitar Magazine. Apter, 2004. 181. Kiedis, Sloman, 2004. 242.
^ Kiedis, Sloman, 2004. 249. Kiedis, Sloman, 2004. 239–241. Kiedis, Sloman, 2004.
284. ^ Dalley, Helen (August 2002). 'John Frusciante' Total Guitar. Retrieved on August 27, 2007. Prato, Greg.
Retrieved 2007-09-12. Kiedis, Sloman, 2004. 229.
Gabriella. (July 1999). Archived from on 2007-09-21. Retrieved 2007-09-11. Archived from (PDF) on 2007-09-28. Retrieved 2009-01-11. ^ 'The Chili Peppers Rise Again'.
Rolling Stone. Retrieved on 2007-08-08.
Broxvoort, Brian (1994). 'John Frusciante Goes Over a Bridge.' From the original on 2016-03-04. Retrieved 2015-05-13. Kennealy, Tim (July 1995).
'Chilly Pepper'. ^ 'Water Music'. Rock Sound #21. Sullivan, Kate (August 2002). 'Interview with Flea, Anthony and John'.
Nye, James (September 22, 2013). The Daily Mail. Retrieved October 31, 2015. Archived from on 2007-10-10. Retrieved 2007-07-31. Retrieved 2010-09-17.
Archived from on 2007-10-11. Retrieved 2008-11-28. ^ Wilonsky, Robert (December 12, 1996). Phoenix New Times Music.
Retrieved 2007-06-22. ^ Zafiais, Alex (March 24, 2004). Archived from on June 4, 2011. Retrieved 2006-08-13.
^ Di Perna, Alan (July, 2006). 'Guided by Voices'. Guitar World. Archived from on 2007-09-28. Retrieved 2006-09-04.
Archived from on 2013-12-20. ^ Kiedis, Sloman, 2004. 407. ^ Kiedis, Sloman, 2004. 408.
Bryant, Tom. (May 3, 2006) 'War Ensemble.' . Kiedis, Sloman, 2004.
404. ^ Chonin, Neva (February 5, 2001). Rolling Stone. Archived from on 2009-05-25.
February 13, 2001. Archived from on 2007-10-17. Retrieved 2009-01-11. Guitar World Acoustic, February/March 2004.
March 16, 2005. Archived from on 2007-10-19. Retrieved 2009-01-10.
June 10, 2004. Archived from on 2007-10-23. Retrieved 2007-07-24. The Brown Bunny soundtrack liner notes. ^ Shadows Collide with People liner notes. Devenish, Colin (2004-06-30). Ultimate Guitar.
Retrieved 2011-06-30. ^ Payne, John. (July 29, 2004) ' June 24, 2016, at the.'
LA Weekly, Retrieved on August 27, 2007. Archived from on 2013-05-25. Retrieved 2012-03-08.
Walker, James. Retrieved on 2007-06-25. Stadium Arcadium bonus DVD footage.
Perna, Alan. 'Guided by Voices.' Guitar World July 2006: 57. Cohen, Ian (May 23, 2006). Stylus Magazine.
Archived from on November 12, 2006. Retrieved 2006-08-23. ^ Cleveland, Barry (November 2006). Guitar Player. Archived from on October 30, 2006. Retrieved 2007-05-02.
De-Loused in the Comatorium liner notes. Frances the Mute liner notes. Amputechture liner notes. Curtains liner notes. Stadium Arcadium liner notes. ^ Anderson, Kyle (2008-05-19). Rolling Stone.
Retrieved 2008-05-22. Archived from on 6 February 2015.
Retrieved 3 November 2014. Retrieved 2012-12-27.
Kreps, Daniel (2009-12-17). Rolling Stone. Archived from on 2010-01-05. Retrieved 2009-12-18. November 12, 2008. Archived from on May 18, 2011. Retrieved 2011-06-18.
Martins, Chris (2010-01-14). Retrieved 2010-09-17. sargenthouse. Archived from on 2013-04-19. Retrieved 2010-09-17. Lindsay, Andrew. Archived from on 2010-05-28.
Retrieved 2010-09-17. on. Andy Greene (2011-12-07). Rolling Stone. Retrieved 2012-03-08.
Retrieved 2012-03-08. Retrieved 2012-05-13. Retrieved 2012-07-26. Archived from on 2010-05-27. Retrieved 2010-09-17.
John Frusciante Unofficial – Invisible Movement. Retrieved 2017-04-25. Retrieved 2010-12-10. Retrieved 2012-05-13.
Retrieved 2012-06-10. July 12, 2012. Archived from on April 28, 2013. Retrieved 2013-04-09. Thomas, Fred. Retrieved 25 September 2012. April 7, 2013.
Retrieved 2013-04-09. Retrieved 3 November 2014. February 15, 2016. Retrieved February 17, 2016. Young, Alex.
Consequence of Sound. Retrieved 25 May 2015. From the original on 2016-11-07.
Retrieved 2015-12-13. Retrieved 2015-11-25. Archived from on 2017-08-28. Retrieved 2017-06-17. ^ Fricke, David. (February 2007) October 18, 2016, at the. Retrieved on 2007-06-12.
Rolling Stone. September 18, 2003. Archived from on August 22, 2008.
Retrieved 2009-05-12. ^ Gallori, Paolo (2006). (TV interview). Retrieved 2009-01-11. Making of 'Can't Stop' music video. Red Hot Chili Peppers Greatest Hits.
^ Ascott, Phil (June, 2003). 'Universally Speaking'.
John Frusciante Divorce
^ 'Interview with John Frusciante'. Guitar Xtreme, June 2006. Kopeliovich, Dan. Gear of the legends.
^ Jeffers, Tessa (3 March 2014). Retrieved 2 July 2014. Cleveland, Barry (14 August 2014).
Retrieved 28 August 2017. ^ Frusciante, John. Archived from on 2013-01-17. Retrieved 2013-02-17. April 3, 2004.
Archived from on December 12, 2008. Retrieved 2007-09-02. Issue #21; pp. 76–82.
John Frusciante
^ Cleveland, Barry (November 2006). Guitar Player. Archived from the original on 2008-03-20.
Retrieved 2007-08-27. CS1 maint: BOT: original-url status unknown. Di Perna, Alan. (April, 2005). 'Basic Instinct'. Guitar World Acoustic. 'Me and My Friends'.
Austin Chronicle. ^ Tingen, Paul. (July, 2004). 'John Frusciante's Creative Explosion'.
Electronic Musician. Guitar Player. Retrieved 2014-04-04. Williams, Adams (November 2003). Retrieved 2017-04-17.
Frusciante, John (June 2004). Retrieved 2016-03-05. Doyle, Tom (April 2004), 'Red Hot Soloing', The Guitarist (248), For By The Way.
That was John McGeoch playing in Magazine and Siouxsie and the Banshees, Johnny Marr's playing in The Smiths, Bernard Sumner's playing in Joy Division and New Order and George Harrison guitar-playing in the Beatles. That's the guitar-playing that influenced the way I play on the record. Tore S Borjesson (24 April 2003). Archived from the original on July 3, 2016. Retrieved 2 July 2016. CS1 maint: Unfit url.
^ Page, Scarlet (July, 2004). 'Red Hot Chili Peppers: The LA Punks Who Defied Death, Grunge And A Burning Crack Den'. Mitchell, Ed. 'Robert Johnson – King of the Delta Blues Singers'. Total Guitar.
February 2006. 66. Zimmerman, Shannon. Spin Magazine. Retrieved 2010-06-30.
Apter, 2004. Retrieved 2015-05-10. Retrieved 2015-10-03. Archived from on 2016-02-23. Retrieved 2016-03-01. Retrieved 2015-10-19.
Letur-Lefr by solo Released July 17th, 2012 (International) July 16th, 2012 (Europe) July 4th, 2012 (Japan) Recorded 2010, Length 15: 56 solo chronology (2009) 2009 Letur-Lefr (2012) (2012) 2012 chronology (2010) 2010 Letur-Lefr (2012) Letur-Lefr2012 (2012) 2012 Letur-Lefr (pronunciation: /'lɛtɹ̩ 'lɛfɹ̩/) is an EP by, released on July 17, 2012 on. It was released in multiple formats including 32-bit digital download and. The EP features Frusciante singing, playing all the instruments and engineering, as well as his ex-wife performing backing vocals and a 'few friends on vocals, mostly MC'ing'. Frusciante said of this album and its follow-up, 'I consider my music to be Progressive Synth Pop, which says nothing about what it sounds like, but does describe my basic approach. I combine aspects of many styles of music and create my own musical forms by way of electronic instruments. The tracks on Letur-Lefr were recorded in 2010 and PBX was recorded in 2011. Letur is a compilation, a selected portion of music I made that year while PBX was conceived as an album, the songs having been recorded in succession.
The records are very different from each other.' Contents. Title According to Frusciante, the EP's title 'signifies the transition of two becoming one, notably symbolized by the first song on the album being the sequel to the album's last.'
Professional ratings Review scores Source Rating Track listing All tracks written. Title Length 1.
'In Your Eyes' 4:27 2. '909 Day' 2:24 3.
'Glowe' 1:31 4. 'In My Light' 3:49 Personnel Musicians. vocals, backing vocals (stated as 'female backing vocals' on booklet ), synthesizers, guitar, samples, drum machine. Nicole Turley - vocals ( 1). vocals ( 2-5). Leggezin Fin - vocals ( 2). vocals ( 2 and 3).
vocals ( 2 and 4). Rugged Monk - vocals ( 4) Recording personnel. production. Anthony Zamora - studio manager Artwork. cover art and design.
Julian Chavez - cover design Charts Charts (2012) Peak position 10 38 References.