Također samo da napomenem. Uskaro izlazi novi DVD Ramonesa na kojem ima Johnov poslijednji pozdrav na komemoraciji Joeya

Evo još jedne zanimljivosti koju sve do neki dan nisam znao. Johnova pjesma "Failure 33 Objects" sa albuma "Shadows Collide With People" je glavna inspiracija metal rock grupe Van Halen. Naime, John je u jednom intervjuu izjavio kako jako poštuje rad svjetske poznate grupe Van Halen. Pjesma "Cathedral" sa albuma "Diver Down" je toliko slična, već spomenutnoj "Failure 33 Objects", stoga preporučujem da kupite album od Van Halena Diver Down ili barem da downloadate ovu pjesmu, jer je sličnost nevjerovatno visoka i jako je lijepo vidjet da John na svom albumu ima obradu tako stare pjesme.

John Frusciante opens a window to his soul on the intimate, acoustic Curtains

"There are an infinite number of great songs out there", says John Frusciante. "I don't think we'll ever exhaust the possibilities of a few simple guitar chords." That the Red Hot Chili Peppers guitarist truly believes this was made clear when he recently recorded a series of six solo discs, which he then released at a rate of approximately one per month. Embracing styles from indie rock to electronica to "unplugged", the recordings are a testament to the fertility of Frusciante's imagination and the breadth of his musical tastes.

Curtains (Record Collection), the final disc in the series, is an album of primarily acoustic guitar-driven songs characterized by their poignant melodicism, occasionally eccentric structure and lyrics that are both abstractly philosophical and emotionally resonant . While Frusciante has made extensive use of the acoustic on 2003's Shadows Collide With People and other solo albums , Curtains is his most fully realized unplugged work to date. The guitarist skillfully augments his crisp acoustic chording and expressive vocals with overdubs on synthesizers and electric guitar, and he benefits from his tastefully minimalist backing of stand-up bassist Ken Wild, Autolux drummer Carla Azar and The Mars Volta's Omar Rodriguez-Lopez on electric guitar. But mostly we hear Frusciante, who recorded Curtains in his living room, strumming and singing songs that express his unique notions about the nature of time, death, and dimensions beyond our own .

Like the other five albums in the series, Curtains was recorded quickly and on vintage analog gear - in this instance an Ampex eight-track tape machine. Frusciante says he was out to capture both the warm sound sound of the pre-digital era and the inspired spontaneity of recordings from the Fifties and Sixties, when artists would typically have just one day to record a song and a few weeks to complete an entire album. One upside of this approach is that it enabled Frusciante to commit a huge body of work to tape in a short period of time.

"I write a lot of songs," he says, "and they mean a great deal to me and represent my growth in a lot of ways. But as the guitar player in the Red Hot Chili Peppers, I don't have the time to record my own stuff as much as I'd like."

So when the Chili Peppers recently took a half-year break after touring behind their last album, 2002's By The Way, Frusciante made the most of the oppurtunity. "During those six months I recorded all the music that's been coming out," he says. "It's basically material from the last three years, but each album also contains new things - half of Curtains, for example, was written during that break."

Like Frusciante's electric guitar playing in the Chili Peppers, his songs are fresh, inventive and more than a tad off kilter. Frusciante recognizes this and regards it as a strength. "What I try to do," he says, "is make words say what they weren't naturally designed to say."

Guitar World Acoustic:
Do you write all your songs on acoustic guitar?

John Frusciante:
Pretty much, although sometimes I write on an unamplified electric guitar. I have a few old Martin's, two small-bodied O-15's and an O-18, at my house that date from the Forties. I usually write songs on one of those. And I always bring a couple of acoustic guitars on the road with me to write with.Writing songs on an unamplified electric has it's drawbacks. The guitar is so quiet that I sometimes sing in a high falsetto voice that doesn't really work when I do the final recording. So I've learned to write on the acoustic and actually sing in the style that I want to use on the final recording.

GWA:
There is a very intimate quality about Curtains, partly, no doubt, because you recorded the songs in your living room.

Frusciante:
Yeah. It was just me sitting on a pillow on my living room floor, with my back leaning against the couch. There was a Neumann KM54 microphone on my guitar and a Telefunken 250 mic for my vocals. I would just go back and forth between my living room and the library, which is now the control room, and listen to what I'd done. Sometimes (Engineer) Ryan Hewitt and I would splice together two different takes.

GWA:
Did you work with any kind of click track ?

Frusciante:
No. I have a very good sense of time, and it's not a problem for me to avoid speeding up or slowing down. When I do it's usually because I mean to. Even in the Chili Peppers, we use click tracks as little as possible. Sometimes (Producer) Rick (Rubin) suggests it, and we'll do it just to feel what it would be like to play exactly in time. But we never like the way it sounds when something's recorded with a click, and usually switch it off when we go for a take.
I'm not saying my tempo didn't fluctuate when I was recording Curtains. When the bass player and drummer did their overdubs, they had to memorize the spots where the tempo sped up or slowed down. But to me, that sounded good. That's the part of the music where the human being really exists. I don't like recordings that are perfect.

GWA:
Did you sing and play guitar simultaneously when you recorded the songs?

Frusciante:
I did on all but two of them: Hope and Time Tonight, where I recorded the acoustic guitar first and then overdubbed the lead vocals. The guitar parts in those songs are a little more intricate, and when I played without singing , my timing was much more in the pocket.

GWA:
Did you play your Martin acoustics on the album?

Frusciante:
Yeah . On Ascension I also played a 1940's Martin 12-string . I really love David Bowie's Hunky Dory album, and there's a few songs on there that have a 12-string in one speaker and a six-string in the other that basically play the same thing.

GWA:
A lot of the songs are in keys like Gsharp and Csharp. Did you detune the guitars or use a capo? Or did you just play barre chords in standard tuning?

Frusciante:
I'm never in any alternative tuning; it's always standard. I'm a fan of capos, but I didn't use one on this album. To me, every key has a different feeling to it. I try to not play in "normal" keys because I feel there might be some interesting ideas waiting to happen in keys others often avoid. We might be at that point in time to see what kinds of feelings are in the sharp keys.

GWA:
The intro to Control includes a Cm arpeggio. Did you fingerpick that?

Frusciante:
No, that's a plectrum. It just sounds like a fingerpicking pattern. And I'm playing it really softly. That's the thing about that song. When I originally wrote it, it was pretty much one volume all the way through. But when I did the recording, on the spur of the moment I came up with the idea of alternating from loud to soft to really fast. Every line starts out soft and then gets real loud at the end of the line . The song really seemed to come to life when I did that.

GWA:
The B7 to Em chord change you play in the chorus to The Past Recedes has a real Beatles-esque, Rubber Soul feel about it. Was that intentional ?

Frusciante:
I definately put a lot of time into studying the Beatles' music in the past few years. It might come out sometimes.

GWA:
Although you use real simple, open chord shapes in that song, there's a kind of magic to it. I guess that's what every songwriter aspires to - to create something new with a couple of G, C,and D chords.

Frusciante:
I know. I'm really excited about using familiar chords and progressions in ways that are so in tune with the current of life that it gives the song a deep emotional feeling. Or using familiar chords and progressions with rhythms that have never been applied to them before. All this is completely opposite from the way I played when I made By The Way with the Chili Peppers, where I tried to make the songs harmonically unique by using intersting chords. At the time, I was studying Charles Mingus and the Beatles - anything I could get my hands on that relied on abnormal chords. I learned a lot from that, and I still use unusual chords here and there, but I've regained an excitement for what you can do with just an Am, Dm, a D, and a C. Sometimes it takes just living your life a certain way to be able to open yourself to the rhythm of the cosmos, to the point where you can use those familiar chords in the same way you might speak a few simple words of love to someone. A few of the most basic words in the language might be the most meaningful thing someone can hear, and the same can be said with basic chords.

E da izjasnite se dali da promjenim font slova u komentarima. Hvala

I plowed "Old Betsy" (my car) about 400 miles thru the desert to see our lovely man. My car nearly overheated, and i even had to pull over for a while for it to cool down. Being the mega type A I am, this stressed me out to no end.
Got to the venue about 4.30 pm. There were about half dozen or so peeps already there. JF came out shortly thereafter ... shook some hands, signed some things (i now have all 6 JF / RHCP cd booklets signed). Also talked to Louis for a minute (told him g'day from aussies Lisa and Shell). They did end up releasing 50 tix before showtime.

JF came out at 9.40 pm wearing grey slacks, a pink and white striped shirt, argyle socks and black wingtips (wingtips don't have to be tutone, do they?). He had bedhead outside but wetted it done and combed it nicely for the show. He looked just like the pic in the Smile booklet, except with about a 4 - 5 day scruffy beard growth.
I won't get into all the songs, as i don't recall them all. He didn't play many off the first two albums, tho. Many new ones and covers - my faves of the night were Runaway, Neighborhood Threat and Modern Love. They were so RAW, not like the smoothed out originals. He also did R.E.M., Syd, Depeche Mode, Joy Division but i'm not familiar with those, so they didn't do as much for me. JF strummed so hard and broke a few strings, a few times right in the middle of a song, where he was getting heated up, which was a pisser. He really seemed wound up to play for us. He also joins my list of most intense live singers with Rollins and Robin Zander of Cheap Trick (don't laugh, it's a huge compliment from me).
It was just amazing to see him perform with such passion. It was a nice mix of his newfound health and happiness and his old borderline "insanity", for lack of a better word. There were a few moments where he hit notes vocally, that were amazing. He left the stage at midnight and was very friendly, humorous and entertaining thruout the show.

All the Pepper guys were there to support JF and they all seemed to have girlfriends with them. I'm not sure what JF's new squeeze looks like, so I can't comment on that. His "best friend" toni was there. She has Reddish / auburn hair and had a floppy hat.
Josh Klinghoffer was there and JF spoke extremely highly of him, onstage. Looks like Josh is his new musical partner in crime. Said they'd have an album out together in the next few months.
JF came out later and signed stuff but it was rushed, as Louis said they didn't have much time and had to get going. I did ask about his second song ever written on piano and what happened to it (when i got my painting signed (6-00), i told JF how much i loved Curtains and he said he had just written his second song ever on piano). JF said it'll be on his / Josh's new album but Josh'll play the piano part.
For anyone there, i was almost in the center and the second row of peeps off the stage in a blue UNC tarheels hat. The show was really amazing, passionate and soulful even tho i admittedly am a much bigger fan of his RHCP work. His '97 nuttstalk show I saw in Chicago is like the difference between night and day.

JF just glowed ... He wasn't just a star, more like a supernova. A few times in the middle of an intense performance, he couldn't help but crack a smile in mid song. Just seeing him being overwhelmed with happiness was worth the trip. I just can't say how elated i am to see him in such a good place.
While driving down sunset to the freeway after the show, I drove alongside Flea. He had the patchwork colored Mercedes like in the Funky Monks vid and, no, i didn't race him at stoplights. Moments have you.

Stavio sam direktne linkove svih recenzija do sada ispod slika na lijevo strani, nažalost otvara se u novom prozoru, ali nadam se da sad lakše pronalazite starije postove. E da, odmah maximiziarjte novi prozor kako ne biste izgubili post

John bi volio da fanovi znaju kako bi on htio više komunicirati sa njima, npr. o solo albumima, ali zbog protekle burne godine to jednostavno nije mogao, a niti je imao vremena. Također, John svakodnevno još uvijek po par sati vježba sviranje gitare. Uglavno to će i napraviti, ali kako kaže volio bio ponovno održati Questions & Answers sa svojim fanovima, kao i prvi put, a posebno bi bolio pričati sa ljudima o periodu u kojem je izdao 6 albuma u 6 mjeseci.
Danas je John bio u studiju i snimao je novi album sa RHCPom. Vrlo je entuastičao glede ovog projekta i jedva je dočekao početak snimanja u stilu "hearth & soul" (Takav je pristup imao i na svojih poslijednjih 6 albuma!).
Također ima u planu izdati remastered ili ti obradu free internet albuma From The Sounds Inside i također će SVE ne objavljene kopije "Smile From The Streets You Hold" albuma staviti na svoj sajt na prodaju!!! Evo i dotičnog citata:
[Q]Nedavno, sam ponovno slušao Smile From The Streets You Hold i stvarno sam uživao slušajući ga. To je jedan prekrasan album, i šteta bi bila da ga ljudi ne mogu kupiti.

Spuštene su zavjese na jedan od najvećih "malih" projekata u novijoj povijesti rocka: niz od šest albuma gitariste Red Hot Chili Peppersa, snimljenih i objavljenih u samo jednoj godini. Na kraju se, uprkos sumnjama u megalomansku prirodu projekta, pokazalo da Frusciante zaista posjeduje neviđenu lakoću stvaranja koja se, oslobođena tereta "ozbiljnog" snimanja i filigranske produkcije, potpuno razmahala.

Od svih izdanja jedino je Ataxia ostavila dojam nedovršenog demo snimka, a "Inside Of Emptiness" i zaključni "Curtains" kompaktnija su djela čak i od jedinog "službenog" solo-albuma s početka 2004., "Shadows Collide With People".

Frusciante je spustio zavjese s 11 pjesama u kojima glavnu riječ vode akustična gitara i njegov sada već potpuno izrađeni vokal. Posebno je fascinantno da se u tolikoj produktivnosti ne osjeća preveliko ponavljanje motiva - "Curtains" su najmirniji, najčišći dio serijala puno bliži folk klubovima New Yorka šezdesetih nego funk rock paljevini matičnog benda najvećeg radoholičara na sceni.

Naišao sam na link novog Johnovog site evo i adrese: Going Inside
Također nažalost dobri stari site Been Insane je ugašen, a i sa njim vjerovatno i poslijednji komadićak Johnove prošlosti. Ja sam osobno na tom sajtu proveo dosta vremena i nije mi sve jedno, ali barem je ostao forum koji je još uvijek u rasulu, ali ima odličnih slika. Link također malo poviše.

Još jedamput napominjem da odmah ispod kalendara imate linkove koji vode do podsekcija ovog bloga, također prikupljam slike bit će tu više od 100injak slika same ekskluzive! Zamolio bih vas, također, da glasate na novoj anketi, jer mi se neki žale da im font slova ne valja, pa nakon glasanja se izjasnite u komentaru koji bi font voljeli vidjeti.

Imam i jednu molbu: Zna li netko kako arhivirati stare postove tj da uvijek ne tražite stare postove kad kliknete na link da vas on usmjeri na taj dio stranice... Nadam se da ste skužili i PUNO HVALA svima na pomoći, nadam se.
Stay tuned for more.....

UPDATE 08.03
Stavio sam "John galerija" imate dosta slika bit će ih i još. Nisam imao živaca stavljati thumbnailse, jer bi to trajalo danima a i mislim da bi se sporo otvaralo... Dakle imate linkove sa kratkim opisima. Enjoy!

Danas 5. ožujka 2005 John slavi 35 rođendan! Puno zdravlja, sreće i dobre glazbe jer nitko to ne radi bolje od tebe!

Evo vam i jedna "nova" Johnova slika kao moj dar vama na ovaj veliki dan: Slikica

Također evo i jedna ekskluziva: RHCP počinje sa snimanjem novog albuma. Kažu, da s napisali 35 pjesama i da su jako zadovoljni tekstovima. Također Anthony je rekao da rade "really hard". Toliko!

malo sam se potrudio i dokučio si kako riješiti problem natrpanosti bloga... dakle novitet je šta sam makao covere Johnovih albuma ali njih i dalje možete naći pod ovim linkom. Također link pod imenom "Covers" će se nalaziti sa strane tj u boxu 3 na desnoj strani. Također do kraja tjedna maknit ću i slike sa ove "glavne stranice" i napravit ću pod rubriku sa sliakma koje ćete moći vidjeti po godinama u orginalnim veličinama. Tako da će na kraju na ovoj glavnoj stranici biti samo postovi, a pod linkovima sve ostalo

Također ako želite molio bih vas da se izjasnite, želite li čitati i o drugim grupama s kojim je John surađivao, dakle recenzije novosti itd o tim grupama na pameti su mi RHCP i The Mars Volta. Također bih vas zamolio da mi kažete dali vam se blog sada brže učitava.