John Frusciante -Shadows Collide With People

Almost everyone with access to music has heard of the Red Hot Chili Peppers, or at least heard one of their songs.  But what most people don’t know is the genius behind much of their success has also released some of the most beautiful music that you haven’t heard.  In addition to being an integral part of five of the Peppers most successful albums, he has released over a dozen solo albums during the past twenty years.  Be warned, not all of those releases are accessible to everyone.  His musical drive sometimes takes his music to places not every ear can venture, but with 2004’s Shadows Collide With People, Frusciante may have produced one of the greatest alternative albums not to achieve a mainstream audience.  He, along with his eventual replacement in the Peppers, Josh Klinghoffer, and Peppers drummer Chad Smith recorded an emotionally charged album that leaves the listener both exhausted and wanting more at the end.  “Carvel” opens things with a distorted intro that gives way to powerful rock song driven by the opening line “when I try to force it out never looking in only out.”  John let’s the listener know nothing on the album will be forced.  Around the four minute mark, another tempo change gives you a taste of the musical diversity of what is to come.  Frusciante and Klinghoffer alternate vocals perfectly with one leading, the other echoing throughout “Ommision.”  If you listen carefully, you can hear the backing vocals of the Peppers past and present on display in this song.  Frusciante’s voice conveys emotion on “Regret,” but it is his guitar playing that makes you believe he really does regret his past.  “Ricky” continues the emotional venting highlighted by beautiful acoustic arrangements.  Even at the lyrics darkest, there is an overwhelming sense of hope found by songs’ end.  Then the beat is cranked back up on “Second Walk.”  For those familiar with John’s struggles early in his career, this song really feels like his rebirth and just how much he has come to grips with all he has been through.  In fact, the whole album can be seen in that light, making it an even more powerful arcing release.  “Every Person” is driven by synthesizers rather than guitar, putting John’s voice in a different atmosphere, both haunting and honest.  “-00 Ghost 27” is one of three instrumentals along with “Failure 33 Object” and “23 Go In To End” with each having their own vibe sprinkled through out Shadows.  None of them feel like filler, just pieces that help transition the flow of the albums entirety.  “Wednesday’s Song” has touches of folk-esque guitars entangled with piano, while “This Cold” is driven by the bass with hints of early British Invasion influences.  Perhaps the albums highlight, “Song To Sing When I’m Lonely,” continues the British Invasion influences mixing harmonies, acoustic guitars wrapped in electric guitar solos, all the while the drums are keeping time.  “Time Goes Back” keeps that influence going while providing some of the strongest lyrics.  “I saw the days I lost hiding behind tomorrow’s cost,” are words of someone who understands what addiction can take way.  “In Relief” resembles the first few tracks with what seems like an instrumental opening turning into something else completely when the lyrics start.  “Water” also follows this theme, both showcasing more of Frusciante’s musical influences.  As the tempo starts to increase toward the end of “Water” and the guitar solo starts to pick up.  At this point you are hoping for John to really let loose and that is exactly what “Cut-Out” does.  An acoustic opening builds to heaviest song found on Shadows.  Once again, his voice conveys the emotion and the guitar playing makes you a believer.  Then most of the musical effects are stripped back down on “Chances,” with a very strong Beatles flavor.  The album wraps with “The Slaughter” featuring Flea on bass, essentially making this a Chili Pepper song without Anthony Kiedis singing.  Yet it sounds nothing like a Pepper song, and that shows just how talented Frusciante’s song writing is.  A perfect mellow ending to the album with so much cathartic release, finishing with a beautiful acoustic solo.  John Frusciante is no doubt a guitar god,with the way he can make an inanimate object emote so much feeling.  But what you might not know is his musical genius extends well beyond his work with the Chili Peppers.  Even if you are just a casual Pepper fan, this an album that you need to check out.  You may find yourself on the doorsteps of a whole new musical experience.

Prince -Purple Rain

For Valentine’s Day weekend, I thought my musical musing should be a bit of musical perfection for all the lovers out there.  When you want romance, you play Marvin Gaye.  But when you want to get down and nasty, you put on Purple Rain. It’s as simple as that.  Forget hearts, diamonds, and chocolate, all nine tracks, in order, without skipping, is the best aphrodisiac going today.  His Royal Purpleness starts off the party that you hope never ends with “Let’s Go Crazy.”  Arguably, the greatest living guitarist gives you a taste of his funky talents while the lyrics are an invitation to carpe diem!  “Take Me With U” has Prince duet with Apollonia, their voices complementing each other in perfect harmony.  On this song, the guitar takes a background role while the synths move the rhythm along.  Along with “The Beautiful Ones,” both tracks slow down the mood with all kind of romantic grooves.  As “The Beautiful Ones” begins to fade out with Prince screaming “I want you” over and over again, he is setting the tone for all kinds of sexy with the following tracks.  “Computer Blue” brings the party back to life with guitars and synths sharing the spot light.  Very few lyrics, the song almost puts you into a trance just before being hit in the face with the song that was single handedly responsible for explicit lyric stickers being placed on music releases-“Darling Nikki.”  Basically the funkiest song about self gratification you are ever going to find anywhere.  Starting off slow and seductive, soon the music starts to grind building to an abrupt end, fading out to some words played back words with the sound of rain falling.  If that doesn’t get the rocks off, “When Doves Cry” fills the airwaves minus a bass line that forces the listener to fill the empty void with their own sounds.  Tragic, beautiful, and seductive all rolled into one song. The beat sets the tone; it is your job to make your body follow it.  The following two songs pull the reigns in a bit.  Both still keep things rocking but “I Would Die 4 U” and “Baby I’m A Star” give you a chance to catch your breath before the eight minute ending opus “Purple Rain” brings you to orgasm and tears.  Once again the music almost puts you into a trance-like state of euphoria while the lyrics are seeking some kind of forgiveness. But there is no forgiveness for the erotically charged guitar solo near the end. This is what the album was made for; take the listener on a series of emotion rides that they never forget, but want to experience over and over again.  This Valentine’s Day take someone to bathe in the purple rain with!

Jane’s Addiction -Nothing’s Shocking

There are certain moments that people remember exactly where they were and what they were during for their entire life. Nothing’s Shocking is one of those moments for me. I remember looking through a friend of mine’s older brother’s CD collection years ago. I stumbled across this crazy cover of Siamese twins with their heads on fire. Thirteen year old me couldn’t resist, I had to hear the band that came up with that cover! From the intro-esque “Up The Beach” down to the last howling note from singer Perry Farrell on “Pigs In Zen,” this album made me want to burn every hair metal cassette I had. My musical world had just changed. In fact, many claim alt-rock and grunge killed hair metal in the nineties, but the first warning shots can be heard on this 1988 classic. After “Up The Beach” introduces you to the backbone of Eric Avery and Stephen Perkins, “Ocean Size” gives the listener a taste of Dave Navarro’s guitar genius and Perry Farrell’s twisted vocals. Heavy riffs and deep Zen-like lyrics, you know this isn’t your average album. “Had A Dad” is just as hard hitting with its deity questioning verbose. As good as the first two tracks are, they can’t prepare you for the total mind fuck that is “Ted, Just Admit It…”.  A dark sex is violent descent into the mind of serial killer Ted Bundy, which was also sampled in the Natural Born Killers film.  This song has all the pieces of perfection. From its slow intro all the way to the pulsating “sex is violent” outtro, it is easily my favorite track. Seven minutes later, you find yourself blissfully “Standing In The Shower…Thinking” happily trying to wash off the filth from the previous track.  Next up the mellow love letter to summer, “Summertime Rolls.” Beautifully melodic, it sounds nothing like anything else on the album, yet you know it fits right in all the same. Then “Mountain Song” comes crashing back into your speakers with the fury of a punch in the teeth, one of the highlights during a live show. “Idiots Rule” takes you down a jazzy riot with horns adding to the musical landscape. Before you know it you are off to the kettle drums of their most famous song, “Jane Says.” Ironically, it wasn’t a big hit until years later, showing just how far ahead of the curve Jane’s was. Follow that up with a short humorous club closer, “Thank You Boys” and you are down to the final track. “Pigs In Zen” is a wild four plus minute ride where all four members get to shine. Farrell’s lyrics are always a little out there while being thought provoking and Navarro is now consider to be a guitar god, this album shows exactly why. There will simply never be another album like Nothing’s Shocking.

Faith No More -Angel Dust

Despite the fact that I was unable to procure tickets to their new tour after selling out in less than three minutes, I still can’t stop enjoying arguably their most complete release. After The Real Thing put them on the map, 1992’s Angel Dust set the standard for what every other “alternative” band would use as a template for the next twenty plus years. This would be the first and only release where the original four members worked with vocalist Mike Patton as equal collaborators, since Jim Martin would leave the band before recording the next album.  If I were to put together a list of albums you need to hear before you die (a blog for another day), Angel Dust would most certainly be on it. The record label wanted The Real Thing Vol 2 but what they got was a misunderstood masterpiece years ahead of its time. “Land of Sunshine” kicks things off as an info-mercial for the mentally unstable. Following up the opener is “Caffeine”, rumored to be the result of Patton writing while intentionally sleep depriving himself. One of the heaviest tracks,this song needs to be played loud to get the full effect of the deranged lyrics. The lead single “Midlife Crisis” wasn’t well received by radio, but today you can hear hundreds of rip-offs playing on the radio now. Next up FNM does one of the things it does best, totally fuck with the listener. After the opening three songs have you worked up into a frenzy they throw in a redneck song that is almost waltz worthy about an abusive, neglective father in “RV.” Using a bit of Henry Rollins-esque spoken lyric, you don’t know if you should laugh at the lyrics or feel bad about the truth of them. The musical parade continues with “Smaller and Smaller,” utilizing lots of tempo changes, Native American chants, and screams behind a backdrop of keyboardist Roddy Bottom. Then we get “Everything’s Ruined” with a “Falling To Pieces” vibe that probably should have released as a single. With catchy lyrics and a dance-able groove, you almost forget you are in the midst of a rock album. The mood changes quickly with “Malpractice,” possibly the hardest track on the album about the perspective of a fetus being aborted. In the middle of the dark decent, they sample a beautiful symphony piece by Kronos Quartet, then they bring you right back down with a haunting finish. The next song, “Kindergarten,” has a longing for nostalgic youth, but when juxtaposed with “Malpractice,” it takes on a much deeper feel. Two songs about missed opportunities, but from much farther places. Then the mood gets lightened by a happy song about giving head, “Be Aggressive.” With a cheerleader chorus, this song is so wrong that it is right. After that song has ejaculated, we get a different moral boost. “A Small Victory” is a more grounded piece about perseverance highlight Martin’s guitar work. The next two track feel joined at the hip with “Crack Hitler” and “Jizzlobber”. Dark, intense, and heavy, both paint pictures of addiction. Not drug addition, though. Mostly fame and self abuse, especially “Jizzlobber.” “I hide the dirty minutes under my dirty mattress and now they are making me itch” Patton screams mercilessly. Every sceam-o vocalist was born during the first listening of this song. So how do you end this eclectic masterpiece? With an extending instrumental cover of “Midnight Cowboy,” of course. Later versions of the album would be released with the cover of the Commodores hit “Easy.” Famously the band would perform “Easy” following one of their heavier songs just to throw the audience off balance. The cover is performed beautifully, while tongue planted firmly in cheek!  If you are a person that enjoys any artist labeled alternative, you owe it to yourself to give Angel Dust a listen. Chances are, you are going to find something familiar. After all this is the album by the band that forced the media to create the term alternative. Now if only I can hide the dirty minutes that I wait in anticipation of their new release later this year.