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RHCP Guitar World Magazine October 2011 Transcript – Part 2

Guitar World Magazine – October 2011 Transcript – Part 2

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Josh Klinghoffer - Guitar World Magazine - October 2011

Transcript - Continued…
Part 1 | Part 2 | Part 3

John and I had developed such an extensive musical language together that we both knew really well. With Josh, that wasn’t instantly there. What I needed to learn was to let go and let Josh do what Josh does. And as soon as I would let go and just let Josh be Josh, something really beautiful would happen and we’d have a great song or a great piece of music.”

As a player, Klinghoffer is a bit more minimal than Frusciante, and he provides Flea with plenty of space to soar on I’m With You. The disc contains some of the bassist’s best work ever. His heavily processed, envelope-filtered breakdown in the aforementioned “Goodbye Hooray” is positively Entwistle-esque in its technical mastery and thunderous majesty. The hyperkinetic yet supple and melodic lines he weaves through the last chorus of “Brendan’s Death Song” are low-frequency poetry.

“I feel lucky that I got to watch him do that song over and over again while writing and recording,” Klinghoffer says. “And take after take, what he played was different every time.
But always real free and just totally going for it. He’s very melodic and very rhythmic at the same time. That’s what he’s amazing at.”

Flea’s harmonic inventiveness was fuelled further by a study of chordal theory that he undertook for two semesters at USC during the downtime between Stadium Arcadium and the new album. “Flea’s really got his head around the theory of chords, and how chords work.” Anthony Kiedis says. “But inevitably he’ll sit down at the bass and say, ‘Josh, what’s the diminished note in this minor something or other?’ And without even taking a breath Josh will say what it is. It sounds like Josh has been to school for that, which he hasn’t. He just has that information at his fingertips, being a lover of chords.”

Klinghoffer is a deeply intuitive musician. He’s a bit cagey about his influences, saying only that he figured out any and every piece of music he could when he was young. “I barely considered myself a guitar player a lot of the time.” he says. “For a long time I was working on a lot of modular synthesizer gear that John Frusciante and I got into together. Before that I was playing piano a lot. But as far as where my chordal sensibility comes from, I have no idea. I’m just always trying to make some combination of notes that you’ve never heard before, something that makes your heart and your brain move at the same time.”

A mutual absorption in the piano and its harmonic possibilities was another thing that forged a bond between Flea and Klinghoffer during the making of I’m With You. “I’d never dipped my foot in the academic world of music before,” Flea says. “I’d always been going mostly on emotion and intuition. But because of having to do my homework, like analyzing Bach and stuff, I started to sit at the piano and I started to get into playing the piano and writing songs on piano. So I wrote a lot for the record on piano. And so did Josh. What’s cool is not so much that we have a lot of piano on the record, which we do, but also what happens when you take something written on piano and reinterpret it for bass, drums and guitar. Just the act of reinterpretation in itself really made the creative process a lot different.”

One other bonding experience that Klinghoffer and Flea shared, and which had a considerable impact on I’m With You, was a trip to Ethiopia. “It was awesome, but physically taxing,” Klinghoffer notes. “It was like a musical field trip, a musical tour around the country, from villages that each had their own dance style to a four-in-the-morning Christian church service, while Muslim prayers were being shouted through loudspeakers outside. It’s pretty amazing. There are three major religions there, all working in harmony.”

“I’d gone to Nigeria with the same group of people the year before,” Flea adds. “The vibe was so just so good. Every night we went out and saw this amazing music. We jammed with all these Ethiopian dudes. That was the thing, man, just playing with the Africans. Just digging the scene.”

The trip impacted several songs on the album, perhaps most notably the song “Ethiopia,” which features a conga-driven sax break played by the great jazzman Joshua Redman. Another track, “Did I Let You Know?,” boasts an A fro-jazzy groove and trumpet solo by Mike Bulger. Touches like these make I’m With You perhaps the most jazz-inflected album in the RHCP canon. “We love so many different kinds of music,” Flea says. “It would be silly to limit ourselves.”

With so much inspiration in the air, the songs began to coalesce quickly and plentifully at the Red Hot Chili Peppers’ North Hollywood rehearsal space. “We almost always start the day by jamming,” Anthony Kiedis says, “whether it’s to find song ideas or just loosen up the machinery. And most of the time, something striking pops up. I also felt like we had the benefit of a surplus of song ideas that Josh had that maybe hadn’t fit into any of his previous musical endeavours. He would come in with these songs that were incredibly beautiful and unique to him, and I felt like maybe they’d been stored in one of his archives for just such an occasion.”

“That’s absolutely right.” Klinghoffer confirms. “I’ve been writing and writing for years and years. I don’t always finish things; it takes too long to finish them sometimes. But there were many of those ideas that worked in this context, that Anthony worked on. There were almost too many.”

“The chalkboard filled up quickly,” Kiedis says. “We have a tradition of putting up this massive chalkboard and writing down songs that are at least partially solidified.”

The band did take one break from songwriting, on January 9, 2010, to play a MusicCares tribute to Neil Young in L.A. This debut gig for the new Chili Peppers lineup took place in front of a star-studded audience that included Elton John, Leon Russell and of course Neil Young himself. “We chose to do a song of Neil’s that didn’t necessarily come easy,” says Kiedis. “We did ‘A Man Needs a Maid,’ which is at the highest possible end of my register, on a good day. The original was
done with an orchestra, so it was a challenge to rearrange it for a rock hand.”

“All four of us were preoccupied with getting the song right, rather than focusing on anything else,” Klinghoffer adds. “Especially with Neil right there. None of us knew where
he was in the audience. But right after we were walking out, I saw him.”

“Elton gave us a little pep talk beforehand.” Kiedis recalls. “He very amusingly referred to Chad as ‘handsome.’ Not that Chad isn’t handsome, but Elton actually called him ‘handsome’ Like, ‘What’s up, handsome?’ It was exciting, but just a little deviation from our work in North Hollywood, where we were showing up every day with this real blue-collar work ethic, punching the clock and trying to create this record.”

Once songwriting was complete, the band did a few weeks of preproduction at Big Sur in Northern California. They worked at Red Barn, a recording studio that belongs to Beach Boys member Al Jardine. The experience was particularly inspirational for Klinghoffer. “We walked in and there’s the white piano that I have a photograph of Brian Wilson playing,” the guitarist says. “I have that photo up on my piano at home. So it was really cool to see Brian’s actual piano.”

With preproduction complete, the band adjourned to East West Studios in L.A., where they began tracking with their longtime producer, Rick Rubin. East West was formerly the legendary Ocean Way studio, which before that was the even more legendary United Western, site of many historic recordings by luminaries like Ray Charles, the Beach Boys, the Rolling Stones, Tom Petty, Bob Dylan, Radiohead and many others. These days, somewhat sadly, the studio is mainly used to record instrumental samples for sound libraries, but the Red Hot Chili Peppers rocked those hallowed halls with some good old-fashioned live tracking sessions.

“Our whole thing is that we track all live together in a room.” Flea says. “Which is becoming a lost art in rock music. It’s ridiculous. Everyone is piecing shit together, you know? But for us it’s all about the feel. The feel is everything.
We’d much rather have something that has some mistakes in it that we all played together and there’s a magic feel in it, as opposed to getting it all perfect.”

Klinghoffer relied on two guitars for tracking: a reissue 1957 Fender Custom Shop Telecaster that had originally belonged to John Frusciante and an early Fifties Fender Stratocaster borrowed from Chad Smith. “I never had a really good Strat,” Klinghoffer says, “so I borrowed Chad’s. It’s hard to play with the Chili Peppers and not rock a Strat. For tracking, I kept things simple with those two guitars. The Tele and the Strat are both very even-sounding guitars. In some cases I wasn’t sure what direction the overdubs would go in, or those guys would call out a song and we’d just go for it. I knew the Strat or Tele would sound good somewhere in the mix.”

For basic tracks, the Strat and Tele went through a 200-watt Marshall Major—the same kind of amp that John Frusciante used with the Chili Peppers-with one 4×12 Marshall cab. When it came time to do overdubs, however, Klinghoffer brought a much wider array of gear into play. He’s something of a compulsive guitar shopper and lover of funky old junk.

“I do a lot of looking on the internet,” he says. “A lot of eBay and stuff like that. I just love cheap guitars. I have a lot. I couldn’t even tell you how many. I like having guitars all over the house. I’m starting to buy ones that match the colors of my walls.”

An old Magnatone is one of Klinghoffer’s favorite thrift-shop specials. It accounts for the oddly muted rhythm guitar tone on the song “Take Me Home.” There’s a kind of pathos to the sound that contributes greatly to the overall emotion of the song. “T wrote that one part on that Magnatone,” Klinghoffer says. “And I said, ‘When it comes time to record that song, it’ll be on that guitar. And sure enough, it sounded great.”

But Josh Klinghoffer is a fan of more upscale vintage gear as well, such as his early Sixties Fender Jaguar. He also has a Fender 12 and Bass VI. Another key guitar used on the Red Hot Chili Peppers album was a Gibson Firebird of 1963 or 1964 vintage. “That was my big extravagant purchase,” Klinghoffer says. “A three-pickup Firebird. It’s a monster.”

For overdubs, his guitars were routed via a Radial Engineering switcher to seven different amps: his Marshall Major, 1959 Fender Deluxe. 1958 Fender Super Reverb, Fender Super Six, Gibson Falcon combo amp, Silvertone Twin Twelve and Ampeghead with Orange cabinets. The latter rig was brought in by one of the session engineers. “We would find tones by combining amplifiers and different mics in the room.” Klinghoffer says. “We would usually blend between three and five of the amps.”

Another gear preference that Klinghoffer has inherited from Frusciante is a fondness for the Ibanez WH-10 wah pedal. “It’s this cheap, Eighties plastic wah, and they often break,” he says. “They’ve become harder to find.” The guitarist also digs the Mid-Fi Electronics Clari(not) fuzz/pitch bender, which can be heard on the song “The Adventures of Rain Dance Maggie.” Josh Klinghoffer has also adopted John Frusciante’s predilection for treating guitar sounds through modular synth gear. But on this album, I didn’t do as much treating of the guitar as I thought I would,” he says. “We had a lot of material and were focused on getting the guitars down on that. And when we got to mixing, the guitars didn’t seem to need much in the way of treatments.”

One of the pleasures of listening to I’m With You is the great variety to be found in the guitar solos. Each has a distinctly different tone and vibe. “When something calls for a solo.” Klinghoffer says, “it’s important to approach it in different ways and hopefully do what the song calls for, rather than having just one thing that you do. Solos are pretty free in this band. John always did something different every time. That’s the best part of seeing them live. You stretch when a solo comes. It’s unlike me to write out a solo.”

For all the different colors and moods that Klinghoffer brings, I’m With You is still unmistakably a Red Hot Chili Peppers album. A lot of that is down to Flea and Anthony Kiedis, the band’s founding members. Each is a distinctive stylist and a key component in the Red Hot Chili Peppers’ sonic identity. Flea provides the band’s profoundly funky bottom end, and Kiedis goes over the top, as it were, with staccato, rap-inflected vocal phrasing, and a plaintive sense of melody. With these elements firmly in place, there’s a vast expanse of aural space for the band’s ever-changing cast of guitarists to roam, each leaving his mark. As long as Flea and Anthony Kiedis are there, it’s always going to be the Red Hot Chili Peppers.

“In that sense, I think the band existed long before we ever had a band,” Flea reflects, “Anthony and I started being friends when we were 15, and we were pretty much inseparable, running around on the streets together, getting into trouble and connecting in pretty important ways.”

A lot of water has gone under the bridge since then. The punk funk cutups who disrupted the Eighties have become elder statesmen of rock. In a way, I’m With You’s reflective mood of romantic melancholy seems an acknowledgment of that. Departed friends are remembered. And several songs are peopled by characters who have weathered the passage—and indeed, often the ravages—of time. But there’s a sense of renewal as well, reflecting the Red Hot Chili Peppers’ ability to reinvent and reinvigorate themselves, take on new blood and keep moving forward. In one of I’m With You’s most resolutely upbeat songs, “Happiness Loves Company,” Anthony Kiedis sings, “Young love keeps pumpin’ in the streets of L.A.” And so, indeed, do the Red Hot Chili Peppers.

“I think the energy of L.A. still makes it deeply into this record,” Anthony Kiedis says. “LA is too infinite to ever stop loving it. The more I change, the more I’m able to discover its different aspects. L.A. is the nucleus of Planet Earth. So much stuff is born in the smelly gasses of L.A. But I live on the outskirts of L.A. now, in another county, on the coast. So I guess I’m looking at it from a different angle now.”

PART 3: Transcript Guitar World Magazine October 2011 Red Hot Chili Peppers

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