John Frusciante of the Red Hot Chili Peppers Returns, Part 1 | Broken Record (Hosted by Rick Rubin)

foreign [Music] hey everyone today we're sharing one of Rick rubin's most intimate conversations ever on broken record with Red Hot Chili Peppers guitarist John Frusciante Rick last spoke to John back in April when the peppers were getting ready to release unlimited love their first record with rushante in 16 years if you haven't heard Rick's series of individual interviews with the band I highly recommend you go back and listen those conversations are a testament to the band's deep Soulful connection and their unique creative partnership that has proven time and again to soar as a result of rushante's songwriting and gorgeous guitar work and for Shantae rejoining the band again has reinvigorated the group on April 1st unlimited love debuted at number one in the U.S and 15 other countries in July the band announced the release of a second recruitment produced album that's out today Return of the dreamcan team on today's episode we'll hear John fuschante talk about the making of blood sugar Sex Magic and how his contributions on slower more melodic songs like under the bridge and breaking the girl helped expand the Chili Peppers Funk Punk sound John also talks candidly about the dark drug addicted years that followed the intense success of blood sugar and he explains how he was able to finally get sober and rejoin the Chili Peppers to record their classic commercial comeback album Californication this is broken record liner notes for the digital age I'm Justin Richmond here's Rick Rubin and John Frusciante and just a heads up this is part one of a two-part conversation so keep your eye on our feed for part two soon what's happening man hey Rick how you feeling good how are you good what's life on the road like these days it's been really good yeah really great like playing's been really fun and you know it's it's a different kind of Lifestyle just like everything is aimed towards being able to get up on stage and do that and it took me like about a month and a half pretty much the whole European tour every time I walked out into one of those stadiums to play I was shocked about the amount of people you know like like I thought we had played stadiums before in Europe and now I realize we hadn't yeah wow maybe we played some Festival we hadn't played anything that looked like that wow every night that amount of energy coming from the people and putting out what you feel like you have to put out it's just every day when I wake up I can't imagine going up on stage and in front of that many people and doing that but you just gradually build yourself towards it throughout the day and you know just real different state of mind but I enjoy it I enjoy practicing all the time that's the main thing I do is just practice and it's the energy of the audience like can you use the energy coming from the audience to channel that into what you're doing yeah it seems like that happens that's what I'm preparing myself to take place because what I play when I'm practicing is not nearly as intense ever no matter what I warm up with it's not nearly as intense as what I do when Once I'm up there it's just like I feel like it's something about the people and the hap the general feeling of happiness that brings that out of me and you can practice all you want but there's really no practice for doing that other than doing it you know because there's no way to simulate it so yeah I feel like I'm just warming up I'm looking forward to next year and stuff yeah you know so I think the last time we talked we were starting to talk about playing on albums and we got through mother's milk and then we got distracted and never kept going exactly so mother's milk it was not a great experience for you and was that I can't remember now was that your first time in a proper recording studio recording or no well the first time was when we did the song Taste the Pain and that went really well like did it in one take and everything you know went really smoothly yeah Michael beinorn was just hyped when we were making the record and he he was taking on a lot of pressure I think he had put a lot of pressure on himself that it's got to be the greatest album ever and all this stuff and and he definitely uh imposed that on me and me especially because uh I think he felt like I was young and you know he could really guide me and stuff like this and you know so the album felt Forest I've you know since doing interviews recently I I I've kind of reflected on that period especially once we got on tour because once we started touring with Chad after the record and come out and stuff it it really we really had a thing like I think even a couple of years later I didn't appreciate what that was yeah I was such a fan of the band before I was in the band that I thought of the magic of that band really highly with Hillel and Jack but I recently heard just I heard I listened to one song of us around that time of the mother's milk tour doing the what was usually our first song back then the first song they ever performed on stage out in LA and man I was like wow we were really good I was like I was because I always think I was bad at that time and I listened back to it and I was like wow we really had something that that that other band didn't have like we had this very intense energy like there was some kind of mellow in comparison about about the previous band like we really did play every note like it was going to be our last like there was this passion and intensity and and I don't know considering that it was basically funk music and that we were playing it that hard I I just don't feel like there's ever really been anything like it and I even though I had an ego about it at the time I don't think I really appreciated like how special it was and and I think when I really felt like I found myself I kind of mellowed out a bit you know and stopped pushing myself on the music so much and but there really was something we had then in 88 89 that was or I guess in particular 89 that was really like powerful I saw you guys at the Greek Theater at that time and it was mind-blowing right yeah that was the very last show of that tour so yeah yeah and I think part of it also has to do with Chad because if you think of What drummers in Funk bands sound like like if you think about James Brown's drummers right they're super groovy but they play almost like jazz like like very subdued groovy but not loud yeah and Chad's rocking like crazy which is not your typical Funk drumming right but he's got a he's got a good fun Groove ABS you know it's incredible it's a great combination yeah it's just like there's this heaviness to it but it's still got this funk thing but it's also got this extra speed to it and it was just all four of us it was just like it was a real explosion when we came out on stage and there was like I don't know somehow it took me like 33 years to realize to realize what that thing was we had because there's other things about that period of time like I can be critical about myself in the sense that I I wasn't improvising as much as I did after that like my solos weren't as like ever since then you know when I play a solo it's usually pretty unique to that night it's rare that I do the same thing in the same place twice you know and at that time I I feel like I I wasn't ready to to take that risk but that was part of the intensity it was so important to me that it was maximum intensity all the time when I did start improvising there was this feeling of like indifferent to the outcome yeah it feels much it feels much riskier to do yeah it is and and like and in 1989 I energetically like the energy was the main thing to me and like I couldn't afford to let that energy slip at all the way I felt you know so I'm I'm glad I went I'm glad I moved past that to being able to relax and allow mistakes to happen and allow allow myself to do a solo that's not great and knowing that like taking the same risk the next time some a great one might come you know yeah it also makes sense that because you were such a big fan of the original lineup of the band and knowing you're just a different person it's oh you know it's you always feel like how do I fit in you know how do I step up to this thing that I love so much it didn't it doesn't even really have to do with how good of a guitar player you are do you know what I mean it's like those guys do this thing that I love and now I get to do it but it's we you know it's just weird it's it's a weird thing no it's really strange and and Anthony and flee all my memories of seeing them prior to my being in the band including what I had videotapes I managed to get a hold of of early live shows of theirs and stuff that I used to watch when I was you know 15 16 17. and they and they still have it to this day they have this thing that happens on stage and in a way they're kind of like that in life too they somehow simultaneously appear to be trying very hard and at the same time they seem like they're kicking back and they really don't care about the impression they make on anybody and they're they're to be themselves like there's this balance in the the Persona of who they are on stage that somehow has has this combination of a careless kind of relaxed I don't give a [ __ ] thing and I'm trying really hard at the same time to be the Best Entertainer I can be up here it's a yeah it seems contradictory and so coming into it I think my first thought was that I was going to be as crazy as them on stage you know like and I think possibly the reason I didn't have that same balance is because I think I cared a lot for the reason that you're saying you know yeah I couldn't have that relaxed indifference that's this very cool sense that I used to get from them on stage for me if I was going to go up there and go crazy that's all it was was a guy going crazy there was no cool Kickback aspect to it you know that just wasn't me being trying to be wild and crazy like my it's not my personality and it wasn't the best way for me to serve the chem the overall chemistry of the group you know so having a relaxed mental attitude to the performance part to the playing part to everything was what turned out to be best for everybody I think but like I say there was something about the fact that I was just so all you know all out in that in that first couple of years that you know never got that back again again you know what I mean like no but that it's cool and it's cool that that's a period of time and that's like you wouldn't change your diary entries either you know it's like that's a moment in time and that was then and now you get to do this and it's great and it's you know it's different versions of good it's not like they're in competition with each other yeah I remember I went to see Radiohead two nights in a row at Radio City Musical and the first night it looked like Tom York didn't want to be there and he was just standing at the mic and playing and singing and stone-faced not moving perfectly still and it just felt like he was just waiting for the show to end and then the next night which was the last show of the tour he was the most animated I've ever seen him like it was the opposite person two nights in a row yeah and he was running all over and happy it was it was fascinating to see I've had that same thing a few times on this tour like I remember specifically DC to Boston was the same thing as as what you just described like there's certain nights where for some reason I can't put any physical energy into the show including just the normal sort of crouched down kind of lean leaning back kind of uh stance that that's pretty normal for flea and I to play in and Anthony stands the same way too it's just like I can't even do that I can just stand there perfectly straight up and with my legs straight and stand by Chad and just walk up to the mic when it's time to sing or press an effect and walk back to Chad after that and just like I can't look at the audience I can't feel anything probably the best that ever comes out of my playing on a night like that is is a kind of intensity that comes out of anger that I just focus into the playing and I can't really enjoy it but that's that's probably if I listen back I would imagine that would be the the redeeming part of the show is just some sort of focus that can come from being in a bad mood like that that can put into my lead playing in a certain way but if that happens do you always know it's like oh I had this argument earlier with someone and that's or is it just like a feeling you wake up that way and it's not related to anything specific that you could Point your finger at yeah if I analyze it I could have a theory but there's really like no we don't know there's really no way to know I I sense it when I'm walking towards the stage and when I'm on stage I realize it in that moment that I'm first on stage and I realize okay I'm in one of those moods and I'm not going to be able to get out of it you know yeah and the same thing happens to fleeb or of course you know but he has a different way of handling it like he might go extra physically crazy to work his way through it for me I don't I don't try to do that I just uh yeah just stand there and get through it and I'm sure musically the show's great like it's it's great either way maybe I've got definitely when I've had nights like that Anthony will give me back some report like so-and-so said that somebody who's seen us a lot of times so-and-so said it was the best show he's ever seen of us so you know it's so I'm I'm learning to just let it be that way when it's a nice night like that and don't beat myself up about it while I'm on stage or anything and in my Radiohead example I can't say one show is better than the other it was right I was gonna be interesting to see how different it could be yeah yeah that so yeah the night following the night that I'm thinking of in Boston like like it was the freest most loosest I could imagine feeling on stage like it was particularly like one of the best shows of the tour so some sometimes maybe those nights are just to remind myself to really be able to feel it completely because if you you know if you felt good every night you might never feel a particular High because there isn't a load of balance thank you for granted also yeah so there's something about that and it's like with meditation you know when you sit to meditate at the end of The Meditation there isn't a sense of sometimes we'll say to ourselves oh that was a good one or that wasn't a good one and neither of those are true it's like yeah it's the if you sat down to do it you did it and that's all that matters years and then sometimes the experience of it is euphoric and other times it feels like you don't go anywhere and that's what it's supposed to be that day to get to the next one it's just the path on the road you know yeah yeah it's a really hard concept for people to understand and for you to try to make yourself always remember is that like that there's not a good and bad meditation you know it's it's a hard thing to understand because when you your head is full of thoughts and you just feel like this is not going well yeah but yeah you really never know and I know it from history of other bands too I know like certain nights when somebody was you know supposedly like not in a good mood that night and they played really good it was just different than how they normally played you know so I don't know I'm trying not to be too judgmental about it but it's not as fun that's for sure yeah so the band was really rocking after mother's milk live and now it's time to make the next album and that's when we started working together and tell me from your perspective what was the experience like of making blood sugar Sex Magic well pretty much right around that time that we played at the Greek uh I guess we had us we took a couple of months off and during that couple of months I really was and and around that time I remember I I ran into you at canters when we weren't we didn't know who was going to produce the record and a lot of things were lining up for me as a musician and as a person right around that time and I just had I had some epiphanies in terms of taking the direction of my playing uh and my songwriting in a different in a different direction we were so close by that point as a as a band and his friends I didn't feel any more like I had to prove myself or to be a to be what I my idea of a chili pepper was or anything I I was confident that in my place in the band and I felt like I I wanted to try just being myself even though I've been gradually being more and more myself as a person and as musician as that tour went on but around that time I was having all these realizations just listening to music that was that was my favorite music at the time and and that was different from what the band was always listening to together because we were always we were always listening to like Curtis Mayfield The Meters signed the Family Stone uh ZZ Top the the Jesus Christ Superstar soundtrack like different different little things that we would listen to together that and even at home that was a lot of what I'd been listening to that fishbone you know like and so I just started now that tour was over and everything and I was living in this house living in the in the Hollywood Hills for the first time and and just having really strong feelings listening to things like The Velvet Underground and television and Peter Gabriel era Genesis and I was realizing that like that a lot of power can come from from not hitting the strings super hard all the time you know from from not filling up all the spaces with notes from leaving Big spaces and listening to that guitarist from Bow Wow and listening to how how spacious this playing was and how well it supported the bass I've been a fan of them forever but just hadn't specifically wanted to play like that and and so I was I was really starting to realize like how much music was starting to really produce these intense feelings inside me that that period only really lasted for a few years where I I really I had a kind of a synesthesia where I could oftentimes it was seen but it was something in between seeing and hearing in my brain that if I put on a record the feeling was produced if I put the needle back the same exact feeling was produced again and it was like watching a movie or something so certain records were bringing up those feelings really intensely or that bringing up that phenomena and so those were the things I focused on Captain beefheart was a real big one for me at the time that was producing I think more of those types of Sensations than anything else was so started writing things uh because I knew what Pauline Anthony's taste so well and I knew the the breadth of it and I knew their open-mindedness like I was still trying to make stuff that I thought they would like as I still do today of course but I was coming from an angle that they weren't going to expect you know and so like that Breaking the Girl song was one of the first things that I wrote before we ever started rehearsing and funky monks songs one that that I sort of collaborated with Anthony he he was playing the guitar part but it was it wasn't really the guitar part it was just one finger and he was hitting all the strings and he was and so I took that basic Rhythm and made a thing out of it and you know Power of Equality I think was the basic riff for that was something I came up with early and it was just like I was really starting to understand how to get power out of Simplicity and uh wasn't trying to compete with flee as far as being busy and stuff like that it was one of those things where I I finally had it through my head like fleas allowed to be busy somehow like he can be busy and not sound like he's showing off if I do it it sounds like I'm eating into everybody else's space you know appreciating stuff like Led Zeppelin where you notice Jimmy Page is playing he's he gives so much space to the drums he's often not playing he'll often hold a note and leave it to allow the snare drum to be the maximum size that it can be and so yeah it was putting all those things together in my head and having that having that synesthesia thing and and so when we started rehearsing just everything was falling into place like magic and yeah I had that that talk with you at canters and I became really psyched about the idea of you producing us and we all talked about it and that's what everybody wanted to do and the real exciting thing that we all noticed right off the bat was that you were the opposite of what Michael beinhorn had been you you you weren't putting any pressure on us you your skill of listening was apparent immediately you were you were there to listen and you had no thought to impose yourself on the music or the direction at all like you spoke when there was something you had to say and you were silent the rest of the time and it was really inspiring to us because that in a way that not pushing yourself on things that's exactly what I had come to right around that time when I ran into encounters was like wow like I don't need to force myself on the music I can I can let music happen without proposing to like attack it you know and me me playing that way made flee sound better and that inspired him and he started backing off and not playing quite as busy himself and we all just got really into listening to each other and supporting each other and so it was neat it was like that time I guess in 1990 we we really started to realize what we had as a band and what the chemistry was that was completely separate you know like where in 1989 maybe it was just a more energetic you know more powerful version of the same thing like this felt like something that was unique to us and not to say that Jack and Hillel didn't have a huge influence still on the basic parameters of the what we were doing but we had fallen into a thing where we were realizing who we were as a as a group and you being there just helped to solidify it and support it and every time you had an idea it felt like something that had to be said and that's what I was trying to do with my playing was like if you don't have anything to say just play one note and if you hear it that a second note needs to be added then play a second note you know and seemed to me that that's that's how you're contributions when everything you did made a huge difference to the overall thing and a lot of it was about creating space you know with a lot of a lot of your ideas had to do with with like we were all being more conscious of of the space that we were creating between each other's instruments and each other's notes and you emphasized that that same thing like telling me not to play for a whole verse or telling you know Chad to lay out for this part or for you to lay out for this part or for everybody do a complete silent pause right here you know like all those kind of ideas were mind-blowing for us at the time there were things we never would have thought of you know and and your whole drum machine what I perceived at the time your experience with drum machines because I don't know how had you worked with a lot of drummers at that point you had one mostly drum machines right yeah so it actually programmed everything yeah so it was really neat like you when when you were helping Chad with a kick drum pattern or whatever and like it really seemed like it was this drum machine mentality going into a real drummer and it was it was really inspiring and it felt really fresh and and new you know and um all that stuff was really inspiring in that period of time of writing that record I think of as being like the happiest time of being in the band you know in that first period that's great I can remember being at the alley one time exactly this story told I can't remember what song it was but I remember saying and I can't remember who I suggested it to is like okay not everybody has to play from the beginning of the song what's it like if flea lays out until the chorus or John lays out to the course let's try what's it like if we lay out till the second verse what does it do let's hear it yeah and just like thinking about it and I didn't have a idea of what would work or not it was just a way of thinking of how can we create more space yeah and how can we do things that allow this the material to develop without having to keep adding more things later you know like like if you take something away in the beginning then when the normal third instrument comes in yeah it feels like an event and we haven't had to add anything we did it by taking something away and exactly remember I remember having that conversation it felt like it was a big deal at the time because it whatever thing we were trying it on it worked it was like oh this is a new tool in the bag of tricks of things that can work you know really and and again I I think I'm I'm assuming that your experience producing hip-hop it was an influence on it because of shock the constant muting and unmuting that takes place when you're making that kind of music it was absolutely it was basically like you were muting the guitar for the first verse and saving it for the second verse you know yeah like we we were all conscious that that was where you were coming from and it was so neat to hear those ideas being applied to a rock band you know like and and yeah it just made us think in a way we just wouldn't never have occurred to us we write the verse that's what we play in the verse you know we think of ourselves as a unit we don't think of ourselves as like separate so it was it was really neat to hear how how space could uh you know move things along and I and I wound up needing to do less overdubs on that album as a result of exactly what you're saying like I've often looked back and go like how did I get away with doing so few overdubs and still the songs feel like they developed from beginning to end and yeah I think it's the arrangement absolutely yeah I remember we we were again I don't remember which songs were when but we had gotten to the point where it seemed like we were ready to make an album and then there was some record label stuff going on where we weren't allowed to go into the studio and ended up writing for probably close to another year so there was already an album's worth of material that had things been normal we probably would have recorded yeah and then instead we used that time to just write a bunch more songs and again I don't remember which ones came earlier which ones came late but I know a bunch of good ones came late too you know I think there were good ones on both sides yeah we we decided that there was no way we were going to be on Emi anymore because they were taking too much control away from the band like editing the record without consulting us the mix was done without consulting us we didn't we never approved any mixes putting things out without asking us whatever it is 12 inches or whatever just like I guess we we hadn't noticed because the Red Label just hadn't cared about the band in the first few albums so nobody had noticed that we didn't have artistic final say and so we really wanted to be with a label that trusted us and was going to allow us to be ourselves and allow us to have artistic final say and um and it turned out there were several who were willing to give us that and so it was hard for somebody to talk Emi out of letting into letting us go but Moe Austin made a deal with them and made a deal with us and that was the label that we felt comfortable with and we really liked him you know himself even when we had decided at one point not to go with Warner Brothers he made a point of calling each person in the band and and saying some really nice things and that was what did it we were just like okay this is a really warm sweet guy here yeah you know and he always was the whole my entire you know I got to work with him for I don't know 20 something years and never a bad moment never a bad moment yeah yeah he was great and so so yeah so we we took a couple of months off at one point I remember from from the rehearsing writing process flee did my own private Idaho yeah but I think even during that time maybe like Anthony might have and I might have written I Could Have Lied at that time which came from a very real experience a girl he really liked he didn't want to be with him and we drove around all day talking about it drove to the bank and it was a rainy day and we were just having a conversation about it and I'd been recording stuff on my four track and with a sort of finger picking Style on the acoustic guitar but oftentimes putting wild crazy guitar solos on top of them so we'd been having this conversation all day I I guess I thought it would be cool to do something like this four track stuff I'm doing which is the stuff that later came out on your label that's the music The Four Track music I'm talking about and uh I was like we should write a song about this thing that Anthony's going through but in the style of this stuff I've been recording on my four track and we did it that night we recorded I think we came up with a basic idea for the for the music and then and Anthony wrote some stuff and then I seem to remember him going to his house and writing some lyrics and then driving back and and recorded the vocal and we weren't even the demo was so good we were considering even if the if the recording of the band didn't come out good we would use that demo on the record yeah so yeah pretty yeah so I'm pretty sure that was around that was in that break and and then yeah whenever when when everything cleared and we were we were allowed to go in the studio I guess we probably rehearsed for another month or two or something and then and then moved into the Mansion which was another thing like to live in this house that was like again just a warm cozy feeling as opposed to a a sterile you know professional feeling we wouldn't have ever known that that was a possibility you know to us you had to go in a studio to record a song and you were just like no we could make one and and I I don't know why I thought that either because I'd never done it before I I don't really know why it was a strange I think the thought was they had made these this group of albums they I didn't get the feeling that there was ever a great recording experience for the chili peppers and they were all similar in that they all went into a corporate studio and recorded what can we do to make this one the first one that's not like that right and I would drive over Laurel Canyon all the time and I loved that house and then I just tracked down the owner and asked if there was any way that we could rent it and and it worked out we looked at other houses before that and it wouldn't it wouldn't have been as good that was a really special place yeah it really was yeah and we were so excited by stuff just like hearing all that natural room sound on the snare and stuff it's like it's it's when I hear it today it sounds really overblown but it was exciting you know it really was yeah like and and it felt it was perfect for that record and how we had arranged the tunes because even worse they were yeah exactly it filled up the space whenever the guitar wasn't playing or the bass wasn't playing the drums it almost sounded like you didn't need anything but drums to fill up the space everything else sounded like extra so yeah it was it was really magic and I remember when we did the uh the overdubs where everybody played percussion instruments I remember when we recorded up at midnight behind the house outside you remember yeah he did good stuff it was fun and I remember Anthony was singing upstairs in one of the bedrooms yeah yeah fleetwood's saying that that moment of recording the Robert Johnson song in the behind the house in the outside was uh it's like his favorite recording experience ever yeah it was some car drove on down Laurel Canyon you could hear it was filled with girls and they screamed like right before we started recording it it was like so cool it just felt like that was right as we had breast record and we were it was just like oh yeah that's the magic sound that's supposed to go right there you know when you brought in the songs that didn't sound like previous Chili Pepper songs what was the reaction from the band at first when you came to rehearsal with let's say Breaking the Girl music total openness total excitement like wow that to me it felt so easy to write something like that it felt like I could have been doing that all along I didn't know it that it was going to be okay you know because up until that point what the Chili Peppers were was a very specific thing it was hard Funk with rap vocals always yeah and on this album that that mold got broken to just be good music whatever the good music was yeah and I hadn't realized how much those limitations that we were working in as far as the the musical style I think I thought of that as just as intentional I didn't think of it as that they just weren't able to write something like Breaking the girl or something I thought specifically they didn't want to do that and the more I got to know them like on on the mother's milk tour Anthony and I we had a really nice drive in Germany at one time just like we'd never listened to David Bowie together and we listened to hunky dory we had a cassette of it that a nice woman from Emi gave to us and yeah just seeing him feel that music so intensely and so a lot along the way throughout the mother's milk tour I'm starting to put it together into my head that like they would really like it if I wrote stuff like this and in a lot of ways it was the most natural thing that I could do and I just but it was also that not just not just that there might have been an inability to write stuff like that before but like like I really loved the band within those limitations like I really like I that that funk Punk sometimes heavy metal but really good version of heavy metal thing that they had like as a fan I thought it was such a brilliant combination of things that I didn't want to mess with it myself for purely artistic reasons you know I didn't and also you never know something until you've tried it and I didn't know how good we would sound playing something like under the bridge or I Could Have Lied like like we were saying like even with I Could Have Lied we had doubt as to whether it would even sound good with Chad and flee playing on it you know I can remember when we were putting songs on the album deciding that what's the song that ended up on the conehead soundtrack shoulder squeeze yeah it's like well that couldn't be on the album because it was like too mellow and we already had a mellow so like you do you remember that yeah and you really did your best to to convince us to put it on there you were like I think it's one of the best songs and when we were writing this last batch of material that we wrote for these couple albums I listened to the whole album of I listened to each of the whole albums at some point during the making of it just to see where we were at and what we might be missing and when I listened to blood sugar particularly I would as you know as great as it is in everything I was just like we were insane for not putting Soul to Squeeze on that record like I remember clearly pleasing my thinking stuff of course I remember us both particularly being like yeah you know yeah as it is we've got three songs like this and that's that's already way more than enough or something like that I think it's just such a good song though it's such a good song yeah but you never know like you really never know and it's like if the Ramones would have made an album like hunky dory I don't know if we would have liked it do you know what I'm saying it's like yeah you don't sometimes when the formula is good or AC DC you know we there are bands that you want to sound like the way they sound so in some ways it was it was risky now in retrospect it worked out but it was risky the other thing that it did was there were already a handful of those albums so it did it wasn't like this was the band's second album of of their career yeah they had already mind those fields for some time yeah and it seemed like good timing to expand and we didn't expand like crazy it's still if you like the old band I don't think you would have not liked the new band it wasn't it wasn't like 180 degrees in the opposite direction it just was widening the the scope yeah there definitely were people who didn't like us like who turned on us at that point for sure when when blood sugar came out like for sure yeah there was definitely people that like the the fast punk punk thing and and uh felt that we were selling out or whatever you know I remember one interviewer came to the blood sugar house and he said so when are you guys playing Vegas and I said and and I said I said oh we're playing in Vegas in August or whatever like I thought he actually meant yeah yeah when are you playing in Las Vegas yeah yeah and and then and then I go oh okay I see what you meant funny yeah like like and I'm sure I said something really rude to him but but yeah like we got a little of that I even remember like some punk kids like protesting at one of our shows and flea walking out and talking to them and stuff and like but uh in the long run it definitely worked out you know it like something similar Happening by the way time as well like like we went so far in this other direction that wasn't what people expected and in the big picture I think we gained more fans than we lost but but there were people who felt like like the thing that they liked about the band we weren't doing that anymore you know but I think you know and I think artistically it's good to take those you know to take those risks and absolutely and and I think for us it worked out career-wise in the long run because I think people definitely think of us more as this band that makes these melodic you know pop tunes then they think of us as a funk punk band anymore you know yeah yeah and we're still able to compete with bands who do go for a complete heavy Onslaught type sound we we still have a very intense power like we never lost that you know which is I think why maybe even though sometimes we might have thrown some people off and initially they might not have liked the new direction or whatever like I think a lot of the time those people it grew on them you know I've never talked to you about this obviously I talked to Anthony about it because I was with him at the beginning when it happened but um for under the bridge I remember finding the lyrics in his book I've told the story before but I remember finding lyrics and I remember him saying that's not chili Pepper's song because it was still in those days that couldn't be a chili pepper song and I said well try sing it to the band see what happens and he was very resistant very resistant and then he ended up playing it for you or singing it to you and then you came up with the music and I remember he was still terrified for you and him to present it to the rest of the band because it seemed so far outside of anything that had come before it but I wanted to ask you about it what was your experience when he first because I wasn't there when he when he sang it to you what was that like my memory of it's a little different I remember you and Anthony coming to rehearsal and you really urging him to do it and him making a bunch of disclaimers and yeah you just really encouraging him to to sing it to us and he sang it to us and flee and I flee drove me home often in those days and and flea and I driving home and it made us really sad under the bridge hearing it just made us feel like boy Anthony's really bummed out like like it's heavy yeah like heavy words yeah we just felt really like bad for him and it was just this like sad kind of experience and and going back to my house and just thinking boy that song is a real bummer you know like not meaning in a that it's bad meaning emotionally yeah like I thought of it as a song about that he doesn't have any friends that's that was how I described it in my head but with your encouragement and with feeling having a feeling that that there was something there Anthony and I made a plan for for me to go to his house and I wasn't super looking forward to the thing like I I thought of it as a depressing yeah and as a friend not really knowing how to like how to be there for that part of him you know like like uh I I guess I felt maybe in some ways like he didn't feel like I was there for him as a friend or something but we got together to do it and I had I had some vague ideas in my head I thought there's these Jimi Hendrix songs there's a couple of them on access Boulder's love uh the song bold as love and it's it's got this kind of chord progression that's very similar chord progression to the chord progression of uh of under the bridge where it starts on a major chord but it goes to a minor chord in the course of the chord progression so it's basically happy but it's also got this slight sadness that it moves right through and I think I so even though I didn't know exactly what we were going to come up with like driving there I remember I specifically thought do something like bold as love like because we'd also been Pro we've been performing a cover of castles made of sand which is off that same Jimi Hendrix album and it worked live like our audience liked it you know that's my favorite Jimi Hendrix song right and so so yeah so we've been doing that all through the mother's milk tour and everybody loved it so so I knew we could sound good playing something like that and so I thought just write something like that and we figured out how to have the chords and the lyrics and the melody and I'll work together with that and there was a Joe Jackson song that I was particularly fond of called in every dream home and Nightmare where when it gets to the chorus there's nothing on the one there's the verse happens and then there's a little drum break and so the verse ends and then the drums go do [Music] so it's this interesting kind of GrooVe just where it where it where there's nothing on the one and there's a little drum break right before the chorus so when Anthony and I came up with it that that was I what I envisioned my head was we could do a chorus like that Joe Jackson song so what I came up with that have a similar kind of drum break after the verse is over this little breath and then and then in our case it went one two so like the chord was starting at a different time it's sooner in the bar line but it was the same basic idea I played I played Ryan or engineer the that song saying this is where I got the idea for under the bridge chorus in the song the chorus went by him and he was like I don't hear it of course yeah but but conceptually it was that it was that idea of start later than the one rather than on the one for the chorus that's a really interesting point in general how we can be inspired by a piece of music or a technique in a piece of music and then make something inspired by it and it's nothing like it yeah it's nothing like it it's just some underlying Rhythm or organization or principle that gets you to the next place but it's not the song at all it's just a technique yeah yeah we did we did a lot of that back then flea and I were were really on a roll with that what we perceived is ripping we called it ripping something off yeah but there isn't one example of that that I would just think that I would say comes anywhere near plagiarism you know it's it was no it's really inspiration and it's like oh we could do something like that and the the context is so different that it's has nothing to do with the original yeah and a lot of the time it might be in the guitar part or the bass part but then that gets covered up and interacted with by the drums and and the guitar or whatever and you wind up with a completely different texture and a completely different sound and a completely different musical statement where a lot of musicians I've known have been paranoid about uh stealing from anybody else and then for some reason those same musicians uh actually have bass lines or guitar parts that are exactly something direct directions and they didn't and they they didn't know they were doing it yeah you know so somehow I feel like by being conscious of it we were controlling it you know and it would be a theoretical idea that we were taking or an idea that has something to do with the relationship of the instruments or it and it's it's not actually taking music from somebody else yeah it's like architecture yeah yeah so then we finished that album I remember we had a really good party at that house it was really fun it felt like a thousand people were there do you remember that yeah that was a lot of fun that was really good yeah playing music everywhere in the house and stuff and people playing ping pong and yeah and then you went on the road and then how long was it before it stopped being fun well uh we had a pretty big break between especially because we weren't really involved in the mixing so as I remember it from the time I left the recording studio thing I think of it as being like a six month period or something that we weren't doing anything it was probably shorter than that but I seem to remember having a nice long break you know and during that time I there's a couple of things that happened to me that I think like switched my mental gears around like one was a bad Acid Trip like taking acid in the wrong environment and feeling at the time like I was never going to be the same and being stuck in that mindset and then waking up and feeling like okay I'm I'm normal now I'm not stuck like that but as the weeks went on starting to realize God I don't think I am the same anymore and also started I won't get into too much into the drug thing but they they did seem like pivotal things that took place uh that that started occasionally using heroin uh around the same time and gradually and you know I had already been smoking pot all day long but it was having a very positive effect you know up till then but uh especially when that happened with the acid trip it was just like I think my brain definitely needed like a clearing and I didn't allow myself for that I was so attached to uh the relationship between pot and my creativity that I couldn't stop doing that and gradually we went we went on tour and gradually that synesthesia that I was talking about yeah it was gradually getting weaker and weaker like there was a distinct feeling of it drifting away and it was fading I would guess it would be a good way to describe it and with the limited I experience I'd had in my life up till then uh it seemed like if I didn't have that I wasn't going to have creativity like I thought that they were the same thing and I thought if I didn't have that I'm going to go back to being how I was at Mother's Milk time or something or and the one time the one activity that I could do that still was producing that phenomenon was drawing and painting and I guess that had a lot to do with the fact that there was no purpose to it I wasn't doing it for an audience I wasn't doing it to be good I wasn't doing it to impress anybody I wasn't doing it to make money so somehow that part of my creativity gradually was the thing that I was clutching to more and more and music itself was starting to seem more and more meaningless and I was having a lot of strange experiences where like I couldn't find any CDs or records on the shelves that I wanted to hear everyone had some sort of bad connotation to me and those experiences were really scary and so where music had felt like it like it was my best friend it was starting to feel like music itself was turning on me or something it felt like the the voices in my head that had been guiding me towards what had been by far the most creative period of my life we're starting to seem like angry at me or opposed to me in some way we weren't we weren't we weren't working as a team anymore and I felt like as the tour went on uh I couldn't explain any of this stuff to anybody I don't think I even knew the word synesthesia I don't I just knew it felt like my creativity was disappearing yeah and the painting and the drawing and the drugs as well were with my sense if that if those feelings that I was having in me were what creativity was those seemed like the way it seemed like the way to hold on to it was to take drugs as much as I wanted and to paint and draw as much as possible and that was really you know you learn different ways of doing this kind of thing of staying connected to creativity in your life but at that time you know I was 22 years old it seemed to me that you just followed whatever those feelings that you have inside you are you just you stay connected to whatever gives you that feeling like the Janice Joplin lyric about you know you've got it if it makes you feel good that that's that's I thought that that was uh the path to follow so it didn't occur to me to do anything like stop smoking pot or stop taking drugs or you know meditate not you know these things just were not were not anything that me or anybody that I was close to was considering at the time yeah did you even meditate back then yeah I learned when I was 14. all right of course yeah but I remember I remember coming to see you when it was bad yeah at your old house and it was um you didn't have many teeth then if any and the walls had blood all over them there was a lot of vomit everywhere and I think you may have still had one guitar but maybe not even that yeah and I remember you being Resolute in what you were doing there was a sense of it wasn't like you were trapped and you wanted to get out it was just the opposite it's like no this is I am following my path and I'm following it to its end wherever it takes me and um you definitely owned it you know you owned your choices and were going was again like I respect you you know I I'm I wouldn't tell you to do anything different like if you say this is what I want to do it's like I understand I wouldn't want anyone telling me to do something different than what I want to do whatever it is whatever it is right or wrong or good or bad or wherever it goes like I support you in your journey and if this is the journey that feels like the one that you want to be on it's sad for me to see because it felt like you were going away yeah um you I think you weighed very little at that time too and were really weak but you were still you and you were still Smiley and like you you were it wouldn't be so different than the conversation we're having now you know right other than it just seemed more harrowing from an outsider coming in that this was a a scary situation yeah it's just so we have no context for this situation at any point in my life like I don't know what to do other than I love you I support you whatever it is I don't know what that is you know it's just scary yeah no I I it was a funny thing about me during that period in comparison to other people that I was friends with who went down a similar path with drugs was that they all felt guilty about it always like they all denied it took them a long time to even admit that they were an addict and took them a long time to uh and they would they would always be talking about how they were going to quit they were always talking about how this is the last time and I never did any of that like while I was doing it I was really happy doing it I was so happy to still be in touch with that spark of creativity inside myself and I really felt that it was drifting away while I was playing with the band and when I as long as I had to do publicity and you know and touring and all these things performing in front of people it just felt like it was there was no it seemed to me there was no direction for it to go but to but to Disappear Completely and I felt that in what I was doing I was keeping it alive and really the hard time for me was when I was when I attempted to stop like there was about a year there where I just didn't feel like myself anymore and the feelings went completely away like once once I stopped taking drugs there was nothing my my head was blank there was no there was no seeing music as colors or music as shapes or anything like that anymore it was just tell me the story of deciding to stop you told me a story when I first saw you after that I want to see if it is still what it was then or close to what it was then yeah the last time I saw you at your house when things were scary for me to see you were very positive on this journey that you were on right and it was an unflinching move wherever it was going to go yeah and then the next time I saw you was at LACMA at a bunuel movie festival and I didn't recognize you because you looked so radically different but you were great and healthy and I couldn't believe it I was so happy I was so happy to see you so happy to see you alive I was so happy to see you and you were your your again you're happy self so tell me about what happened in between for that to happen right okay getting specific I'm pretty sure that that time when I saw you at the benwell thing was during that first year that that I I had gotten over the addiction of heroin that I've never since then had to be medicated to get off heroin but but it was about a year where most of the time I was clean but I also was had certain points during it where I had a speed binge or a crack binge or something like I was I had this idea that I could do things I really always wanted to be able to do things occasionally you know and so that was my first attempt to to do that and and it was a it was a hard period because that thing when you didn't recognize me like a lot of a lot of people had that with me at the time like uh my body's ability my body had forgotten how to process food you know like like uh and I didn't know anything really I was I was trying to eat what I thought was health food but it wasn't really super helping and and I felt very uncomfortable in my body and so I I would that first year was really a struggle because I Not only was I trying to exist in the world knowing I don't have those things that I was describing as feelings and Vibes connected with music anymore at least it wasn't in the pronounced way than it was when I had synesthesia but boy did Joy Division mean everything to me back then did like Nirvana Bob Marley Joy divisions those three things in particular like I was so crazy about those particular things like I just they meant so much to me and I didn't have that specific colorful reaction to them that I was describing that you know from the blood sugar time but but I don't think music could ever meant so much to me because life seemed so bleak otherwise people didn't really enjoy being around me people felt sorry for me a lot the same sense of humor that used to be funny when I was like the young handsome cool guy now like the same the same jokes didn't work anymore like the same sense of humor wasn't working I'm convinced that I was that when I was 20 21 I could have been an actor at that time 27 I had the distinct feeling I could never be an actor again after this experience of realizing like how much of myself was on the surface that was the reason that my personality was what it was it was very traumatic and so that year was tough and it ended with a few months of me making sure I avoided heroin addiction but just doing whatever I wanted and going really off the deep end and having these crazy experiences where there was hallucinations but they were very real for me where like people were in my house that weren't there and I spent hours talking to them and stuff uh Marcel Duchamp flee and Clara like Perry Farrell all kinds of people were there and I thought they were there I would call them afterwards talking about what we had done yesterday why did you leave because they would just disappear after a matter of hours of hanging out with each other and then they would just disappear and I I would call them wondering what happened where did you go and it wasn't until I'd had that experience a bunch of times that I realized wow these things I'm hanging out with people really late at night and that was that was the way to know for me like if somebody's here and it's two in the morning they're not actually here so that was a that was a pretty mind-blowing period of time because I remember trying to make four track recordings at that time and finding that I was completely unable to follow a musical idea from to its completion but as far as experientially what was happening during that period of time as far as my experiences listening to music and uh having feelings and I don't know if it was communication with people's astrobodies or hallucinations I'm not sure what it was but it was very real and I remember getting uh there there was a very loud voice in my head that said you're going to be dead by your birthday this is in December and my birthday would have been four months later and and the voice said you're going to be dead by your birthday unless you get clean and so I was pondering this not sure because throughout that year that I tried to be clean the I wasn't it didn't seem like anybody wanted to be my friend it didn't seem like anybody wanted to really connect with me it didn't seem like I knew how to interact with people and so all of a sudden that voice came saying that I was gonna that I was gonna die in a few months and all of a sudden all these things started happening that forced me into a position of having to get clean uh I had several thousand dollars probably six seven thousand dollars in cash in my closet and that I would carry around with me and I went downtown to buy some drugs and I came back and the well no the first thing that happened was the landlord came to my house said he had to look inside my house and I I said I can't let you in because there was needles and blood and different things and it was a real mess even if it wasn't for the needles and blood it was just messy and disgusting and and I knew he wouldn't be happy and so he said well If You Don't Let Me In by tomorrow I'm gonna have to come here with the police and I already had a warrant out for my arrest because I'd gotten picked up downtown uh buying drugs but they let me go and I mean they let they let me out there was a court date coming in the future so that was the first thing I did was I got everything I needed out of that house and had had an acquaintance drive me to a hotel and then I had that six or seven thousand dollars and came back from buying drugs and and the money just was gone I had no idea where it could have gone my best bet was that somehow I lost it in the taxi but that was all the money I had and then Bob for the friend of mine put me on the phone with Bob Forrest and he said I can get you in a clinic to to get off drugs you can do it however you want you know uh I told him I'm not addicted to anything I don't need I don't need pills or anything and he said if you don't want to take them you don't have to take them like you need to go in there just to reset your mind and and uh I really had no choice I mean it would would have been between that and just being a bum on the street you know like moving into a tent or something and so I did it and and this for the first time I tried a few times to get off drugs but this time I had a I had a feeling for the people who were there I instead of arguing about the wisdom of being completely clean and admitting yourself an addict and that means you can't ever take anything instead of arguing with this stuff I really tried my best to help the other people who I was in there with and by some weird fluke like DH the original drummer I played in the band with wound up in the same uh Hospital with me at the same time and yeah so I I just felt this empathy for the people that I like I thought regardless of what happens with me like I wanna I don't want to mess up anybody else's experience here because they're all they've all been having a harmful effect on their loved ones and people around them and like I'm not going to say anything to to argue with their attempt to better themselves you know and so yeah so I went through that that 30 days and that was December of 1997 and 1998 turned out to be really productive year the first few months again were really boring I didn't feel good inside myself and I feel like especially nowadays with the internet and stuff people forget how valuable it can be to just be really bored you know absolutely how valuable it can be to to realize I'm not comfortable in my body you know uh to realize I have no ability to communicate with people you know uh to push yourself and to try to get better at at listening to people and talking with people and having fun with people all that stuff like to actually have to make an effort for it not to be able to just be some automatic thing you can do by saying something you think is witty that you don't actually see the the reaction to you know and yes I had several months that were really boring and then I think other people you know saw me as being at a really good place and before I knew it they asked me to be in the band again and we started writing Californication incredible how many years was it between leaving the band and coming back that time I think about four and a half years maybe five years and yeah like I didn't know what I was capable of anymore but it didn't matter I think something had turned around in my head where I realized that making music wasn't about making music so you could generate these intense feelings within yourself like I think I was almost looking at it before at the blood sugar time as if making music was a way of creating a sort of a painting in my head or something you know uh throughout those all those years the music that I really felt strongly about like those people I just mentioned and Jane's Addiction and the germs and David Bowie the things that really meant something to me for music it felt as if those people were giving me their friendship it felt it felt like like when I was alone they were my friends so I I think I had it in my head that I suspected and I wasn't sure that making music can be a way of helping other people a way of giving to other people not taking yourself from the music that your own experience might be very Bland but you might have something in your soul that you can by attempting to do something that you think is good that you can give to other people that can function much like a good doctor does where you're making people feel better and those are the kind of ideas that were swimming around in my head at the time and I had a lot of ideas I had never regretted quitting the band during that five years but towards the end of it I started having these visions of what we could have done back in those days if if I had stayed with the band what what new musical territories could we have covered you know what what what new ways could we have combined that melodic aspect with the funk aspect and things like this because I met blood sugar album it's it's kind of segregated it's like there's the Mellow melodic songs and there's there's the funky fun kind of songs and and there's a little bit of crossover here and there but mostly they're distinctly separate and so I started seeing how the the two things could have fused together in different ways and so when they asked me to be in the band immediately I started being excited about wow that maybe those that music I was hearing in my head that was you know that was something that I thought was just something that could have happened in the past and never can happen again maybe it can actually maybe I can actually do those things and and we did them and we were really excited about them so it and once that album was done and it did as well as it did and stuff and and it made people as happy as it did it just like it made me realize yeah it's true like it doesn't really matter if you have if you're blank in your head or if you have a ton of swirly you know colorful uh scenes going on in your head while you're making music that's not what it's about it's about really connecting with the people you're playing with supporting the people you're playing with you know writing music that you feel is somehow connected to the music that you really love that means something to you and to have that mindset of wanting to share something with with with the people that you're making music with and with the people in the world who might eventually hear it you know even as something as specific as going into the studio and playing a song together and getting a good take is a wildly exciting feeling yeah you know like when it comes together and you hear it really sound good I find it thrilling because a lot it doesn't always you know like sometimes you're playing it's like oh that's it's okay but when it really does something beyond the regular it's a very thrilling feeling being in the room and feeling it happen yeah and there's something about that thing that we were talking about earlier that I feel like you kind of infused on us where you your object going into it isn't to have a premonition that that's the feeling you're gonna get you go in with a kind of a humility and a kind of an innocence not knowing how it's supposed to sound not knowing what it's going to come back sounding like and yeah so when you go in with that mindset of just being ready for whatever to happen and then you realize you're really happy with what's coming out of the speakers it's true it's really thrilling it's a great feeling it's different than I want it to be this way and and like check I did it it's different than that it's when it when some when it feels like something bigger is happening than what we can control ourselves yeah and I see it happen I see it happen a lot in your band where something happens where the way everybody feels it and when everyone leans in the same way together something big happens right and it feels bigger than the individual Parts not to take anything away from the individual Parts yeah but the combo does something and it's very exciting yeah yeah we're all really conscious of giving to each other and supporting each other you know we see the space between the parts as being the fundamental thing I don't think anybody is over concerned with their own part you know like everybody's trying to find the right relationship between their part and the and the base part they're like for me my part in the bass part my part in the drum part my part in the vocal part like you're trying to find a relationship to the other things you're not trying to do your part as if your part exists in one bubble and their part exists in another bubble so it seems like that mindset is definitely contributes to the to the effect that you're talking about yeah that Californication record really like like when I listen to all our records it's my favorite one in terms of the the band's connection to each other and it seems like we were we were really all opening up this door that made us able to to do that that we hadn't seen was there and and like a lot of people think like that my plane was like less developed than or something that I got better as it went towards stadium and I get Arcadium and I can see how people think that but because maybe technically I got better but I really wanted to play in the way that I was playing then like stylistically I felt like having a tone that was like clean to the point of being like weak sounding I felt like it made Chad and flee sound really good you know and to play in a way that was simple and kind of feminine like not so much the Macho you know guitar God guy but to play in a way that that was again just as simple as possible and supportive of everything else I felt like it made them sound really good you know and I don't know it's something I try not to lose connection with because I really do love just going off on the guitar and playing in a wild way but but there's definitely something to be said for for the way I approached it on that record I was really inspired I went into it knowing okay I don't sound like Jimi Hendrix right now you know like I play guitar on and off for those four years but I didn't have the same kind of muscular ability that I did then so like my vibrato didn't sound like uh I couldn't do that Jimi Hendrix kind of vibrato but I practiced really hard and I got to the point where I think I could have done it but I was by the time we went in the studio but I was along the way I developed this style that I thought was better that was rooted more in stuff like Joy Division and Bow Wow and and the Cure and stuff like this where I felt the guitar playing is really television where the guitar playing is really powerful but it's not particularly muscular and I felt that I'd hit on something as far as a new way of rounding out the band's chemistry you know in that album you also started singing Harmony in a big way that that's where really Harmony came into the picture on that album as well exactly yeah and that was 100 you like like because uh I definitely was was not open to the idea initially uh like like you really had to talk me into it I can remember we were at the village and we were listening I was playing use of Simon and Garfunkel stuff just chill like look how cool it is when the harmony crosses over it's like it does some whole other there's some whole other level of sophistication to the music when you have this other harmonic thing going on that we didn't have at that time it's like maybe there's a place for it and it could have not worked but it worked you know could it who knows we can remember there were also many experiments we tried that it would failed you know it's like you never know but that was one time where like yeah there was a day when I listened to it and I came back and feeling like you know harmonies are lame you know like like and and but I continued listening to music at home every night when I went home and then I started realizing that there were harmonies in all kinds of music that I loved that I hadn't even noticed you would think I'm a singer I'm a musician like I listen for it I would have noticed but somehow we hear it as if it's in the lead vocal and we don't our ear doesn't consciously it's a backing vocal so it's doing its job it's it's not the focal of attention and your attention just stays with the lead vocal and you don't realize that there's this harmony part that's really giving it depth and the more music I listened to where I was listening for that because you'd been pushing me to do it I started realizing geez all my favorite records have these great harmonies on them you know so I started getting excited about it and at least enough to to try it and um I don't think it was till the record was done and gee pachotto from fugazi told me that specifically he loved the harmonies on the record that was when I realized like oh whoa okay cool then you know yeah yeah it seemed just passable when I was doing it it didn't I wasn't I wasn't 100 convinced you know it was really good I remember it was originally and it just felt like again like another door was open you know just of what another thing that could possibly happen yeah it's true I can't imagine all our records since then we hadn't done that yeah I feel like maybe we should stop now and then we're gonna do this again because I feel like it's gonna take us a couple of hours to talk about each album I think based on how long we've been going right okay you mean like sometime soon you mean like a year from now whatever whatever you want we'll do we'll do a part three whenever you want but I feel like there's enough for us to talk about where to go in depth where we need we just need a lot of time okay great but this was a great like it's a great next chapter from where we were right okay so let's let's plan on doing that okay cool cool that sounds good I love talking to you and I love that I feel like again I know you forever and I feel like I learned every time we talk about stuff blows my mind ah thanks man it's real you know you're the best person to do an interview with it's really Pleasant talking to you cool man thanks John for Shante be sure to keep an eye out for the second half of this conversation with Rick Rubin coming soon you can hear all of our favorite Red Hot Chili Pepper songs on my playlist at brokenrecordpodcast.com you can follow us on Twitter at broken record broken record is producing help from Leah Rose Jason Gambrell event holiday Eric Sandler and Jennifer Sanchez with engineering help from Nick Chaffey our executive producer is Mia Lobel and if you like the show please remember to share Rank and review us on your podcast app or theme musics by Kenny beats I'm Justin Richmond

Channel: Broken Record Podcast

Views: 290,537

Keywords: Broken Record, Podcast, Interview, Music, Rick Rubin, Malcolm Gladwell, John Frusciante, Red Hot Chili Peppers, John Frusciante Rick Rubin, RHCP, Red Hot Chili Peppers Unlimited Love, Red Hot Chili Peppers Rick Rubin, John Frusciante Interview, Blood Sugar Sex Magik, Rick Rubin Interview, Rick Rubin RHCP, Anthony Kiedis, Music Podcast, Rock Music, new music, red hot chili peppers new album, red hot chili peppers new song, rhcp new song, rhcp new album, RHCP Californication

Id: hXFlTdM3UDc

Length: 79min 21sec (4761 seconds)

Published: Fri Oct 14 2022