A valuable instrument with a rich rock music history stolen in a San Francisco burglary just under two weeks ago was recovered by the San Francisco police yesterday, as first reported by local NBC News and SF Gate today. The stolen vintage instrument, a 1966 Fender Telecaster guitar, was played in concerts by the Red Hot Chili Peppers between the years 1988 and 1992, and again between the years 1998 and 2009 when John Frusciante was a guitarist with the band (he initially joined in 1988 to replace then guitarist DeWayne "Blackbird" McKnight of Parliament-Funkadelic fame). Valued at $30K, plainclothes SFPD offices recovered the Fender, which was not in Frusciante's possession at the time of the August 16th robbery in SF's Bayview district.
Reportedly the former RHCP guitarist had passed along his valuable axe to an associate who was, in turn, to pass it along to the Rock and Roll Hall of Fame as a temporary loaner for an upcoming event. Above, in a video posted a short time ago today by YouTube member "Officer Manfredi," you can see the guitar being returned at the SFPD station. Below is a video of Frusciante playing the guitar at a Chili Peppers concert in Japan in 1990 when he joined Anthony Kiedis, Flea, and Chad Smith live at Club Citta, Kawasaki as part of the Mother's Milk tour. Among Frusciante's other prized guitars in his collection are a 1962 Fender Stratocaster, a 1955 Gretsch White Falcon, and a custom 1969 Gibson Les Paul.
John Frusciante on his Trickfinger project released on Acid Test
The latest chapter in the electronic evolution of former Red Hot Chili Peppers guitarist John Frusciante sees him utilizing the classic hardware that spawned the eternal acid template under the guise of Trickfinger. “After Below’s” marching beat and ethereal synths flow into “Before Above’s” layered, ascending attack. “Rainover” has a full-bodied 303 groove that becomes more infectious as the track progresses; “Sain’s” complex opening bassline and beats eventually give way to a similarly intoxicating bassline. “85h’s” 4/4 beat hits hard, making it the go-to banger on Trickfinger, while “4:30’s” fluttering synths make it the album’s most headphone-friendly track. “Phurip” ends the album on dancefloor-friendly lockstep three-note groove that you never really want to end. In contrast with his genre-hopping solo releases, Frusciante’s Trickfinger sticks hard to acid house, making it his most focused release yet. With Trickfinger, Frusciante has found his way to a satisfying post-RCHP solo career that speaks to his wide and ever-changing musical talents.
Read the interview at Resident Advisor here.
The year was 2003. I was a 22-year old musician living in Silverlake, playing in a band and chasing the dream. I was taking in heavy doses of Stevie Wonder and anything I could find from Salsa greats Willie Colon and Hector Lavoe. At that time, my whole musical world was Soul, Salsa and Hip Hop. The Roots' Things Fall Apart and Mos Def's Black on Both Sides were still in heavy rotation from my college Freshman days of 1999.
I vividly remember my friend Jesus Beas telling me about this new band I should check out. He said they were called The Mars Volta and some of the guys were in a band called At The Drive-In. I had never heard of either band, but I knew it was worth my time to take a listen. Jesus and I had been friends since 9th grade and he had always turned me on to bands I ended up loving (mostly underground politically charged rock groups like Aztlan Underground and Downset).
"Coachella Valley Music and Arts Festival - April 17-19th, 2009 or: How I Learned To Stop Worrying and Find 30 Reasons To Love a Weekend in the Desert."
- By Scott Butterworth
Day #11 - Artist #11 - N.A.S.A.:
Have you ever sat around with friends and posed the question, "If you could hypothetically pick any musical artists, from any time period or genre of music to create a band or musical collaboration, who would you choose?" Before my friends and I were old enough to drive and we were too broke to actually get out of the house and do something, we would gather in a friend's bedroom on a Saturday night listening to our favorite CDs and posing this timeless question to each other. I remember us being fifteen years old debating this topic vehemently, each of us thinking we were the ultimate authority on music. But the only "dream collaboration" input I can remember from the discussions of that age is being adamant about Dave Grohl on drums and Maynard James Keenan (Tool) on vocals.
Anyone have any other ideas? How about:
David Byrne (Talking Heads), Chuck D (Public Enemy) and Z-Trip
Tom Waits and Kool Keith
Rza (Wu-Tang Clan) and John Frusciante (Red Hot Chili Peppers)
Karen O (Yeah Yeah Yeahs) and Ol' Dirty Bastard (Wu-Tang Clan)
Ladies and gentlemen, N.A.S.A. has done it! They've made our dreams come true. These hypothetical collaborations are now an actuality. N.A.S.A., which stands for North America South America, the creation between producers Squeek E. Clean (Los Angeles) and DJ Zegon (Brazil), accomplished these collaborations on their five-year-in-the-making debut album The Spirit of Apollo, released February 17, 2009.