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Discussion in 'Music to Your Ears' started by Blazer, Nov 14, 2019.
Such an epic song. It has to be heard in its full version to fully appreciate what they did here.
This was my introduction to The Mars Volta, and it stuck.
My understanding is that Omar Rodriguez Lopez wrote the guitar parts, but they were performed on the recording by John Frusciante. Apparently Omar, who (I believe) also produced the album, wanted a more detached view of the whole thing, which he wouldn't have as an instrumentalist on the recording.
If I recall correctly, John played a similar role on the following one or two albums, as well.
That is indeed Frusciante on the first two solos.
What's interesting about what Frusciante did here is that it revisits his past as a Shredder, something he wanted to distance himself from as far as possible. I guess Omar told him to go to that place and just poor out the notes.
I think John may have been re-embracing that side of his playing at the time. Frances the Mute and Stadium Arcadium came out around the same time, and Stadium has some of the shreddiest playing of John's late-RHCP career.
Fruiscinantine plays the straight position box wank rock/blues at 3:30, could've been cut/pasted from a million rock tunes. Not a shred in there.
The next solo, however, is cool and definitely the mars volta guitar player or his idea at the least.
Nope Both solos are Frusciante, the third solo is Lopez.
The RHCP live in 1988 just after Frusciante joined, he is in full Shrdder mode with his Ibanez and Steve Vai approved Carvin full stack.
Frusciante says that Flea urged him to ditch the Floyd Rose guitars, telling him that Fender strats were more organic sounding anyway.
I just mean in terms of semantics if you actually transcribe the solos (which I did long ago) the first solo is nothing different than you'd find in any early Pearl Jam or whatever rock band times a million. Just a normal box wank which I would say is in a different category than "shred" stuff though some overlapping happens. Which, IMO, didn't fit the tune well. The second solo is a very different story and takes the tune somewhere, at least in my aesthetic perspective.
The first album sealed deal for me, but I was already a Sparta and ATDI fan.
Rick Beato should be slobbering over this one in a "what makes this great..." entry.