![]() ![]() Slovak was drafted back in after the dismissal of Sherman, who’d clash frequently with Kiedis, thus reuniting three-quarters of the original line-up. It’s injected with playfulness (indeed, they acknowledge their clownish charm in ‘Baby Appeal’), but the whole thing is dulled by the production of Gang Of Four’s Andy Gill, whose conflicting “bubblegum pop” intentions and effects immediately sterilised and dated the material – when I first heard this album in 1991 its echoed snares were already archaic.įlea made his feelings known at the time, delivering Gill a pizza box with his leaving gift inside: a freshly laid turd. Signed in the wake of their notorious psychedelic-fed, half-naked, raucous LA club gigs, the band did however manage to introduce on their debut the impetuous elements that would come to define them – Flea’s bass puckers and pops in ‘Get Up And Jump’, while Kiedis rolls lascivious raps (getting almost tongue-tied in the autobiographical ‘Out In L.A.’) over serrated funk guitar licks. ![]() Replaced by Jack Sherman and Cliff Martinez respectively, the band’s intimacy was compromised, and the once sentient material was muddled in translation. Singer Anthony Kiedis and bassist Flea were thrown a curveball from the off co-founders and fellow Fairfax High School cohorts Hillel Slovak (guitars) and Jack Irons (drums) had jumped ship on the eve of recording in favour of their other band’s prospects. ![]()
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