Keith Richards’ solo, tracked in the summer of 1968, at Olympic Studios, in London, demonstrated that guitar playing didn’t need to be perfect to be perfect Revisiting a Rolling Stones classic also taught him a valuable lesson. Somehow, I had missed that album, and when I got it it made a huge impression on me.” “I got into that Television Marquee Moon album and I heard how powerful guitar soloing could be that didn’t depend on having a thick distorted kind of tone, that you could say a lot by playing really simply and almost in a feminine sort of way. “When we started writing it that I just relaxed,” he said. When it came time to work on Blood Sugar Sex Magik, he knew just what to do. But then the big epiphany arrived when he got Television’s Marquee Moon, and Tom Verlaine and Richard Lloyd’s soloing styles changed how he looked at the electric guitar. Another was connecting with Syd Barrett’s songwriting. One was having a conversation with his stepbrother that helped him see the world in a more positive light. It was only after the touring for Mother’s Milk had finished that Frusciante had the opportunity to think about what he wanted to do on the guitar, that he found an identity with the instrument. Just stick to the feeling of the band that I loved.” I just knew to put every ounce of energy, play every note like I mean it, play every note like it’s my last. I didn’t know who I was or what I had to say, what I could contribute to the band. “There was a fight or flight mode kind of thing. “I was so nervous I was just depending on my energy,” he said.
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When he joined the Red Hot Chili Peppers at the age of 18, Frusciante knew how to play but not what he wanted to play as a guitarist.
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