Red Hot Chili Peppers

Muzikos žurnalas „Mean Street“ parašė straipsnį apie RED HOT CHILI PEPPERS. Pateiksiu jums trumpą vertimą, o platesnėje žinutės versijoje, bus ir originalus angliškas tekstas.

Visa tai jau buvo rašyta 1991 metų gruodį Mean Street žurnalisto Aidin Vaziri. Keista ir priverčia net šyptelti, kaip visa tai kas buvo rašyta prieš 13 metų vis dar tiesa. „Red Hot Chili Peppers atvyko tiesiai ant scenos su savo debiutiniu albumu 1983 metais. Poilsis, kaip jie sakė, buvo vistik laimingas etapas funk roko istorijai. Visa buvo naudinga: tiek skausmas (įžymių žmonių mirtys) tiek visų grupės narių susitikimas, tiek trumpas išsiskyrimas su savo įrašų kompanija EMI, tiek narkotikų liūnas, į kurį visi buvo įtraukti“

Nutiko begalės dalykų po to... Niekam nebuvo įdomūs nereikšmingi grupės tekstai ir dainos... Iki.. Iki tol kol Anthony Kiedis parašė baladę apie jo kovą su heroinu pavadintą „Under The Bridge“ ir tada jie tapo Amerikos keistuoliai....

Originalus tekstas:

Red Hot Chili Peppers — Social Distortion
By Mean Street Staff

RED HOT CHILI PEPPERS

The following was written in the December 1991 issue of Mean Street by Aidin Vaziri; it’s funny how it still holds true today. “The Red Hot Chili Peppers arrived on our scene with a self-titled debut album way back in 1983. The rest, as they say, has been a blissful era of funk rock history, with a few thorns around the edges like untimely deaths and departures by former band members, a bitter split with their original record company EMI, and extensive drug rehab for all those involved.”

The Red Hot Chili Peppers never really seemed too concerned with the mainstream until right around the time that story came out. They were a gnarly white-boy funk-with-a-dash-of-punk band in the ‘80s with the baddest bass player around and a knack for writing gloriously whacked and winking songs about their love for coyotes, pussy, Hollywood and more pussy. That they enjoyed playing with nothing more than socks on their cocks seemed to ensure these merry funksters would find no mainstream success in Reagan’s America.

Then singer Anthony Kiedis wrote a touching little ballad about his battle with heroin called “Under The Bridge” and they became America’s freaks. In the twelve years since the Rick Rubin-produced breakthrough Blood, Sugar, Sex, Magik came out, the Peppers have gone from fighting for airplay to being played on adult-oriented Star 98.7 FM. Guess adding vocal harmonies and keyboards will do that for ya.

After running through a succession of guitarists in the mid-‘90s (including a stint with Dave Navarro of Jane’s Addiction), the Chili Peppers reunited with longtime twanger John Frusciante in 1999 for the release of the highly-successful Californication album. The band’s clean up, as Kiedis told us in 2002, became more than just a plan for longevity — it also served as a plan for inspiration.

“I can honestly say that being clean has been the biggest boost to my creativity,” he noted. “There is a high in being clean.” (MICHAEL COYLE)


*****

SOCIAL DISTORTION


When Mike Ness formed Social Distortion in 1979, New Wave and disco topped the charts. Only a handful of punk bands existed in conservative Orange County and they definitely paid some dues. “That was a time when society was not ready for this music,” Ness would later recall. “Punk rock was dangerous … if you walked down the street with blue hair, you were gonna get into a fight with either some angry construction workers, the local college football team, rednecks or cops.” Social D released its first single in 1981 and classic debut album (the abrasive, anti-establishment Mommy’s Little Monster) two years later.

“Iggy Pop, Dead Boys, the Ramones, Sex Pistols, Clash — those were our primary roots,” Ness said in our Sept. 1996 cover story interview. Yet Ness’ drug and legal problems derailed the band until 1988’s roots rock-oriented Prison Bound. KROQ jumped aboard and the group finally had a regional hit. Epic Records quickly signed ‘em. Blues, rockabilly and country influences were incorporated into the potent sonic mix of Social Distortion and Somewhere Between Heaven & Hell. Those albums spawned several alt-rock radio and MTV faves (“Ball & Chain,” “Story of My Life,” “Bad Luck”). Punk rock became mainstream in the mid-’90s and Rancid, Pennywise, Green Day and the Offspring would all cite Social D’s hard living tales as an early influence. Newer pop/punk outfits (New Found Glory, Good Charlotte, Sum 41) continue to sing the praises of Ness & Co. Despite a lengthy hiatus, Social Distortion’s SoCal popularity is unflagging: their residencies at House of Blues Anaheim and West Hollywood always sell out a few weeks’ worth of gigs. How many other alt-rock bands can claim such a feat? None. (GEORGE A. PAUL)

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