Tony's Bass Picks - Flea

The Red Hot Chili Peppers were formed in Los Angeles by four guys who attended the same high school together – singer Anthony Kiedis, guitarist Hillel Slovak [RIP], drummer Jack Irons and bassist Michael Balzary, aka Flea.  Guitarists and drummers have come and gone throughout the Chili Peppers’ history [like being a drummer in Spinal Tap].  But Flea has been the only instrumental constant in the Chili Pepper universe.  The Chili Peppers started out with a mix of punk and funk styles, with hard rock and psychedilia thrown in later [courtesy of Hillel Slovak].  When John Frusciante came to the band after Slovak’s death the band went in a different direction, especially on Blood Sugar Sex Magik.  Funk was still there, but just not as prominent as in albums past.  Frusciante brought in more acid rock and art rock influences.  Dave Navarro [Jane’s Addiction] came in after John Frusciante bailed the first time [after Blood Sugar Sex Magik], and the band accommodated Navarro’s more hard rock leanings.  If there’s any funk on One Hot Minute, I don’t hear it. 

After one album [One Hot Minute], Navarro was out and Frusciante was back in.  With Frusciante back the Chili Peppers went the melodic route with a vengeance, so much so that Flea almost quit the band.   It’s not that Flea doesn’t like melody – Frusciante was such a dominating presence within the band that Flea’s songwriting ideas took a back seat.  Frusciante and Flea reconciled their differences, but after Stadium Arcadium and the tour that supported it, Frusciante left for a second time, to be replaced by his protégé Josh Klinghoffer.  The musical styles changed throughout the Chili Peppers’ career, but Flea rolled with the changes.  Flea is one of my top 10 bass guitarists in rock history.  Here are my favorite Flea moments from throughout their history.  If I missed anything, I’m sorry I left it out.

Suck My Kiss [Blood Sugar Sex Magik, 1991] – This is how white guys from LA play funk.  I’ll put it simply here – Flea is a badass on this song.  His bass line is the riff, the riff is the song.  No further explanation necessary.

Under the Bridge [Blood Sugar Sex Magik, 1991] – This is Flea at his most melodic.  This foreshadows his playing from when John Frusciante assumed the bulk of the songwriting.  Flea doesn’t start playing until 1:27 into the song – he didn’t need to.  Sometimes it’s the notes you don’t play…

Give It Away [Blood Sugar Sex Magik, 1991] – This is the most recognizable bass riff in Flea’s career.  To not include this on this list would be criminal.

Higher Ground [Mother’s Milk, 1989] – Flea channels Larry Graham’s slap bass on this Stevie Wonder cover.  Larry Graham is a good role model to channel…

By The Way [By The Way, 2002] – With the return of John Frusciante for Californication, RHCP took a steep turn toward melodicism.  With Frusciante chopping away at the chords, Flea plays the melodic bass lines underneath.  His Modulus bass has extra emphasis on the treble side of his bass sound. 

Californication [Californication, 1999] – Flea plays melodic counterpoint to John Frusciante’s riff.  When Frusciante plays the chords in the bridge you can hear Flea bobbing and weaving underneath – very tasty.  See By The Way above.

 

Warped [One Hot Minute, 1995] – The first 45 seconds of the song sounds like the band is just warming up while Anthony Kiedis goes through this trippy vocal about drug dependency warping him.  Dave Navarro and Flea are locked in the main riff until 2:34.  Navarro goes into wah-wah freak out mode while an extremely-distorted bass holds down the bottom end.  The combination makes a glorious noise.

Around the World [Californication, 1999]  - As if to announce to the world that One Hot Minute was just a temporary [critical, not financial] setback, Flea drops a bomb on his listening public and riffs furiously until John Frusciante joins the fracas.

Parallel Universe [Californication, 1998] – Flea keeps up with John Frusciante note-for-note for the entire song.  One wonders how he keeps that pace for over four minutes.

Shallow Be Thy Game [One Hot Minute, 1999] – see Warped.  The same kind of dynamic is going on here.

This Is The Place [By The Way, 2002] – Another fine bass intro that pretty much serves as the melody for the entire song.

Throw Away Your Television [By The Way, 2002] – Like Suck My Kiss, the bass line is the riff, the riff is the song.  There’s not a lot of guitar here, so Flea carries the song.

Desecration Smile [Stadium Arcadium, 2006] – With the increased emphasis on melody and less emphasis on the Chili Peppers’ jam aesthetic, it’s hard to pick out standout Flea moments.  Such is the nature of John Frusciante’s songwriting and arranging.  But here’s one I found on Stadium Arcadium.

Especially in Michigan [Stadium Arcadium, 2006] – The same thing you hear in Parallel Universe [Californication, 1999] is going on here.  Though it’s not nearly as fast as that other song, it’s equally impressive.

Annie Wants a Baby [I’m With You, 2011] – This is from the Chili Peppers’ first album after John Frusciante departed the band for a second time.  Flea’s bass comes to the fore once again, as if to say “John’s gone!”