Ebet Roberts/Redferns/Gettynthony Kledis will not disclose the exact location of the bridge. “It’s downtown,” he says warily, gesturing vaguely at a distant spot on the glittering Los Angeles night-scape outside a high-rise Hollywood hotel room. “but it’s unimportant,” he adds sharply. “I don’t want people looking for it.”
Kiedis, a muscular young buck with ruggedly handsome features and long, ironing-board-flat hair, had been clean for some time — since August 1st, 1988 — when he turned that memory into song during preproduction for the Chili Peppers’ latest album,. Except he was suffering from another kind of withdrawal.
Then in Japan on May 7th, four shows into an extensive Far East tour, Frusciante abruptly quit the group, forcing the band to abort two more Japanese shows as well as a major swing through Australia and New Zealand. Kiedis was on the phone in his hotel room, talking to a reporter in New Zealand, when Flea came in and dropped the bomb. “Flea looked at me with this completely puzzled and surreal, sad face,” Kiedis says a few days later. “He said, ‘John wants to quit the band and go home right now.
The Chili Peppers will have a new guitarist in time for the mid-July opening date of the Lollapalooza Tour. Yet Kiedis admits to having mixed feelings about the excursion — in particular, the Chili Peppers’ lack of creative input, even as headliners, on the package. “If I didn’t get off on it so heavily last year, I wouldn’t have been so inclined to be a part of it this year,” Kiedis insists. But the ’92 lineup, he says, is “way too male” and “way too guitar-oriented” for his tastes.
“Under the Bridge” also flouts the long-standing school of thought on the Red Hot Chili Peppers. Loved and scorned in equal measure as tattooed punk-funk loons obsessed with the horizontal rumba, the Chili Peppers are skateboard-culture heroes, recognized even by their detractors as early pioneers of the mosh-pit marriage of funk, rap and thrash that Living Colour and Faith No More took to the bank.
And Anthony Kiedis is no simple crotch-grabbing fool. “Under the Bridge” is persuasive enough on that score. But Kiedis has also taken cracks at social and environmental ills in “Green Heaven” and the persecution of indigenous peoples in “Johnny, Kick a Hole in the Sky” . The aching hole that Slovak’s death left in the band, and in Kiedis’s life, has been a recurring theme in songs like “Knock Me Down” and “My Lovely Man” and fending off the advances of a young woman who had a big crush on him.
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