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דייב נבארו התראיין לאתר ultimate guitar ודיבר בין השאר על התקופה שבה היה ברד הוט. הנה מה שהוא אמר:
You mentioned earlier about playing with the Red Hot Chili Peppers. Was it different working on the One Hot Minute record that it had been working with Jane's?
Yeah, absolutely different. In many ways it was very, very educational and in many ways it was very suffocating.
How was that?
Because they had the way they worked for years and the way I worked for years and those ways were totally different. It didn't really gel. I think we did come up with some pretty cool music. But I was not used to writing songs and then going to record them and then once they were recorded having the singer come up with lyrics and melody. I just didn't understand that.
Why was that so foreign to you?
I always felt like, "Well, I need to know what the guy's talking about before I record anything. Don't I?" It's like trying to paint the background to what's happening in the foreground. You know what I mean?
That makes sense.
That's where I was confused. 'Cause Perry was in rehearsal with us writing and singing melodies along with us as we played. And that melody or idea would dictate where the music would go. Because he would sing something and go to a different note and I'd go, "Oh, what if I put this change in here to go with that?" We worked off each other.
Which wasn't how the Chili Peppers worked?
Those guys do things in a little bit more of a set, formulaic way and I just didn't get it. It didn't make sense to me. It makes sense to them clearly. I mean they do really well.
Incredibly well.
I think you can hear it on the record. Certainly I think - I don't want to put anybody in the band down - when you listen to what's going on musically and then you listen to what's going on vocally, they are not together. I think I definitely struggled with that.
You did bring some great guitar to stuff like "Warped" and "My Friends."
I love that too and thank you. But even "My Friends," that melody was a piece in place. Flea came up with that. At least that was that little bit easier for me to digest. Like, "Oh, it's gonna go like this." You know what I mean?
You felt comfortable with that process.
It's no secret Anthony has had his back-and-forth with chemicals. He put a book out about it so obviously I'm not saying anything out of school here. But he was in and out of that when we were recording that so it wasn't pleasant for quite a bit of it.
In a perfect world, do you think you would have remained the guitarist in the Red Hot Chili Peppers?
Umm, I mean I can envision anything. Probably. But I'm certainly more at home in Jane's Addiction. Even though that Peppers record was so long ago, at that point those guys had a familial structure in place and I had a familial structure in place with Jane's. You can't recreate that - you can't recreate growing and coming up out of nothingness with a brand new bunch of guys. It's impossible.
In many ways, you were too much of a known entity. The Chili Peppers needed someone with less history than you brought. Does that make sense?
Yeah, yeah. And sometimes - and no offense to him - but sometimes I don't know if I'm looking at the new guy or if I'm lookin' at John [Frusciante]. It's almost as if they got a John type. You know what I mean?
That's what I was trying to say.
Which is great. It works for them and they're obviously doing great. No disrespect because Josh [Klinghoffer] is an incredible musician. But I certainly wasn't [a Frusciante-styled guitarist] and my approach was much more experimental. They'd just come out with "Blood Sugar Sex Magik," one of the greatest rock records of the decade at that time, 'cause that record is f--king perfect. Regardless of my relationship with them, that's one of my favorite recordings of all time. But to come off that success and then try to reinvent is a pretty f--king harrowing feat. We did the best we could.
דייב נבארו התראיין לאתר ultimate guitar ודיבר בין השאר על התקופה שבה היה ברד הוט. הנה מה שהוא אמר:
You mentioned earlier about playing with the Red Hot Chili Peppers. Was it different working on the One Hot Minute record that it had been working with Jane's?
Yeah, absolutely different. In many ways it was very, very educational and in many ways it was very suffocating.
How was that?
Because they had the way they worked for years and the way I worked for years and those ways were totally different. It didn't really gel. I think we did come up with some pretty cool music. But I was not used to writing songs and then going to record them and then once they were recorded having the singer come up with lyrics and melody. I just didn't understand that.
Why was that so foreign to you?
I always felt like, "Well, I need to know what the guy's talking about before I record anything. Don't I?" It's like trying to paint the background to what's happening in the foreground. You know what I mean?
That makes sense.
That's where I was confused. 'Cause Perry was in rehearsal with us writing and singing melodies along with us as we played. And that melody or idea would dictate where the music would go. Because he would sing something and go to a different note and I'd go, "Oh, what if I put this change in here to go with that?" We worked off each other.
Which wasn't how the Chili Peppers worked?
Those guys do things in a little bit more of a set, formulaic way and I just didn't get it. It didn't make sense to me. It makes sense to them clearly. I mean they do really well.
Incredibly well.
I think you can hear it on the record. Certainly I think - I don't want to put anybody in the band down - when you listen to what's going on musically and then you listen to what's going on vocally, they are not together. I think I definitely struggled with that.
You did bring some great guitar to stuff like "Warped" and "My Friends."
I love that too and thank you. But even "My Friends," that melody was a piece in place. Flea came up with that. At least that was that little bit easier for me to digest. Like, "Oh, it's gonna go like this." You know what I mean?
You felt comfortable with that process.
It's no secret Anthony has had his back-and-forth with chemicals. He put a book out about it so obviously I'm not saying anything out of school here. But he was in and out of that when we were recording that so it wasn't pleasant for quite a bit of it.
In a perfect world, do you think you would have remained the guitarist in the Red Hot Chili Peppers?
Umm, I mean I can envision anything. Probably. But I'm certainly more at home in Jane's Addiction. Even though that Peppers record was so long ago, at that point those guys had a familial structure in place and I had a familial structure in place with Jane's. You can't recreate that - you can't recreate growing and coming up out of nothingness with a brand new bunch of guys. It's impossible.
In many ways, you were too much of a known entity. The Chili Peppers needed someone with less history than you brought. Does that make sense?
Yeah, yeah. And sometimes - and no offense to him - but sometimes I don't know if I'm looking at the new guy or if I'm lookin' at John [Frusciante]. It's almost as if they got a John type. You know what I mean?
That's what I was trying to say.
Which is great. It works for them and they're obviously doing great. No disrespect because Josh [Klinghoffer] is an incredible musician. But I certainly wasn't [a Frusciante-styled guitarist] and my approach was much more experimental. They'd just come out with "Blood Sugar Sex Magik," one of the greatest rock records of the decade at that time, 'cause that record is f--king perfect. Regardless of my relationship with them, that's one of my favorite recordings of all time. But to come off that success and then try to reinvent is a pretty f--king harrowing feat. We did the best we could.