“There is nothing else like it”: the album that completely changed the way Flea made music
A good bassist is one who can take minimalism and clutch it in a way that seems technical and dynamic. For many, Red Hot Chili Peppers‘ low-pitch hero Flea more than fills those shoes, upholding a certain proficiency that even the most skilled players couldn’t contend with. As Geddy Lee once said, “His solos are insane from a technical point of view. Like Les [Claypool], he has this rhythmic thing that is from a different generation to mine, but he combines it with all these other things.”
For Lee and countless other guitarists, Flea’s unmatched ability stems from a handful of drivers, including his innate interest in various genres, his studious efforts, and, most importantly—his pure adoration of the instrument itself. In essence, his extreme enjoyment draws you in, forming a contagious energy like an irresistible aura, proving that, more than anyone else, Flea is forever committed to the magic of music.
However, like many, Flea has also enjoyed a journey of honing his craft, beginning in the early days of Red Hot Chili Peppers and the band’s interest in blending funk, rock, and psychedelia. Of course, a large part of establishing their earlier sound was Flea’s bass grooves, which to many seemed slightly unconventional at the time considering the industry-wide transition to other genres and realms, but his contributions stood out in the underground scene, mainly because they reframed punk-rock in a fresher, more rhythmic light without compromising on high-energy.
Flea cites many influences, particularly regarding the early years and the various ways he would try to channel names like Bootsy Collins and Larry Graham, but one band that had more of a pivotal and long-term impact on his approach and musicianship was the post-punk outfit Gang of Four. Having broken onto the scene several years before Red Hot Chili Peppers, Gang of Four not only masterfully blended everything Flea was interested in—funk, rock, and other facets—but they did so by addressing political and societal themes.
Andy Gill, in particular, caught the future members of the Peppers’ attention, not only because their music was a mainstay of contemporary rock ‘n’ roll but because his approach to creativity aligned well with their goals and aims in the early days. To Flea, the band likely wouldn’t be where they are today without Gang of Four, a realisation that became clear the moment he heard 1979’s Entertainment!
Not only is this one of the most influential albums in punk and rock history, impacting R.E.M., Nirvana, Melvins, Idles, and, of course, Red Hot Chili Peppers, but it also set punk off on a completely different path than many expected at the time, with hard-hitting political commentary, rhythmic energy, and sophisticated lyricism that diverted from mainstream approaches at the time.
Unlike earlier efforts, Gill ensured the guitar occupied a distinct role from the other arrangements, often utilising spaciousness to communicate depth and tension while allowing the other segments to function more headily. For someone like Flea, discovering Entertainment! was absolute gold because it allowed him to begin a journey exploring new avenues rather than remain stuck trying to reinvent ones that had already been mastered.
“It completely changed the way I looked at rock music and sent me on my trip as a bass player,” he later said. Following Gill’s death in 2020, he also reflected on his immense impact, adding: “That’s a record that changed my life forever and was massively influential on my development as a musician and showed me what a rock band could be. There is nothing else like it. It cut a fucking hole right in the thick LA smog that I wanted to jump through.”
