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A young singer named Mariah Carey was ruling the album charts with her self-titled debut. A half-decade of nonstop touring and libertine excess had already taken its toll: Slovak fatally overdosed on heroin in Crushed by the loss of his friend, Irons quit not long after. The Chili Peppers also committed to working with producer Rick Rubin, who was well on his Women want hot sex Model to becoming the Zen-like king of rock and rap through work with Run-D.

Instead of a typical recording studio, Rubin and the band opted to rent a house in Laurel Canyon. There, isolated for two months starting in Aprilthe band, crew, and a series of invited and uninvited guests helped create one of the quintessential L. Thirty years later, the band and its team sat down to tell the unlikely story of its creation.

Flea, bassist: Losing Hillel was devastating, but we knew that we wanted to keep playing music. When we found John and then Chad, we found this unit. John was only 18, and he loved the Chili Peppers. John Frusciante, guitarist: It felt like we lived in a magic world where everything came out of us really fluidly. We felt connected all the time. They just fit. The timing was perfect to be free agents. We just put on our wacky clothes and made our crazy music. Steven Baker, former Warner Bros. We took a plane up to Kaiser Convention Center in Oakland.

The band was amazing. The audience was insane. Flea: All of a sudden it was actually happening.

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At first, the band committed to Epic Records, which offered a larger advance. Smith: He called each one of us at home. Mo Ostin! Who calls the f—ing drummer? Let your freak flag fly. Freak flag hoisted, the band needed a producer and hired the now-legendary Rubin. It was the energy in the room and the way they looked at each other.

They were filled with love and confidence. I was self-medicating, until I realized that the thing that I was treating myself with happened to be killing me. The Peppers were moving away from the party life and got to work. Flea: Five days a week we were in this rehearsal studio called the Alley in North Hollywood, playing every day, writing and jamming like crazy.

Frusciante: I stopped going out to clubs and trying to be a man about town. I started painting and drawing and making weird four-track recordings.

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Kiedis: Most of the lyrics were written either at my house — at the time, I lived in Beachwood Canyon — or at the rehearsal studio. Frusciante: Rick would come to rehearsal and just observe. Flea: Rick saw things in a way that we never did. Rubin: The band had written their best songs to date. I knew we could record them honestly with the aim of capturing their energy. No more and no less. Their disappointing studio experiences led Rubin and the band to seek somewhere in L. They found it at Laurel Canyon Blvd. Rubin: I thought the band might be inspired by recording outside of the traditional studio.

Flea: I Women want hot sex Model, philosophically, it being really exciting, the idea of not being in a recording studio and having to deal with their rules if I wanted to walk down naked in the morning smoking a t and playing a funky bass line. It was just a big house built in the early 20s, maybe a bit before that. Goetz: We wound up bringing all the equipment in — the board, the mics, whatever it took.

Brought in a cook, a masseuse and so on. Smith: We had this kooky ex-Playboy model chef that cooked for us. Flea: Just play music. That had always been the dream. And this was the most music-playing situation. Untethered to responsibility of the real world. Smith: We all picked out rooms to live in.

I picked out one where the bathroom was always really cold. Like, weirdly cold. Flea: I had this little room up towards the very top of the house. There was a mattress on the floor, a little bedside table, and that was it. I was in my temple space. Rubin: It was our own world. We worked, ate, hiked and played a lot of pingpong.

Goetz: It was very magical, and apparently they thought it was haunted. Bowden: The security guard thought he had experienced some sort of supernatural experience. Flea: I was always imagining that I was hearing things at night when I was going to sleep.

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I remember John saying that he had distinctly heard this woman. There was a story going around that there was a female ghost. Smith: Two guys who were like the Siskel and Ebert of the spiritual world came to see if the house was haunted. One guy had like a coat hanger and [makes wooing ghost sound]. Flea: We did the Ouija board, and the thing was moving around like crazy.

No offense to the other guys. Once settled, the quartet set a strict schedule for Women want hot sex Model. Rubin spent his days honing the songs with the band members, who were eager to absorb the feedback. Stylistically, they were ready to temper the rap-funk, slap-bass sound that had earned them their first fans. Frusciante: I was simplifying what I was doing, and then Flea got excited about that and started simplifying what he was doing. Flea: It had to do with the kind of stuff that John was writing and having a complete belief in him and wanting to serve what he was doing.

Rubin: The band started with a format defining the Chili Pepper sound. That served them well. Kiedis: Sex was an ongoing learning experience. I was learning on the job. I still am. Flea: I was single, and I was trying to get laid, and I was trying to make a good record. Kiedis: The Red Hot Chili Peppers were always proud of love and human sexuality, and we wanted to celebrate that from the very beginning without being in any way analytical or trying to be correct or incorrect. Kiedis: I knew that she would hear it because I left her a cassette of that song on her doorstep.

She ended up leaving town without so much as a goodbye.

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I love playing that song now. It makes me feel hurt in a good way. Kiedis: I was in a relationship that had gone sour. Horribly, horribly sour.

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Anything else? That started the conversation about removing any limitations and becoming more experimental with what the band was capable of. We love this. This is our new song. The album hovered in the top 50 for six months and peaked at No. Schiffmacher: We knew each other from the very beginning of the Chili Peppers. Somebody said that you have to see this band from the U.

Flea: We really loved Man Ray. So we asked [director] Gus Van Sant to take pictures and to get them solarized. The rest of the album de was really Anthony and Henk. Schiffmacher: I went to the States later. Tower Records was still there, this beautiful store on Sunset. The store had a huge billboard of the album outside.

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