Californication

About

In a way, the Red Hot Chili Peppers didn’t truly find their voice until their 17th year as a band. Ever since the band formed in the early 1980, the members of the Peppers had tempered their unhinged funk-metal madness with breezy, melodic, introspective anthems (many of which would end up as the Peppers’ biggest singles). On the group’s seventh album, 1999’s <i>Californication</i>, those slowed-down numbers became the primary focu. Wayward guitarist John Frusciante had recently rejoined the group after nearly a decade-long absence, and his signature curlicues and lyrical solos immediately rocket <i>Californication</i> to airier, more pastoral region. And singer Anthony Kiedis leaves the more macho and lascivious elements of his personality behind, fully stepping into his role as the existential poet of Los Angeles: part punk philosopher, part New Age hedonist, part wizened survivor. As a result, <i>Californication</i> became the group’s best-selling album worldwide, while forging a blueprint that would bear fruit for the rest of the Peppers’ storied career. This is the moment—and the album—in which the Red Hot Chili Peppers secured their position as one of the few rock bands that could reliably fill arenas in the 21st century. Three of the album’s singles—“Scar Tissue,” “Otherside,” and “Californication,” all of which topped the American modern rock charts—are indicative of this more mature, contemplative Pepper. “Otherside” is a sparkling, melancholy song that asks “How long will I slide?”, while the upwards-spiraling “Scar Tissue” finds Kiedis confronting the negative impact of sarcasm as a defense mechanism. After years of treating Hollywood like an idyllic incubator for weirdo, the Peppers poignantly explore the town’s darker side on the title track, revealing the dream factory as a place where hopes are dashed, skin is scalpelled, and innocence is lost. And tracks like “Porcelain” and acoustic album-closer “Road Trippin’” push the Peppers toward the tender alt-rock ballads of bands like The Smashing Pumpkin. Of course, <i>Californication</i> isn’t <i>all</i> struggle and wearine, as evidenced by vintage Pepper funk-rock ragers like the celebratory opener “Around the World” and the horny “Get on Top” (inspired by Frusciante digging the rhythms of Public Enemy). .

via Apple Music

The Clerk says

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