Review Summary: 'Californication', the seventh RHCP album, reintroduced John Frusciante to the fold, is as near to a classic as the group has ever been.
Pretend it's 1999. In 1999, when you rocked, you rocked. When you funked, you funked. When you have the two together, you have the Red Hot Chili Peppers. 'Californication' is the groundbreaking California punk-funk/ rap-rock quartet's 7th album, and their first with guitarist John Frusciante since 1991's 'Blood Sugar Sex Magik'. Having narrowly avoided death, Frusciante has triggered somewhat of a creative revival in the band after the lukewarmly recieved One Hot Minute, which featured Dave Navarro (of Jane's Addiction fame). It triggered the start of a stylistic rebirth in the band which would end with 2002's 'By the Way', which is somewhat of a successor to Californication. This, the seventh album, shows the band at a creative turining point and is amongst the band's best works.
Song-by-Song-
Around the World- A brutal start to the album, featruing a heavily clipped Flea bassline and some heavy punk guitars. Recalls RHCP's earlier albums somewhat. The song is dominated by both funky verses and deadpan melodic choruses. Some critics see it as a false start, but I rather like it. 3.5/5
Parallel Universe- A technically impressive tune that has singer Anthony Kiedis spouting some abstract, socio-political lyrics. Flea and John's interweaving guitar arrangement has a certain 'romance' to it. One of the best and most popular songs from the album. 4/5
Scar Tissue- The album's first single showcases a more pop sound, and features some beautiful slide guitar from Frusciante, showing that he really is the essential Peppers guitarist, fully prepared for all walks of their sound. Kiedis is in a reflective mood, cracking a sweet falsetto no one previosuly thought possible. A classic song. 5/5
Otherside- A dramatic, nervy song which again has a more refined sound. Kiedis treats the lyrics as a warning for the pitfalls of substance addiction. The instruments compliment each other nicely. John's solo is a little brief, but avoids treading on either Flea or Chad Smith's toes. 4/5
Get On Top- A funk-rock behemoth that roars out of the gate. Like 'Around the World', it gets by more on its forward motion than through melodic invention or good lyrics. A fun song, but something of a throwaway. 3.5/5
Californication- Even by the Chili's high standards, this is an epic of some proportions. A sort of symphony, the song drifts along at n almost lethargic pace while Kiedis sings, with considerable conviction, some of tyhe finest lyrics of his career. John's solo is both emotive and complimentary, and affirms this epiphanal song as essential. 5/5
Easily- This hook-high elegy is an energized performance with some no-nonsense poetry. As always, the instrumental interplay is fantastic andf symbiotic. A very good tune. 3.5/5
Porcelain- A distinctively average song that shows that this is a band not yet entirely accustomed to writing sincere balladry. Either that or it's just a duff take. 2.5/5
Emit Remmus- Featuring a backwards guitar riff, this slow-burning rocker is not quite the album centrepiece it strives to be. It's chorus is marred by unnecessary electronic clipping, and without that it would be quite good. 3/5
I Like Dirt- This is a jumpy, engaging tune. But it's something that this band should be able to do in their sleep, better. 3/5
This Velvet Glove- A reflective, if vague, and confident serenade. The album looks to be picking up at this point: the song's twangy acoustic guitars and John's wistful backing vocals (now an essential component of the band) are positively euphoric. 4/5
Savior- The closest the album comes to a power ballad. A mesmerizing, swirling guitar lead and a solid backbeat form the basis of this formidable tune. A hidden gem in the album. 4.5/5
Purple Stain- This funk pastiche is somewhat of a low-point for the album. The groove itself is fantastic: it aspires to be the lost track from 'The Payback', but it falls way short. If the song had a little more direction it would be better. 3/5
Right On Time- The shortest song on the album is also one of the best. It is a pure funk freakout, but kept within the boundaries of a circular, melodic refrain. Also contains a quintessential Flea bass solo. A curt, vital outburst. 4/5
Road Trippin- A strangely subdued way to end an album. This olde-english folk requiem can quickly wain in its appeal, but at first it's an intruiging listen. The Chilis have done better, though. 3/5
Quixoticelixir (iTunes Bonus Track)- This song, among the very finest of the set, was an unforgivable relegation. It's delicious funk-jazz stroll, emphatic chorus and stunning, caterwauling climax rank it amongst the very best latter-day Chilis songs. A real surpise 4.5/5
Fat Dance (iTunes Bonus Track)- While Quixoticelixir sounded like a long-lost Sly Stone classic, both Fat Dance and Over Funk sound like the add-ons they are. Kiedis' squawking on this track quickly grate on the conscience, and again it's just a formless jam. 2.5/5
Over Funk (iTunes Bonus Track)- Over Funk is a throwaway, but it's a good 'un. A great popping-bass line and plenty of attitude render it at least better thatn 'Fat Dance' but a far cry still from Quixoticelixir. 3.5/5
If 'Blood Sugar..' was the Chili's Beggar's Banquet, rough, and ready for revolution, and 'By the Way' was the subdued 'Sticky Fingers', while 'Stadium Arcadium' was the sprawling double-set 'Exile on Main Street', 'Californication' has the old-meets-new sound of 'Let It Bleed'. It's a perfect conglomeration of the past and present, while pointing the band's future direction. A solid statement from a legendary and influential band.
