Red Hot Chili Peppers- Mother’s Milk
This album, being the first RHCP album to feature John Frusciante on guitar, is the bridge that connects the gaps between the raw funk, and energetic punk that made the band legendary. After founding member Hillel Slovak had overdosed on heroin and died, the band also lost drummer Jack Irons, and was replaced with Chad Smith. This is the first album that featured today’s legendary line-up, and trust me, it’s not a bad thing.
RHCP (at this point) is….
Anthony Kiedis- Vocals
John Frusciante- Guitars
Michael ‘Flea’ Balzary- Bass
Chad Smith- Drums
The CD’s opener, Good Time Boys
immediately kicks off with a screaming guitar and funky slapped bass. The slapping will be more apparent throughout the entire album. The riffs between John and Flea really work well, and sound awesome. This is one of the cooler funkier songs off the CD. The choruses are catchy and feature an awesome guitar riff after the vocal phrase. The slithering bass during the verses is exceptionally laid back and funky. The slapping on the chorus provides a nice contrast. Something unexpected in the middle of the song is the track clips of random oldies songs which kinda scared me the first time. Afterwards, a cool guitar jam takes place. A funky bridge follows, right before the verse. I love the guitar riffing throughout the song. It’s quite a good handful of riffs. I love the ending, with John soloing over Anthony’s raps. I really like this song.
The CD continues with arguably, it’s most famous song, Higher Ground
. This famous Stevie Wonder cover brought the band to new heights. The main groove transferred perfectly into Flea’s funky slap/pop octave run that opens the song. John makes some wonderful sounds on his guitar behind the bassline before the verse comes in. The political lyrics are pretty good. “Powers, keep on lying while your people keep on dying.” The choruses are sexy and energetic, with a really flowing bassline. There’s some really cool fills thrown in between the main groove during the next verse. There’s only one word to describe this cover- FUNKY. The ending features Anthony playfully talking about Stevie.
This next number is called Subway to Venus
. It’s quite unique, because it remains wonderfully and simple and funky, but adds some big band sound to it with Flea following the melody with some dramatic, jazzy trumpet playing. It seems that most good bassists are brass players first. The guitar kinda holds back throughout the song, but it doesn’t matter. The vocals are easy to listen to, and somewhat kind of remind me of ‘Rudie Can’t Fail” by the Clash, during the chorus. The guitar joins in later in the song. The bass and drums are tight throughout the entire song, and the guitar pulls off a great, cheery solo at the end. Great, jazzy song that seems to be an early influence on the ska genre.
is probably the most pointless song on the album. It’s just a drum beat during the verses and Anthony rapping really fast until about the 45 second mark when the guitar comes in. The bassline is a bit funky later on. Thank God it’s only 2 minutes. The guitar has a really cool solo towards the end, but unless you want to be incredibly annoyed, it’s not worth a listen.
Following the horrid track is a gem, and one of my favorite songs by the Chili’s. Nobody Weird Like Me
is true funk at it’s finest. The intro is a fast paced double thumbed bass riff that seems like Flea’s finger is about to fly off, it’s so fast. It has some weird modded voices of Anthony before the rest of the band joins in. The pace of the slap bass skyrockets, as the guitar just plays some heavy chords over the funk jam. The verses are a bit short, but it doesn’t really matter. Anthony’s voice is pretty cool, and the guitar plays tricks on you here and there. The bass does a few short fills around the corner, and are really cool. The guitar just fools with you, doing some wild feedback and solos. Towards the end, it slows down and the guitar solos above Anthony’s voice.
Up next is another great song, Knock Me Down
. The song starts with a little guitar/bass jam riff which is really cool. A lot of people seem to like this song, for good reason too. Flea isn’t slapping throughout the verses which is nice, but the chorus is slapped and utterly funky and cool. The lyrics seem to be aimed at people who think they’re indestructible. I love the choruses. The melody is very catchy, supported by the guitar and bass dueling with the funkiness of the drum beat. Additional vocals are thrown in there, and this is just overall easy to listen to and enjoy. Not much else to say.
Taste the Pain
is a bit different than its predecessor. It starts with some mix of tribal voices and slinky bass. The verses are straightforward with some cool rapping and a liquidy bassline underneath some wah induced guitar sounds. The choruses feature that tribal chant beneath Anthony’s voice. Slap basslines accompany the melody, yet again. After the second chorus, some brass instrument solo’s. I would like to say it would be Flea playing his trumpet, but I am not completely sure. The guitar does some more fun things, like bends and screams that sort of poke fun at you while you listen. The outro is a bit different than usual, with John playing some light Hawaiian influenced island guitar licks beside the chants.
Up next is a beast of a song, and gets my vote for ’best RHCP song’. Stone Cold Bush
is everything its name implies and more. It kicks off with some galloping guitar and screams from Anthony. The bass and drums kick in and set a blazing path with some fast, swingy vocals. The entire song is funky, with the wah-wah controlling the guitar sound and the slapped bass being exceptional. The second verse is faster and more explicit, with content that’s quite graphic. :naughty: The second chorus flies by before an unexpected funky slap bass solo. It’s really funky and for all you bass players out there, it’s not hard at all, so give it a try. A sexually explicit guitar solo comes in, and is shred material. Behind it is a wonderful array of sounds of a woman having an orgasm and other naughty sounds. The last chorus has funky fills in between, before the song ends.
The next song, Fire
is a pretty hectic cover of the classic Jimi Hendrix tune. It’s at a faster pace, the verses are perfect, but the chorus gets annoyingly fast. Anthony’s voice is okay, nothing special. The guitar solo rocks, but once again, WAY TOO FAST. The entire song lasts an exact 2 minutes. It’s almost like you didn’t even hear it, it was so fast.
Up next in the lineup is a song in which the title describes everything. Pretty Little Ditty
is a beautiful little instrumental, which as previously stated, was used as the backing track for the one hit wonder “Butterfly” by Crazy Town. Ehh, what a lame way to destroy such a pretty song. It starts with a guitar and bass riff, with the bass slapping mildly and the guitar on clean. The first verse is quite chilling and mellow. After the first chorus, the verses get more dramatic with the drums coming in and the dynamics of the bass and guitar suspenseful building up and fading out to end a one and a half minute jam that is truly beautiful.
This next song I have mixed emotions about. Punk Rock Classic
, while is musically astonishing, annoys the crap out of me, vocally. It’s about 3 times faster than ‘Fire’ which was already blazing. The vocals are way too annoying to let me like them, and the stupid swing drum beat doesn’t help. However, there is salvation among the chaos. The guitar solo is mind-boggling, with John just manhandling it, in every aspect. It’s absolutely amazing. After another rap verse, the intro to Guns N’ Roses “Sweet Child O Mine” is the outro to the song.
Bringing the album into it’s final stage, is the chill groove of Sexy Mexican Maid
. I love this track. It’s pretty laid back and not boring. The bass and drums are perfectly in tact, and the guitar once again does some trickery, with Jimi Hendrix like solos. The funk is ever present in the bass groove, while it isn’t slapped, but does have some very funky sounds. The guitar does some cool, shuffled riffs, right before the outro. This outro is special, mainly for it’s jazzy trumpet solo, courtesy of Flea. It’s really in your face with attitude and just rocks. I love this song. It’s only downside is its length.
The album’s closer is another freaky track. Johnny Kick a Hole in the Sky
is scary, yet funky. It starts with some wild voice chanting the Star Spangled Banner until Flea roars in with a slap bass (see a pattern yet"). Anthony makes some noises before the funk-tastic verses of wah infected guitar riffs and grooving basslines. The vocals are actually comprehendible in this song. The choruses feature a funky, non slapped bassline, as well as guest singers in the background. The song starts to get repetitive after a while, and the fact that it lacks a solo of any kind doesn’t help the interest factor. How many times can you loop the same damn thing, seriously" It’s a good song, but too repetitive.
+ Great Musicianship
+ Bass and Guitar are amazing
+ Mostly non-repetitive
- Filler Tracks suck majorly
- Magic Johnson
- Can get repetitive
- Bass is always following the same pattern, never diverse
1. Good Time Boys- 4.5/5
2. Higher Ground- 5/5
3. Subway to Venus- 4/5
4. Magic Johnson- 1.5/5
5. Nobody Weird Like Me- 4.5/5
6. Knock Me Down- 4/5
7. Taste the Pain- 3.5/5
8. Stone Cold Bush- 5/5
9. Fire- 2/5
10. Pretty Little Ditty- 4/5
11. Punk Rock Classic-3/5 (because of solo)
12. Sexy Mexican Maid- 4/5
13. Johnny Kick A Hole in the Sky- 3.5/5
Overall: This album was great to listen to, for the most part, with a lot of songs being exceptional. It’s downside is the fact that it’s filler tracks wreak. Enough of the talk, the rating is……
:thumb: :thumb: :thumb: :thumb:
P.S.- Fanboys, stay away!!!! I am this close to posting a complaint in the site forum for people trashing reviews because they feel their opinion is superior to that of the reviewer’s. Elitists need to be taken care of around here.
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