Hey the Chili Peppers Released Another Chili Peppers Album!

You’d think after selling around 65 million records that they might buy a couple of shirts.

Flea and Anthony Kiedis have been doing their freaky styley funk game dance on us for a quarter century. And we’ve all been on to them in varying degrees since they laid that one hot egg the first time guitarist John Frusciante left the group. After their wild early days, highlighted by 1989’s Mother’s Milk, they broke through with both a mainstream hit and a bona fide classic in 1991 with Blood Sugar Sex Magik. Then they signed mismatched free agent guitarist Dave Navarro from Jane’s Addiction for One Hot Minute in 1995 and set the controls for autopilot.

Will Farrell stars as drummer Chad Smith (right) as Flea and Anthony Kiedis make Another Chili Peppers Album.

Californication, a good but probably overrated record was a nice hit album in 1999, proving that the Red Hot Chili Peppers on autopilot were still good enough to rule at the turn of the century. Three years later, By The Way worked the same formula like a speedbag, californicating itself into yet. Another. Chili Peppers Album.

And so it went, all-world bassist and general maniac Flea fired up the furious funk and Anthony Kiedis jumped around with different hairstyles and they never fucking wore shirts and it was all good. The underrated Chad Smith is an effortless badass of a drummer whose talents sometimes sound wasted in the tight album-version arrangements. They dropped a bloated double album five years ago that even their fans admitted was too long as they talked themselves into liking it.

But all the people who don’t love the Red Hot Chili Peppers pretty much hate them. And we all know it’s cuz Anthony Kiedis is annoying and while I’m sure he’s a great guy and he’s an essential element to their sound and “he is what he is” as they say… he still sucks. And that’s a shitty thing to say and I should delete it but fuck it, let’s leave it there.

Don’t take my word for it. Listen to their new album, I’m With You. It’s got it’s moments, but it sounds like yet another bland reincarnation of that same album they’ve been making starting with Californication. A shell of a shell of a former band. And yet Flea still rips it, and even though they sorely miss the once-again departed Frusciante, new guitarist Josh Klinghoffer provides plenty of interesting moments (and space for Flea’s musicality).

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Carving a Heart in The Joshua Tree

They had to go all the way out there just to make the guitars echo like that.

Perhaps the least-cool thing to do in 2011 would be to write an essay on the greatness of U2’s The Joshua Tree album from 1987. I mean, you might get away with singing the praises of 1991’s Achtung Baby, seeing as it’s getting the deluxe makeover remaster reissue bonanza for it’s 20th anniversary this year. And it might be cool to write about The Joshua Tree being terrible and overrated, because the contrary opinion always generates interest.

While Achtung Baby has, for a while now, become the consensus “Best/Favorite” U2 album (itself a contrary opinion once upon a time), The Joshua Tree is the pinnacle and quintessential U2 effort, an epic rock album and in my opinion the best album by this hate-’em-if-ya-want-to legendary band. The two albums certainly represent not only the band’s peak, but also the collective moment when they pivoted. One of my favorite Bono quotes is his description of Achtung Baby as “four men chopping down The Joshua Tree.”

Let’s skip all the peripheral items that don’t matter (Bono’s politics and charitable efforts, whether or not U2 is “overrated”), strip away all the hype and bullshit, and simply discuss the music.

I’ll start where the album starts: “Where the Streets Have No Name.” This is the ultimate U2 song. Maybe it’s not their “best” pure song, but it might be my favorite and their most representative track. If someone had no clue, if they came from the future or the past or from another planet, you could just play that song and say THIS is what U2 is. Play it loud. The way the intro fades in and soon engulfs you in The Edge’s spider web of arpeggio notes drizzling down on you from the delay pedal. And then the bass changes notes and pretty soon the drums come running and racing in and you are charging toward something.

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