silktempest's Full Review: The Red Hot Chili Peppers [Bonus Tracks] [PA] [Rem...
Funk-O-Metal pioneers THE RED HOT CHILI PEPPERS built their reputation slowly and not always steadily - something surprising now, as their place among the most popular groups seems rock-solid and obvious. Their humble eponymous debut (1984) is an important, but rather subdued, and not yet on par with their mid-1980s-early 1990s peak, part of their Hollywood puzzle.
Of course the PEPPERS' heart and mind were already present, but in formative stages. Anthony Kiedis was the funkiest white brat in the block, but sometimes he preferred a sketchy IGGY POP persona. Australian Flea was a humongous bass player whose abilities the world would soon know in full effect.
Missing pieces? Let's put aside the current famous counterparts Chad Smith and John Frusciante. They don't belong here, as PEPPERS were as much Punk as Funk by 1984. The greatest omissions are guitar funkster Hillel Slovak (the ultimate RHCP axeman, to many) and drummer Jack Irons (latterly of PEARL JAM etc). They left, for their main band WHAT IS THIS struck a recording deal with MCA whereas RHCP signed with EMI. WHAT IS THIS' debut reached Billboard 200...
Filling the slots we have guitarist Jack Sherman from COUP DE GRACE (and latterly, BOB DYLAN) and drummer Cliff Martinez from CAPTAIN BEYOND, THE DICKIES etc. A more hyped profile would be included with GANG OF FOUR Andy Gill producing (compressing and sucking dry) PEPPERS' debut, which would also bear a graffiti sleeve (old school, not LIMP BIZKIT).
RHCP arrived in a gross strut with their early classic True Men Don't Kill Coyotes. Nobody bothered much and who cared, didn't get much of the message, somewhere between Hippie appreciation of Native peoples, steamy Naturalism and bragging Funky youth. Much more acoustics than mid-1980s Metallists would appreciate, a steady bass lead which puzzled underground purists, a guttural Funk delivery, fierce choruses and all-band incrustrable bridges ("Passion dripping from the coyote's eye"? to the pace of New Wave vocoders akin to INXS' Shabooh Shoobah). It has something for anyone...past 1984. Anyway, it encapsulates many RHCP virtues in its often fascinating collision of disparate strands of rhythm, flaming raw edges (surviving Gills' flat sonic mess). Despite rather conventional guitar interventions (flanging etc), it is still regarded as an early peak. The band included the promising tune in many compilations. It was also their first video.
They didn't master the merging of Funk grooves and Metal riffs yet, so they usually split jobs. Baby Appeal is a mid pace Funk vamp, with interesting rapping by Kiedis (slower than usual) and groovy PEPPERS having some fun, just not great, innovative fun, or something charmingly eccentric. The larger-than-life detuned solo gets the upper hand in this platitude party. Oddly, this RHCP sounds accommodated, rather mid-1980s 25 years in advance. Our sonority depends on what RHCP discovered and turned cliché, so it is uncomfortable to listen to this sketchy early effort. At least they found the value of a solid groove...Something noticeable because Slovak contributed to this tune.
Buckle Down attempts a friendlier affair, fusing trippy Funk with stubborn New Wave guitars. But the spottiness increases, with quicker sections and lead guitar breaks (in a RHCP record?) bringing the mold back to the planning stage. Kiedis doesn't help, with a lame performance. This is the Sherman show and the remaining members are just wacky funksters aiming at a crossover hit. True Men Don't Kill Coyotes dealt with RHCP's temper much better, tentatively upping the ante instead of resorting to unfocused eclecticism.
If many things don't go, Get Up and Jump. As Funk erupts, Kiedis puts aside his embarrassing ambitions. Here, his teamplay is noticeable and his "socks in pants" lyrics, memorable (a future legend in the making). Sherman replicates the lilting Funk riffs (with excellent results) and Flea benefits from the proceedings, as he trades leads with a sharp brass section. The band a powerhouse, no room left for subtleties or failed experiments. The zaniest number in RHCP's formative years. Who could have penned such an item, but the original formation - Kiedis/Flea/Slovak/Irons?
The first in a long and winding road of deconstructing standards, HANK WILLIAMS' Why Don't You Love Me is a rather puzzling affair, bringing to halt Get Up and Jump's momentum. Trippy guitars in crescendo followed by singalong Gonzo Funk and parading brass section is not a winning combination. But Flea takes proceedings to stratosphere (or Kashmir). And one thinks for a while that the Carnival-esque approach would have earn more applause in the 1990s - unfortunately, this is a close cousin to 1980s plastic Pop-Funk. That is, good intentions fall short of shock.
Another item by the original formation, which would only record once in a lifetime 3 years in advance, follows. Definitely Metal and especially weedy, Green Haven is the first in a series of "tributes" that would culminate with BLACK SABBATH's Sweet Leaf riff quoted in Give It Away's coda. RHCP find a stoned cold riff and rode it down the groove. I wish Kiedis had managed to keep consciousness during this recording - it would have been a high achievement. Even Sherman's ham-fisted soloing is in decent place here. This is the closer a PEPPERS' recording gets to early SOUNDGARDEN...Nice dudes.
Mommy Where's Daddy bounces back with the 1984 formation. Quiet Funk instead of hybrids, at least this is no slouch (and lyrics are explicitly ambiguous). Funny call-and-response between Soulful ROSE ROYCE's Gwen Dickey and an unassuming Kiedis are adequate for a lounge little ditty. Sax interjections instead of guitar breaks, this is what RHCP would sound like in a second-rate cabaret. Acoustics predominate again; you probably won't find Flea amidst the hazy smoke. Talking about substitutes, what would this sound like with Frusciante?
Out in L.A. - which named a PEPPERS B-Sides compilation 20 years ago - is a nod to the quartet's roots, in the guise of a slyly Ska rhythm. Trending more palatable waters than lounge entertainment, with Flea slaps omnipresent , Sherman more accomplished in Funk than in flanger and relentless Kiedis, the PEPPERS hit the stride. There is a noticeable deep groove mid-section in which RHCP sounds like FISHBONE. Additionally, it is a short composition and it was penned by the original "Fab Four". More than anything else, it is subdued and efficient - making for a welcoming moments in this set.
Police Helicopter is the translation of LA Punk into a Funk-Metal dynamics - that is, one of the most daring moments all over Red Hot Chili Peppers. Kiedis becomes gonzo Jello Biafra and the remainder play streamlined Funk, or Punk with some additional gadgets. I bet Andy Gill loved the whole thing (wrong - he thought it was '$h!t'), but by nowadays standards...It oozes pretentiousness. I think that's why they kept on covering CIRCLE JERKS. Yes, that one belonged to the original lineup. $h!t happens.
You Always Sing the Same is the next-to-last Martinez-Sherman of the lot. It is ironic that is lasts less than 20 seconds. And it undermines Police Helicopters slight virtues. As if the debut was overloaded with originality. This is their Hardcore item and in that horse track they were another dark horse, one in a million. They don't even get really fast or aggressive - it is just brevity and friendly fire irony what make this item distinct from what we had before. It is funny for a while, because it sounds as if Kiedis was getting rid of his undesired collaborators...It backfires.
Grand Pappy du Plenty is where Gills' grip on RHCP's debut breaks loose, as he gains a songwriting share. An ominous moody piece of atmospheric Indie Rock, it has some really gorgeous moments. Of course Kiedis kept his mouth shut. Sherman's simmering guitar is a high. The intense use of ambience almost makes for a COCTEAU TWINS track. Flea humming sparks will raise many eyebrows. Coaxing unsuspected sounds out of sparse drums and ethereal bass, guitars, it sounds positively out of place in a RHCP record, and at home with 4AD bands, MY BLOODY VALENTINE. Nowadays I remember THE BAND OF HORSES. Devoid of urgency but mastering mood, Gill proves (apart that Punk bands can be Progressive) RHCP is more versatile what it would be in the next 11 years (only One Hot Minute's Transcending recaps this kind of sullen beauty). I wonder what an Indie enthusiast as Frusciante did with this in rehearsals...It is a respectable offering, the best song in this debut's second half. What is frustrating is that it was sidelined in PEPPERS' history - as unfulfilled possibilities, or undesired directions. Indeed, the song just goes one, without destination - what if it doesn't need such? The band wanted hits. But this is something different, a hidden gem in RHCP's treasure. See ya.
* * * * 1/2 True Man Don't Kill Coyotes * * * 1/2 Baby Appeal * * * Buckle Down * * * * Get Up and Jump * * 1/2 Why Don't You Love Me * * * 1/2 Green Haven * * * 1/2 Mommy Where's Daddy * * * * Out in LA * * * Police Helicopter * * You Always Sing the Same * * * * Grand Pappy du Plenty
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