Published on Jan 24, 2005
After languishing in the realm of college radio darlings and
cult party oddities for several years, Red Hot Chili Peppers (RHCP)
shoved their collective fist under the face of the music world with
their breakthrough album
Mother’s Milk, greasing the skids for a full-scale
onslaught. That coup d’état on the world of pop culture came
in the form of the testosterone-fueled rocket titled
Blood Sugar Sex Magik. 17 tracks of power-funk and soulful
groove that would knock the world on its ass.
One of the great things about this album to me, is the way it
has become a benchmark in their careers where the music
overshadowed the image.
BSSM is just as nasty and funky as the Peppers’ past
efforts, but they had obviously concentrated on the strength of the
music more than ever before. Likely the lack of narcotics among the
band had helped this (for the time being anyway, John Frusciante’s
drug problems had yet to come to a head), but I think plain old
maturity had taken a strong hold as well. Not to be minimized is
the contribution of production guru Rick Rubin who helps to reign
in and control RHCP’s power without watering it down.
The songs center for the most part on the signature cock-swagger
that the Peppers are famous for. However, they show a much more
thoughtful side than we’re used to, specifically on the most
unlikely of hits, Kiedis’ heartfelt “Under The Bridge.” In part a
tribute to his SoCal homeland, but mainly a painful reflection on
life as a heroin addict. Many critics sneered at Kiedis’ prose, but
it’s hard to deny the emotion that he pours into this song. Nothing
rings truer than, well… the truth. This song saturated the
airwaves for something like six months after it’s initial release.
Strange that the one song on this album that’s as far afield from
RHCPs norm as possible became the definitive track at that time in
their career. The Peppers show an unusual propensity towards
ballads on this disc. The guilt sodden “Breaking The Girl” and “I
Could Have “I Could Have Lied.” These songs offer in interesting
perspective to the historically party-hard, straight-ahead funk
we’re used to. In retrospect you can see how this became a norm for
future albums, and shows a more mature and diverse side of the
Peppers that I personally find refreshing. The introspective
ballads would, by the release of “Californication,” become part of
their trademark sound.
Fear not funk lovers, this is no wimpy collection of songs.
Propelled by Flea’s frenetic thumb-busting bass and the furious
riffing of guitarist John Frusciante, the funk flows freely on sex
saturated pile-drivers like “Suck My Kiss” and “Give It Away.” This
disc immediately became “the” party album of the year, and it was
hard to avoid the power of this breakthrough album. A hallmark of
musical growth, without sacrificing any of the joyful power the
Peppers are known best for. While
Mother’s Milk is definitely the breakthrough to success RHCP
was looking for, and richly deserved,
Blood Sugar Sex Magik marks the point where they made all
the musical pieces fit.