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Red Hot Chili Peppers – Studio Albums Collection 1984-2006 (Japanese Releases)
Genre: Alternative Rock, Funk Rock, Funk Metal, Punk Rock
A collection of 10 CD, which includes 9 studio albums by Red Hot Chili Peppers.The Red Hot Chili Peppers are an American rock band. They formed in Los Angeles, California, in 1983. The group’s musical style has fused traditional funk with elements of other genres, including punk and psychedelic rock.
Bass player Michael "Flea" Balzary and vocalist Anthony Kiedis remain the only constant members throughout all the incarnations of the band. The current line-up consists also of longtime drummer Chad Smith and new guitarist Josh Klinghoffer.
The group’s original line-up featured guitarist Hillel Slovak and drummer Jack Irons, albeit not playing on the debut album, The Red Hot Chili Peppers. Cliff Martinez was the drummer for the first two records, filling in for Irons, and guitarist Jack Sherman played on the first only. Slovak performed on two albums with the band, Freaky Styley and The Uplift Mofo Party Plan; he died of a heroin overdose in 1988, resulting in Irons’ departure. Former Dead Kennedys drummer D.H. Peligro briefly replaced Irons before the band found a permanent replacement in Smith. Guitarist John Frusciante replaced Slovak. The line-up of Flea, Kiedis, Frusciante and Smith was the longest-lasting, and recorded the band’s fourth, fifth, seventh, eighth and ninth albums, Mother’s Milk (1989), Blood Sugar Sex Magik (1991), Californication (1999), By the Way (2002), and Stadium Arcadium (2006).
Blood Sugar Sex Magik, the group’s first commercial success, has sold over thirteen million copies. Frusciante grew uncomfortable with the success of the band and left abruptly in 1992, in the middle of the album tour. His use of heroin increased. After recruiting guitarist Arik Marshall to complete the tour, Kiedis, Flea, and Smith employed Dave Navarro of Jane’s Addiction for their subsequent album, One Hot Minute (1995). Although commercially successful, the album failed to match the critical or popular acclaim of Blood Sugar Sex Magik, selling less than half as well as its predecessor. Navarro left the band shortly after the album’s release. Frusciante, fresh out of drug rehabilitation, rejoined the band in 1998 at Flea’s request. The reunited quartet returned to the studio to record Californication (1999), which sold fifteen million copies – the band’s most commercially successful album. That album was followed three years later by By the Way, which was also successful. In 2006, the group released the double album Stadium Arcadium, their first number one album in America. After a world tour, the group went on an extended hiatus. Frusciante announced he was amicably leaving the band to focus on his solo career. Josh Klinghoffer, who had worked both as a sideman for the band on their Stadium Arcadium tour and on Frusciante’s solo projects, joined as lead guitarist. The band have finished their tenth studio album, I’m With You, which is to be released on August 30, 2011.
The Red Hot Chili Peppers have won 7 Grammy Awards. The band has sold over 60 million albums worldwide, charting eight singles in the Top 40 of the Billboard Hot 100 (including three in the Top 10), five number one singles on the Mainstream Rock charts, and a record of eleven number one singles on the Modern Rock charts.
http://en.wikipedia.org/wiki/Red_Hot_Chili_Peppers
Red Hot Chili Peppers – The Red Hot Chili Peppers (1984) 2006 Japanese Limited Edition & Remastered
The Red Hot Chili Peppers’ debut album sketched out their funk-metal hybrid quite effectively, especially on the warped deep groove of "True Men Don’t Kill Coyotes." Even though their fusion of heavy guitars and slapping bass was audacious, their first effort didn’t quite gel into a cohesive album. [The 2007 Japanese reissue included bonus tracks.]
Review by Stephen Thomas Erlewine, Allmusic.com
Tracklist:
01. True Men Don’t Kill Coyotes
02. Baby Appeal
03. Buckle Down
04. Get Up and Jump
05. Why Don’t You Love Me
06. Green Heaven
07. Mommy, Where’s Daddy?
08. Out in L.A.
09. Police Helicopter
10. You Always Sing the Same
11. Grand Pappy du Plenty
Bonus tracks:
12. Get Up and Jump (demo)
13. Police Helicopter (demo)
14. Out in L.A. (demo)
15. Green Heaven (demo)
16. What It Is (aka Nina’s Song) (demo)
Red Hot Chili Peppers – Freaky Styley (1985) 2006 Japanese Limited Edition Remastered
The closest the Red Hot Chili Peppers ever came to straight funk, Freaky Styley is the quirkiest, loosest, and most playful album in their long and winding catalog. It’s also one of the best, if least heard. A year earlier, in 1984, they’d made their self-titled debut with a stiff album produced Andrew Gill of Gang of Four fame. The album had its share of good songs, most notably "True Men Don’t Kill Coyotes" and "Get Up and Jump," but Gill’s cold and tinny production riddled The Red Hot Chili Peppers with the same sort of problem that made Gang of Four’s early-’80s albums so distasteful. Namely, the production sucks all the life out of the music and makes it seem distant and unapproachable, as if you were listening to the album in a long tunnel with reflective metal walls. Here on Freaky Styley that problem is thankfully solved: enter producer extraordinaire George Clinton. The funk legend not only gives the Peppers the sort of warm and loose-limbed production that had graced many a Parliament/Funkadelic album over the years, but he also seemingly gives the band some serious inspiration. For instance, a pair of covers of funk classics instantly stand out — "If You Want Me to Stay" (Sly & the Family Stone) and "Africa" (the Meters), the latter retitled "Hollywood (Africa)" here — and they’re made all the more standout with the addition of Maceo Parker and Fred Wesley on horns. The Peppers also write a number of strong songs of their own. If none stand out, per se — with the exception of the two covers, that is — that’s because they’re all fairly good, relatively rough songs. Sure, some are slight, no question about that, but they help the album flow from one song to the next, because the songs are all more or less different from one another in subtle ways. And they’re performed with vigor, as original guitarist Hillel Slovak is thankfully back aboard (replacing Jack Sherman, who played guitar on The Red Hot Chili Peppers and co-wrote the bulk of these songs), and he makes a major contribution to practically every song, playing straight funk here more so than the funk-metal that would characterize the band’s subsequent album, The Uplift Mofo Party Plan. And to make mention of that 1987 follow-up, the Peppers would move on to a new producer, making this their one collaboration with Clinton. They’d never quite recapture the pure funk sound of Freaky Styley again, likely as a result. That’s one reason why this album is so special, but it’s also because the Peppers have a good clutch of songs to work with in addition to excellent production. And too, they seem relaxed and at ease here, playing quirky songs without any self-consciousness, a quality lacking on their debut. It’s a quality lacking on subsequent albums also, though to a lesser degree, when the Peppers would begin sharpening their pop smarts and crafting catchy songs rather than just fun jams like these. So if you’re feeling adventurous and are drawn to the idea of the Peppers and Clinton together in the same studio back in 1985 without any pop-crossover ambitions, give Freaky Styley a listen by all means. It’s a cult classic of sorts and a world apart from the where the band would go in later years, for better and for worse. [The Japanese reissue included bonus tracks.]
Review by Jason Birchmeier, Allmusic.com
Tracklist:
01. Jungle Man
02. Hollywood (Africa)
03. American Ghost Dance
04. If You Want Me to Stay
05. Nevermind
06. Freaky Styley
07. Blackeyed Blonde
08. The Brothers Cup
09. Battleship
10. Lovin’ and Touchin’
11. Catholic School Girls Rule
12. Sex Rap
13. Thirty Dirty Birds
14. Yertle the Turtle
bonus tracks:
15. Nevermind (demo)
16. Sex Rap (demo)
17. Freaky Styley (original long version)
18. Millionaires Against Hunger
Red Hot Chili Peppers – The Uplift Mofo Party Plan (1987) 2006 Japanese Limited Edition Remastered
In a perfect world, the Red Hot Chili Peppers’ breakthrough album wouldn’t have been 1989′s Mother’s Milk, but 1987′s The Uplift Mofo Party Plan, and the history of this groundbreaking rock/rap band (and likely the entire subgenre it created) would’ve been drastically changed. But the Chili Peppers created most of the imperfections in their world, especially in the late ’80s, and the unusual scenario of four original bandmembers recording together for the first time on that band’s third album would tragically prove to be a one-shot deal. Veterans Anthony Kiedis (vocals) and Flea (bass) had welcomed back original guitarist Hillel Slovak for the preceding Freaky Styley album after using Jack Sherman on their self-titled 1984 debut, doing the same at this point for original drummer Jack Irons, who replaced Cliff Martinez. The energy of having these four friends from Los Angeles back together jumps out of the opening anthem "Fight Like a Brave" and the experimental "Funky Crime"; tracks like the autobiographical "Me & My Friends" and closing "Organic Anti-Beat Box Band" would stay in the group’s live repertoire for the next decade or more. Kiedis’ barking rap delivery drives the cover of Bob Dylan’s "Subterranean Homesick Blues," and Flea’s ahead-of-their-time slapping basslines stand out in "Behind the Sun" and "Walkin’ on Down the Road," but Slovak and Irons brought things to the Chili Peppers that no one else ever has. The drummer’s pounding funk backbeats left a blueprint for his successor, Chad Smith, and the manic intro to "Skinny Sweaty Man" sounds like Buddy Rich playing James Brown material. Slovak is at the height of his powers on the rap-rock reggae "Love Trilogy" and funky "Special Secret Song Inside," which gained some notoriety for its anatomical undertones. But Slovak would die of a heroin overdose the following year, with Irons quitting the band afterward from the depression of the loss. Kiedis and Flea would come to grips with their own drug habits and return with Smith and guitarist John Frusciante on Mother’s Milk, breaking into the arena circuit with a hit cover of Stevie Wonder’s "Higher Ground" — and leaving Kiedis and Flea to wonder what might have been. [Japanese edition included bonus tracks.]
Review by Bill Meredith, Allmusic.com
Tracklist:
01. Fight Like a Brave
02. Funky Crime
03. Me and My Friends
04. Backwoods
05. Skinny Sweaty Man
06. Behind the Sun
07. Subterranean Homesick Blues
08. Party on Your Pussy (formerly Special Secret Song Inside)
09. No Chump Love Sucker
10. Walkin’ on Down the Road
11. Love Trilogy
12. Organic Anti-Beat Box Band
Bonus tracks:
13. Behind the Sun (instrumental demo)
14. Me and My Friends (instrumental demo)
Red Hot Chili Peppers – Mother’s Milk (1989) 2006 Japanese Limited Edition Remastered
A pivotal album for the Red Hot Chili Peppers, 1989′s Mother’s Milk turned the tide and transformed the band from underground funk-rocking rappers to mainstream bad boys with seemingly very little effort. Mother’s Milk brought them to MTV, scored them a deal with Warner Brothers, and let both frontman Anthony Kiedis and the ubiquitous Flea get back out into a good groove following the death of co-founding member Hillel Slovak. With a new lineup coalescing around the remaining duo with new drummer Chad Smith and guitarist John Frusciante, and with producer Michael Beinhorn again behind the boards, the band took everything that The Uplift Mofo Party Plan hinted at, and brought it fully to bear for this new venture. If anyone doubted the pulsating power that leapt from the blistering opener, "Good Time Boys," it took only a few bars of the Red Hot Chili Peppers’ outrageous, and brilliant, interpretation of the Stevie Wonder classic "Higher Ground" to prove that this new lineup was onto something special. Wrapping up with the aptly titled and truly punked-out "Punk Rock Classic" and the band’s own punched-up tribute to "Magic Johnson," Mother’s Milk was everything the band had hoped for, and a little more besides. Effortlessly going gold as "Knock Me Down" and "Taste the Pain" careened into the charts, the album not only set the stage for the band’s Blood Sugar Sex Magic domination, it also proved that funk never died; it had just swapped skins. [Japanese reissue included bonus tracks.]
Review by Amy Hanson, Allmusic.com
Tracklist:
1. Good Time Boys
2. Higher Ground
3. Subway To Venus
4. Magic Johnson
5. Nobody Weird Like Me
6. Knock Me Down
7. Taste The Pain
8. Stone Cold Bush
9. Fire
10. Pretty Little Ditty
11. Punk Rock Classic
12. Sexy Mexican Maid
13. Johnny Kick A Hole In The Sky
Вonus tracks:
14. Song That Made Us What We Are Today – demo
15. Knock Me Down – original long version
16. Sexy Mexican Maid – original long version
17. Salute To Kareem – demo
18. Castles Made Of Sand live
19. Crosstown Traffic – live
Red Hot Chili Peppers – Blood Sugar Sex Magik (1991) 2006 Japanese Reissue
The Red Hot Chili Peppers’ best album, Blood Sugar Sex Magik benefits immensely from Rick Rubin’s production — John Frusciante’s guitar is less overpoweringly noisy, leaving room for differing textures and clearer lines, while the band overall is more focused and less indulgent, even if some of the grooves drag on too long. Lyrically, Anthony Kiedis is as preoccupied with sex as ever, whether invoking it as his muse, begging for it, or boasting in great detail about his prowess, best showcased on the infectiously funky singles "Give It Away" and "Suck My Kiss." However, he tempers his testosterone with a more sensitive side, writing about the emotional side of failed relationships ("Breaking the Girl," "I Could Have Lied"), his drug addictions ("Under the Bridge" and an elegy for Hillel Slovak, "My Lovely Man"), and some hippie-ish calls for a peaceful utopia. Three of those last four songs (excluding "My Lovely Man") mark the band’s first consistent embrace of lilting acoustic balladry, and while it’s not what Kiedis does best as a vocalist, these are some of the album’s finest moments, varying and expanding the group’s musical and emotional range. Frusciante departed after the supporting tour, leaving Blood Sugar Sex Magik as probably the best album the Chili Peppers will ever make.
Review by Steve Huey, Allmusic.com
Tracklist:
1. Power Of Equality
2. If You Have To Ask
3. Breaking The Girl
4. Funky Monks
5. Suck My Kiss
6. I Could Have Lied
7. Mellowship Slinky In B Major
8. Righteous And The Wicked
9. Give It Away
10. Blood Sugar Sex Magik
11. Under The Bridge
12. Naked In The Rain
13. Apache Rose Peacock
14. Greeting Song
15. My Lovely Man
16. Sir Psycho Sexy
17. They’re Red Hot
Red Hot Chili Peppers – One Hot Minute (1995) 2006 Japanese Reissue
Following up Blood Sugar Sex Magik proved to be a difficult task for the Red Hot Chili Peppers. In 1993, two years after Blood Sugar, former Jane’s Addiction guitarist Dave Navarro joined up, but it was still another two years before One Hot Minute appeared, due to various personal problems. Navarro’s metallic guitar shredding should have added some weight to the Chili Peppers’ punk-inflected heavy-guitar funk, but tends to make it plodding. By emphasizing the metal, the funk is gradually phased out of the blend, as is melody; the grinding chant of "Warped" is hardly as twisted as anything on Freaky Styley, or even "Give It Away." The ballads "My Friends" and "Transcending" are blatant attempts to hold on to the mainstream audience gained by "Under the Bridge," but the melodies are weak and the lyrics are even more feeble. One Hot Minute is as musically ambitious as Blood Sugar Sex Magik, but is even more unfocused, which means it provides the fewest thrills of any of the group’s albums.
Review by Stephen Thomas Erlewine, Allmusic.com
Tracklist:
1. Warped
2. Aeroplane
3. Deep Kick
4. My Friends
5. Coffee Shop
6. Pea
7. One Big Mob
8. Walkabout
9. Tearjerker
10. One Hot Minute
11. Falling Into Grace
12. Shallow Be Thy Name
13. Transcending
Red Hot Chili Peppers – Californication (1999) 2006 Japanese Limited Edition Reissue
Many figured that the Red Hot Chili Peppers’ days as undisputed alternative kings were numbered after their lackluster 1995 release One Hot Minute, but like the great phoenix rising from the ashes, this legendary and influential outfit returned back to greatness with 1999′s Californication. An obvious reason for their rebirth is the reappearance of guitarist John Frusciante (replacing Dave Navarro), who left the Peppers in 1992 and disappeared into a haze of hard drugs before cleaning up and returning to the fold in 1998. Frusciante was a main reason for such past band classics as 1989′s Mother’s Milk and 1991′s Blood Sugar Sex Magik, and proves once and for all to be the quintessential RHCP guitarist. Anthony Kiedis’ vocals have improved dramatically as well, while the rhythm section of bassist Flea and drummer Chad Smith remains one of rock’s best. The quartet’s trademark punk-funk can be sampled on such tracks as "Around the World," "I Like Dirt," and "Parallel Universe," but the more pop-oriented material proves to be a pleasant surprise — "Scar Tissue," "Otherside," "Easily," and "Purple Stain" all contain strong melodies and instantly memorable choruses. And like their 1992 introspective hit "Under the Bridge," there are even a few mellow moments — "Porcelain," "Road Trippin’," and the title track. With the instrumentalists’ interplay at an all-time telepathic high and Kiedis peaking as a vocalist, Californication is a bona fide Chili Peppers classic. [A Japanese version added a bonus track.]
Review by Greg Prato, Allmusic.com
Tracklist:
1. Around The World
2. Parallel Universe
3. Scar Tissue
4. Otherside
5. Get On Top
6. Californication
7. Easily
8. Porcelain
9. Emitremmus
10. I Like Dirt
11. This Velvet Glove
12. Savior
13. Purple Stain
14. Right On Time
15. Road Trippin
Bonus:
16. Gong Li
Red Hot Chili Peppers – By the Way (2002) 2006 Japanese Limited Edition Issue
The Red Hot Chili Peppers’ eighth studio album finds the California foursome exploring the more melodic freeways of harmony and texture, contrasting the gritty, funky side streets of their early days. Luckily, with this more sophisticated sound, the Peppers have not sacrificed any of their trademark energy or passions for life, universal love, and (of course) lust. Although they recorded the spiky Abbey Road EP in 1988, this album actually sounds a lot closer to the Beatles’ Abbey Road, with a little of Pet Sounds and elements of Phil Spector’s lushest arrangements all distilled through the band’s well-traveled funk-pop stylings. Harmony vocals and string arrangements have replaced some of the aggressive slap bass that the group was initially recognized for, but fans of both the gentle and the fierce Chili Peppers styles will embrace the title track and first single, "By the Way." In fact, this song on its own could almost be a brief history of everything the Red Hot Chili Peppers have recorded: fiery Hollywood funk, gentle harmonies, a little bit of singing about girls, a little bit of hanging out in the streets in the summertime, some rapid-fire raps from Anthony Kiedis, some aggro basslines from Flea — the song plays like a three-and-a-half-minute audio version of Behind the Music. Overall, the album leans more toward the melodic end of their oeuvre, but they have grown into this kinder, gentler mode organically, progressively working toward this groove little by little, album by album. What once were snapshots of a spastic punk-funk lifestyle have grown into fully realized short stories of introspection and Californication. Though the pace of the album falters at times (particularly in the verses; the choruses are all pretty spectacular), it is refreshing to see that as the four Chili Peppers continue to grow older and more sure of themselves, their composition and performing skills are maturing along with them.
Review by Zac Johnson, Allmusic.com
Tracklist:
01. By the Way (3:37)
02. Universally Speaking (4:19)
03. This Is the Place (4:17)
04. Dosed (5:12)
05. Don’t Forget Me (4:37)
06. The Zephyr Song (3:52)
07. Can’t Stop (4:29)
08. I Could Die for You (3:13)
09. Midnight (4:55)
10. Throw Away Your Television (3:44)
11. Cabron (3:38)
12. Tear (5:17)
13. On Mercury (3:28)
14. Minor Thing (3:37)
15. Warm Tape (4:16)
16. Venice Queen (6:07)
17. Time [Bonus Track] (3:47)
Red Hot Chili Peppers – Stadium Arcadium 2CD (2006) Japanese Edition
Indulgence has long been a way of life for the Red Hot Chili Peppers, yet they resisted the siren’s call of the double album until 2006′s Stadium Arcadium. Sure, 1991′s breakthrough Blood Sugar Sex Magik was as long as a classic double LP, but such distinctions mattered little in the era when vinyl gave way to CD, and they matter less now, as the CD gradually gives way to digital-only releases. In fact, like how Blood Sugar was the tipping point when the LPs ceded ground to CDs, Stadium Arcadium could be seen as the point when albums were seen as a collection of digital playlists. Yes, it’s pressed up as a two-disc set — including an extravagant but pointless special edition housed in a clunky box that includes a make-yer-own-spinning-top — but this is an album that’s designed for you to mix and match, create your own playlist, rip and burn on your own. It’s designed for you to sequence its 28 songs in some kind of cohesive manner, since the band sure didn’t take the time to do that here; it’s the first major album by a major band that makes as much sense on random as it does in its proper sequencing. Well, that’s not entirely true: the official 28-song album does begin with "Dani California," the clearest single here, the one thing that truly grabs attention upon first listen and worms its way into your subconscious, where it just won’t let go, as so much of Anthony Kiedis’ catchiest melodies do. After that, it’s a long, winding path of alternately spacey and sunny pop, ballads, and the occasional funk workout that used to be the Chili Peppers’ signature but now functions as a way to break up the monotony. And there needs to be something to break up the monotony, not because the music is bad but because it all exists at the same level and is given a flat, colorless production that has become the signature of Rick Rubin as of late.
Rubin may be able to create the right atmosphere for Flea and John Frusciante to run wild creatively — an opportunity that they seize here, which is indeed a pleasure to hear — but he does nothing to encourage them to brighten the finished recording up with some different textures, or even a greater variety of guitar tones. As such, the bare-bone production combined with the relentless march of songs gives Stadium Arcadium the undeniable feel of wading through the demos for a promising project instead of a sprawling statement of purpose; there’s not enough purpose here for it to be a statement. That fault is down to the band not forming the raw material into something palatable for the listener, but there’s also the problem that as a lyricist Anthony Kiedis just isn’t that deep or clever enough to provide cohesive themes for an album of this length; he tackles no new themes here, nor does he provide new insight to familiar topics. To his credit, he does display a greater versatility as a vocalist, cutting back on the hambone rapping that used to be his signature and crooning throughout the bulk of this album, usually on key. That said, he still has enough goofy tics to undercut his attempts at sincerity, and he tends to be a bit of a liability to the band as a whole; with a different singer, who could help shape and deliver these songs, this album might not seem as formless and gormless. But there is a fair amount of pleasures here, all down to the interplay between Flea and Frusciante. While drummer Chad Smith does prove himself quite versatile here, gracefully following the eccentric turns and meanderings of the bassist and guitarist, the string instruments are the reason to listen to Stadium Arcadium. That’s always been the case to a certain extent with the Chili Peppers, but here it’s especially true, as they push and pull, rave and rumble, lie back and rock out — pretty much spit out anything they can do on their instruments over the course of 28 songs. As good as much of this is, there is a little bit of monotony here, since they’re working variations on their signature themes, and they haven’t found a way to make these variations either transcendent or new; they’re just very good renditions on familiar themes. These tracks rarely betray their origins as studio jams — more than ever, it’s possible to hear that the track came first, then the song — and while that can result in some good listening, it all does kind of drift together. That said, there are no bad tracks here — it’s all of a relatively high quality — but there are no standouts either, so it takes a very dedicated fan to start sorting out the subtleties between the tracks (not the wheat from the chaff, since it’s all wheat). And while those hardcore fans may certainly enjoy the make-your-own-adventure spirit of Stadium Arcadium, it’s hard not to feel that it’s the band’s responsibility to take this very good repetitive album and mold it into something sharper and more effective. So call it the rock version of Peter Jackson’s King Kong: there’s something pretty great and lean buried beneath the excess, but it’s so indulgent, it’s a work that only a fanboy could truly love.
Review by Stephen Thomas Erlewine, Allmusic.com
Tracklist:
CD1: Jupiter
01 Dani California 4:42
02 Snow (Hey Oh) 5:34
03 Charlie 4:37
04 Stadium Arcadium 5:15
05 Hump de Bump 3:33
06 She’s Only 18 3:25
07 Slow Cheetah 5:19
08 Torture Me 3:44
09 Strip My Mind 4:19
10 Especially in Michigan 4:01
11 Warlocks 3:25
12 С’mon Girl 3:48
13 Wet Sand 5:09
14 Hey 5:39
CD2: Mars
01 Desecration Smile 5:04
02 Tell Me Baby 4:07
03 Hard to Concentrate 4:01
04 21st Century 4:22
05 She Looks to Me 4:06
06 Readymade 4:30
07 If 2:52
08 Make You Feel Better 3:51
09 Animal Bar 5:25
10 So Much I 3:44
11 Storm in a Teacup 3:45
12 We Believe 3:36
13 Turn It Again 6:06
14 Death of a Martian 4:24
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