Red Hot Chili Peppers
The Getaway

THE REVIEW

Eleven albums for one of the most loved (and hated) bands in the history of American rock music.

The Red Hot Chili Peppers have been through a lot. Death, addictions, lineup changes, up to the pop rock shift (with consequent worldwide success) of “Californication” and the cross-sectional success that reached even those who were unaware of that milestone known as “Blood Sugar Sex Magik.”

Second album with the latest addition Josh Klinghoffer on guitar, replacing Frusciante after his (second) departure, this new “The Getaway” presents another very important novelty: it is the first album not to list Rick Rubin as producer, replaced by the much-hyped Danger Mouse (assisted in the mixing phase by the equally important Nigel Godrich, a longtime collaborator of Radiohead).

A heavy choice, indicating a certain willingness of Kiedis and associates to give a twist to a sound that, after the last, adequate but not exactly essential, “I’m With You,” seemed quite flattened. A twist that has come only partially: the sound textures, Anthony's singing alternating between broken and melodic, Flea's swirling bass lines are now an indispensable trademark for the Peppers. What has changed is the "outfit" given to the songs, no longer the funky pop rock of the productions with Frusciante, nor the regular alt rock of the latest studio test.

There is very little left of the more classic Red Hot. The huge single “Dark Necessities,” already a small instant classic, traces the now recognizable bass line of the old superhit “Can’t Stop” and builds on it with a melody enriched by the piano (a novelty already introduced, to tell the truth, in the previous work), giving an idea of what to expect in the rest of the album. “Goodbye Angels” is a crescendo reminiscent of the old “Goodbye Hooray,” but with one more gear. Very few concessions to straight rock, excluding “We Turn Red,” a funky rock that in the end is the closest thing to their old productions (also, however, interspersed with a couple of quiet moments), “Detroit” and the furious “This Ticonderoga,” with a verse as relentless as a speeding train and a curious operetta-like hopping interlude.

The opener, “The Getaway,” funks but in a very toned-down manner. “Sick Love,” the anticipated collaboration with Elton John and Bernie Taupin, could easily be an outtake from a ’70s album of the historic British singer-songwriter, and surprises with a nice synthesizer solo. “Go Robot,” already chosen as the next single, lives up to its title and contrasts a typically Kiedis-style verse with a nice synth-and-keyboard-dominated bridge.

“The Longest Wave” is a ballad to be counted among the best things on the album, with a rolling progression and a chorus to memorize, as well as “Feasting On The Flowers,” more Beatle-esque. Unfortunately, the album strings together two somewhat tired episodes before closing grandly with “Dreams Of A Samurai,” a long psychedelic ride that anticipates very interesting scenarios for the future of the Peppers, should they really decide to dare.

In short, a nice freshening up of the sound for the Red Hot, but without going overboard. We will see if this is the beginning (for all its goodness) of the end, or if the four (no longer) boys will decide to continue their career with some more surprises.

Best track: Dreams Of A Samurai