Album: Red Hot Chili Peppers - One Hot Minute (1995)
13 tracks / 61:24
Acquired: June 2011
Vocals: Anthony Kiedis
Guitars: Dave Navarro
Bass: Michael Flea Balzary
Drums: Chad Smith
All music and lyrics by Red Hot Chili Peppers unless noted otherwise.
Though I am familiar with some of the tracks from this album, One Hot Minute has remained a pretty distant RHCP album for me. I really don't know the reason why, but in my eyes it has lacked the awesomeness of the albums directly before and after it. Dave Navarro might have to do something with it, but I can't say this for certain.
Anyhow; it's time to go through the album in-depth so I can see whether this album really is as mediocre as I remember, or if I have just misjudged it.
1. Warped (5:04)
The calm bass-driven introduction works as a great contrast to the explosive energy that blows up as the guitars and drums kick in. For the most of the song intensive drumwork supports the straightforward guitar-and-bass riffs and Kiedis's lyrics about dependency and drugs. "Warped" is a straightforward hardrocker compared to the funky groove of older RHCP songs.
Kiedis's vocals in this song are a double-edged sword - although the heavily effected singing fits the mood of the drug-laden lyrics, you really can't hum them or sing along.
As the song reaches the end, the song suddenly shifts to a calm outro section unlike the rest of the song.
Kiedis's vocals in this song are a double-edged sword - although the heavily effected singing fits the mood of the drug-laden lyrics, you really can't hum them or sing along.
As the song reaches the end, the song suddenly shifts to a calm outro section unlike the rest of the song.
All in all, the song is energetic and pretty good, but it lacks some cohesiveness due to the intro and outro parts, and Navarro's riff-forward guitarwork really can't compete with Frusciante's interesting guitar melodies.
7/10
7/10
2. Aeroplane (4:45)
This one if one of the earliest RHCP songs I can remember and still it remains as one of my favorites. Navarro's guitarwork is more similar to Frusciante's in the earlier songs, although the wah-heavy guitar solos are really not my cup of tea.
Flea's bass lines shift nicely between the strong bass melodies of the chorus to the funky slap 'n' pop in the verses. Extra points for the groovy bass solo!
Even though I'm not fond of the kid chorus that the band used in the final part of the song, I still think this is one of the greatest Peppers songs, alas a bit overplayed.
9/10
Flea's bass lines shift nicely between the strong bass melodies of the chorus to the funky slap 'n' pop in the verses. Extra points for the groovy bass solo!
Even though I'm not fond of the kid chorus that the band used in the final part of the song, I still think this is one of the greatest Peppers songs, alas a bit overplayed.
9/10
3. Deep Kick (6:33)
Beginning with dreamy, bass-driven introduction that doesn't seem to go anywhere, with spoken word vocals, this song many times just asks to be skipped. It takes full two minutes for the song to kick in - a tad too much, if you ask me.
This time the guitar riffs are more funky chops than rock riffs, but the guitar leads seem to borrow more from Jane's Addiction than earlier RHCP. However, the song as a whole seems to be not unlike the stuff the Peppers wrote after this album (which is not a bad thing if you ask me).
The biggest problem with this song is the outro part - once again - when the horribly out-of-tune vocals and dissonant guitar screeches emerge. I really don't get it why these guys were so keen on ruining decent songs with horrible coda sections. Was it the drugs?
5/10
This time the guitar riffs are more funky chops than rock riffs, but the guitar leads seem to borrow more from Jane's Addiction than earlier RHCP. However, the song as a whole seems to be not unlike the stuff the Peppers wrote after this album (which is not a bad thing if you ask me).
The biggest problem with this song is the outro part - once again - when the horribly out-of-tune vocals and dissonant guitar screeches emerge. I really don't get it why these guys were so keen on ruining decent songs with horrible coda sections. Was it the drugs?
5/10
4. My Friends (4:02)
Suddenly a wild ballad appears!
Another one of those RHCP songs I remember from my childhood. Nice and soothing despite the gloomy lyrics. Very reminiscent of the Californication-era songs. Manages to roll from the beginning to the end without annoying me a bit. Clearly one of the better tracks of the album.
8/10
Another one of those RHCP songs I remember from my childhood. Nice and soothing despite the gloomy lyrics. Very reminiscent of the Californication-era songs. Manages to roll from the beginning to the end without annoying me a bit. Clearly one of the better tracks of the album.
8/10
5. Coffee Shop (3:08)
In contrast to the peaceful "My Friends", this songs kicks in with full force, pounding with heavily distorted guitar riffs and slapping bass riffs.
"Coffee Shop" is not really anything special, yet due to its unrelenting energy and drumming I can't help but nodding to the rhythms. Also the sudden calm-yet-funky mid-section doesn't seem to be out of place at all, but instead adds some interest to the song.
Groovy rocker with attitude.
8/10
Groovy rocker with attitude.
8/10
6. Pea (1:47)
(Flea)
A really weird solo part by Flea. I really can't say that this is a great song; yet I can't help liking this piece. It also gives some well-needed time to breathe before and after the surrounding pounders.
8/10
8/10
7. One Big Mob (6:02)
Back to the full-throttle rocking. Though the groovy rhythms rock, I'm not that much of a fan of the shouted backing vocals in the first and final parts of the song.
After the hard introduction, the song takes a shift to a semi-psychedelic direction. Though musically this part is nice, Kiedis's vocals - though effecs-heavy - are more of a nuisance than a mood-maker; he really doesn't seem to be at his best.
The dreamy middle section then returns to the groovy rock of the introduction ending with fierce funk-punk and heavy metal riffs.
Without the mid-section this song would be pretty boring, but at least it gives some interest to it. However, as a whole, it really isn't one of the strong points of the album.
6/10
After the hard introduction, the song takes a shift to a semi-psychedelic direction. Though musically this part is nice, Kiedis's vocals - though effecs-heavy - are more of a nuisance than a mood-maker; he really doesn't seem to be at his best.
The dreamy middle section then returns to the groovy rock of the introduction ending with fierce funk-punk and heavy metal riffs.
Without the mid-section this song would be pretty boring, but at least it gives some interest to it. However, as a whole, it really isn't one of the strong points of the album.
6/10
8. Walkabout (5:07)
Clearly more funky tune after the few hard-rockers. Groovy and relaxed, "Walkabout" is a nice, peaceful moment in between the heavier tracks - but I must say that the funky guitars really remind me of the Love Boat and everything that is 70's - which works here just fine.
8/10
8/10
9. Tearjerker (4:19)
Another slower, calmer track. Intrumentally a nice interplay between the clean guitar with slight delay and melodic bass lines. Quite nice a track otherwise, but I must say that once again Anthony Kiedis's vocals are not up to par; especially the chorus part isn't really that listenable. With better vocals this could have been my favorite track of the album, but the chorus slices off a point or two.
8/10
8/10
10. One Hot Minute (6:23)
Just like the opener, "Warped", this song opens with a quiet intro, which suddenly explodes into loud hard rock song. However, "One Hot Minute" is significantly slower than the majority of the album, trudging on with massive force.
Otherwise this is a rather decent, though maybe a bit dull song, but Kiedis's vocals once again trouble me. They lack feeling for the majority of the song - they are more of a snarl than enjoyable singing.
Quite a boring track that lacks hooks and instead tries to rely more on slow groove and heavy distortion.
5/10
Otherwise this is a rather decent, though maybe a bit dull song, but Kiedis's vocals once again trouble me. They lack feeling for the majority of the song - they are more of a snarl than enjoyable singing.
Quite a boring track that lacks hooks and instead tries to rely more on slow groove and heavy distortion.
5/10
Falling Into Grace (3:48)
Bass riffery drives this funkier piece onwards. A groovy and rather catchy RHCP standard that relies on simple yet surprisingly catchy chorus and serious goofery with trippy guitar and bass effects. Though not my favorite tracks, it also fails to irritate me in any way.
7/10
7/10
Shallow Be Thy Game (4:33)
Well if the title isn't a "really funny" play with words.
Title aside, this track returns the album back to regular funk rock the band is known for. Navarro chops away nice guitar vamps while Flea supports Smith's drumming with bouncy bass grooves.
With a decent chorus and great instrumentation, this song happens to be one of the strongest tracks on the whole album. "Shallow Be Thy Game" clearly paves the road for the straightforward-yet-groovy rockers that made the following two albums popular.
9/10
Title aside, this track returns the album back to regular funk rock the band is known for. Navarro chops away nice guitar vamps while Flea supports Smith's drumming with bouncy bass grooves.
With a decent chorus and great instrumentation, this song happens to be one of the strongest tracks on the whole album. "Shallow Be Thy Game" clearly paves the road for the straightforward-yet-groovy rockers that made the following two albums popular.
9/10
Transcending (5:46)
The final track of the album begins with melodic yet intensive bass lines. The song as a whole has some of the greatest interplays between the bass and guitar melodies and also Kiedis manages to deliver more emotional vocals than for the vast part of the album.
Before ending, the song descends into a trippy, effects-heavy part with heavy and slow groove. All in all, "Transcending" is a nice closure for an album this uneven, and though it's not really a potential hit single, it is overall an enjoyable track. Luckily they picked a better song to end the album.
8/10
Before ending, the song descends into a trippy, effects-heavy part with heavy and slow groove. All in all, "Transcending" is a nice closure for an album this uneven, and though it's not really a potential hit single, it is overall an enjoyable track. Luckily they picked a better song to end the album.
8/10
***
Final verdict
After listened the album once again through, I still feel quite mixed towards it. It has its moments, and even has some of the greatest Peppers songs, but on the other hand it lacks quite much that its follower, Californication, has. Probably it has something to do with the absence of John Frusciante, whose intricate guitar melodies and background singing play major part especially in the latter works of Red Hot Chili Peppers. I admit that Dave Navarro is an accomplished guitarist, but the heavier emphasis on rock and metal riffs shifts the dynamics of the band too much away from the sound I've grown accustomed to. However, the trippy psychedelic parts were interesting, and I actually hoped that the band would've emphasized it more instead of hard rock.
The heavy drug use seems to have had some impact on Anthony Kiedis's voice, as his voice seems to be rather strained, or even a snarl in some songs, making them not really a treat to listen to.
In a nutshell, the album is listenable, and at times actually really enjoyable, but it is far from the best works the Peppers have done. In my opinion some of the weaker tracks could have been scrapped from the album and nothing of value would've been lost. Actually, a shorter length would have done good for the album - clocking at over an hour, "One Hot Minute" is maybe a bit too lengthy.
In a nutshell, the album is listenable, and at times actually really enjoyable, but it is far from the best works the Peppers have done. In my opinion some of the weaker tracks could have been scrapped from the album and nothing of value would've been lost. Actually, a shorter length would have done good for the album - clocking at over an hour, "One Hot Minute" is maybe a bit too lengthy.
Score: 74/100
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