While John Frusciante has undoubtedly established himself as one of the greatest living guitar legends currently in performance; it is a push for me to clearly profess that One Hot Minute is the most robust album through The Red Hot Chili Peppers discography. This is not an undermining to the influence that Frusciante had subconsciously contributed to the making of this album.
Balzary “Flea”, Kiedis, and Smith had such a falling out given the abuse of one another’s creativity that a hex had been cast; through which the album plays as an exorcising through the source of voodoo magic.
The main kicker was not found in adding the guitars of Dave Navarro (Jane’s Addiction) on this album, rather the gleamingly obvious demons that were associated with the severed relationship. Tracks such as “Pea” lay institution to a clear incessant abuse that was present between our beloved icon and Balzary, in inquisition of his competence to write music independently. “Deep Kick” is Kiedis’ issue with the “pot calling the kettle black”, when he would later admit in his biography Scar Tissue that he suffered the very same dependence that forced Frusciante out of the unit.
[LISTEN] Red Hot Chili Peppers – One Hot Minute – Full Album
The album at whole experiments a plethora of emotions, from the joy of “Aeroplane” to the pensive recall of “My Friends” showing a melancholy displacement following the rash energy appropriated through the beginning of the album.
The hook of “Warped” took escalation that initially felt that there was no end to the turbulence that ensued. It was an old trick of the trade that had been in exercise by Navarro and Balzary in Jane’s Addiction, but would have never seen light without Fusciante’s departure.
The one track that stands as a traditionally “Chili Pepper’s” songs lay in “One Big Mob,” and “Walkabout.” They simulate the bump that has been synonymous with their sound.
What I found most surprising with this album though is the transition to the instrumentation of Eastern religions while the music is that of the spiritually depraved. It follows template of masterful musicians before who have taken spiritual music, and have found a way to legitimately bastardize the art form. The possession however raucous was motivated by the suppression of feeling the sound of the band lay definitively in John. This freedom to exert differences allowed them to drift to a level of experimentation that surpassed Frusciante’s individual escapade and muse.
I take great curiosity as to why they avoid revisiting this album for the majority of their live performances; it is the first album where Anthony is seemingly unapologetic about his voice, and even less apologetic about the poetry that dictates the expressionism of the tone. All and all this album has far more representation to the depth that comes associated with the journey of self-discovery.
The album rounds itself with “Transcending”, which sends a positive loving sensation of objective clarity and self-actualization with the bands’ identity. The positive and distorted views work as the ying and the yang. It is terrifying that the inability to find this balance and acceptance of complexity to their individual and group nature would never be present again.
Now it seems as though when I hear a “Pepper’s” song I could almost tell who is the driving force in its creation. With “One Hot Minute”, it seems as though they all shared the same perspective and the album more or less was produced on it’s own… If it was not produced by sorcery.
What does this album mean to you? What kind of times does it take you back to? Facebook comment below!