The Getaway – Album Review

Getaway

Indeed, the Red Hot Chili Peppers are back with brand new album The Getaway, their first major release since 2011’s I’m With You.

The latter may have been a decent album but the departure of John Frusciante was felt right away as a lot of the songs seemed like they had been tailored to the guitarist’s particular style so let’s hope this new effort gives replacement Josh Klinghoffer a fair shot.

The opener is title track “The Getaway” and it’s a funky slow-burn which builds to an atmospheric bridge and chorus. It’s never quite as catchy as it should be but it works and it’s an enjoyable lead-up to what comes next plus the final few verses are so good they leave you wanting more.

Then comes the first single “Dark Necessities” which cements the dancier, more Summer-friendly elements foreshadowed by the opening track with claps marking the beat, some excellent bass work by Flea and a reflective, memorable chorus. It’s everything you’d want and expect from a RHCP single: commercial yet catchy and ultimately irresistible. The solid piano work throughout helps give the track a pensive mood and Klinghoffer gets a simple yet effective and welcome solo near the end showcasing his own grungier sound.

Chad Smith opens “We Turn Red” with a thumping beat and the song soon reveals itself to be a good old-fashioned rap-style RHCP track with a genuinely pretty melody kicking in every so often. It evokes the likes of “Right On Time” or “All Around The World” in that it’s so disjointed it probably shouldn’t work but it totally does.

With “The Longest Wave”, Josh Klinghoffer finally gets the chance to show he’s not only nailed that core RHCP sound but he can handle softer, more melodic songs. The track itself is a ballad with an ambitious scale and although it’s not the most memorable one on the album, it’s still enjoyable. “Goodbye Angels” has a terrific build-up which should kick butt live and open gigs with a bang. Overuse of the gimmicky “‘ey-yo” line aside, it’s a solid track with some very good guitar and bass work, both of which really come into play during a thrilling extended dual solo ending the song with an appropriate jolt.

Next up is “Sick Love” and that one feels like a track you’d probably find on By The Way with added claps and an upbeat chorus. Josh Klinghoffer once again gets a short solo and it fits in well with the otherwise softer vibe and if you’re wondering who’s playing the piano, you’ll be surprised to learn it’s none other than Elton John. “Go Robot” instantly delivers one of the best bass-lines on the album and although the main verses kinda fizzle out, the solid chorus saves the song from being just a glorified instrumental and, with the help of that clappy beat and some nifty pieces of electro makes it a fun, worthy little track.

“Feasting On The Flowers” doesn’t give much for Anthony Kiedis to sink his teeth into at first but the chorus is creative enough to flesh the song out gradually as it develops into a dancy rag-time and a fun R&B tune. This leads us to “Detroit”, a more experimental track with yet another brilliant bass-line at its heart. The verses and the bridge are the real heroes here as the chorus, which could have worked in a Foo Fighters song maybe, leaves a lot to be desired.

The next track is “This Ticonderoga” and this one should please fans of the band’s rockier work as Klinghoffer gets to proudly grunge-out and mark the rhythm with short scratchy outbursts. By this point, you can really tell that the band has adapted to its new guitarist’s style and wrote those new tracks with this in mind. There’s a more melodic part to the song which also works really well.

“Encore” is not so much an encore as it is one of the catchiest, most melodically rich tracks on the album. It’s just one hell of a pretty song and it manages to not only keep those claps and that Summer feel but deliver a bittersweet vibe as well. Great work all around on that one: maybe the best of the bunch.

“The Hunter” is a slower, bluesier piano-led track with an overall 70’s mood. It’s not very catchy but it’s the Red Hots trying something different both vocally and musically, which is a good thing. It’s promising to see that the band is ready to experiment a little more with songs that may not sell loads of singles but bring something new and unexpected to the table nevertheless.

Finally, we have “Dreams Of A Samurai”, which opens with a piano and vocal choirs before turning into a rockier RHCP track. The song may be a bit all over-the-place but it works as a conclusion cleverly encompassing everything that made this album tick into an almost improvisational jazzy rock tune.

The Getaway does a lot of things right: the album uses Josh Klinghoffer correctly and, although it does provide some safer, more radio-friendly Summer singles, it’s also not afraid to experiment a bit and try some crazier ideas now and then, which is refreshing.

It doesn’t all pay off, most of the songs aren’t too catchy, but there’s something to be said about not having Chad Smith hammer down the same beat in every song like he did in Stadium Arcadium, giving the new guitarist a proper chance and letting Flea run wild with some of his best work in years. You can feel the teamwork that went into making this album and that makes for some good music for sure.

It’s 3 Red Hot Chili Fellas for The Getaway.

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It’s not vintage RHCP but still an enjoyable effort regardless.

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