Tag Archives: Josh Klinghoffer

The Getaway – Album Review


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.


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

What I Saw – Song Of The Day

John Frusciante

“What I Saw” may only be one of the many great songs to be found on John Frusciante‘s 7th album Inside Of Emptiness but it opens the album with a bang. It’s not the happiest album around so don’t expect too many songs about rainbows or smiling trees, “What I Saw” is the more upbeat it gets and even that one’s got an emotional quality to it. Kicks ass, though.

I’m With You – Album Review

No less than 5 years after their last release, The Red Hot Chili Peppers came back with a new album, I’m With You, which helped satisfy hungry fans.

But how did the album fare minus long-time guitarist John Frusciante, who officially left the band back in 2009?

Throughout the years, The Red Hot Chili Peppers have undergone changes and reinventions aplenty whilst always keeping their own brand of funky rock perfectly intact. The biggest switch came in 1999 with the release of hit album Californication which showed the band in a darker, more melancholic light. This meant the usual anarchic fast-paced funkiness increasingly gave way to an altogether more atmospheric and melodic approach. This was clearly the beginning of a new era for the band. The next album, By The Way, really made the most of Frusciante’s creativity and excelled especially with some of the best, most nostalgic ballads the band ever attempted. The album showed real heart and maturity but it was a love it or hate it affair proving too lyrical for some. Generally though, it was another hit.

Then came double-whammy Stadium Arcadium which offered not one but two discs shock full of red hot goodies. But, although the double album was a good enough listen on the whole, it just didn’t seem to add much to the band’s new style and felt perhaps a little too mellow with both discs sounding pretty similar to each other in terms of tone. It was good music but the songs relied too much on their catchy choruses and with discs grandly entitled Mars and Jupiter it all felt a tad underwhelming. Fans knew the band could do better.

So let’s talk about the follow up: I’m With You. The initial disappointment of John Frusciante’s departure aside, this could have potentially been a good thing for the band and given the guys a chance to reinvent themselves once more into something fitting the screeching swagger of new guitarist Josh Klinghoffer. Something darker, edgier perhaps? Actually, even the old, iconic Red Hot Chili Peppers logo made an appearance in the run-up to the album’s release.

First single “The Adventures Of Rain Dance Maggie” showed promising signs of a new, perhaps grungier direction with Klinghoffer’s fresh sound adding welcome attitude to a song which, besides feeling perhaps a tiny bit too long, was good enough to generate a lot of interest and high hopes for the new album.

It is surprising, then, that after all these changes taking place over the course of 5 whole years, that I’m With You doesn’t feel more different and groundbreaking than it does. Listening to it, there’s definitely some great Peppers songs there with the likes of “Monarchy Of Roses” and “Did I Let You Know” proving to be more than worthy additions on a par with some of their best work on By The Way.

There’s also a more experimental feel to the whole thing with a lot more piano (played by both Flea and Klinghoffer), some trumpets, a country-style song (“Happiness Loves Company”) and even a rap. That said, the band never seems ready to take a huge experimental leap and, instead of a complete reboot, we get a mild re-tweaking of their now very familiar style introduced back in 1999.

Klinghoffer does extremely well to fit in but songs like “The Adventures Of Rain Dance Maggie” or “Police Station” beg for Frusciante’s backing vocals. Aside from being one of the best, most creative guitar players out there, it should be noted that Frusciante is also a great vocalist and his unique voice has elevated numerous songs on By The Way and Stadium Arcadium to above average status.

A song like “Brendan’s Death Song”, for example, lacks some of the emotional punch that Frusciante could have no doubt brought to it. For fans of the man’s solo albums, it’s a given that his voice as well as his music were a key factor of the band’s latest approach. So yes, Klinghoffer is a perfectly fine presence in I’m With You and does a great job but Frusciante is nevertheless missed throughout.

I’m With You could have been so much more fun. Songs like “Look Around” or “Ethiopia” do very well to generate some of the old Peppers “grooves” but the album still has a mellow feel to it which gives it a familiarity we could have probably done without just this once. All that said, no one writes a catchy chorus like these guys and no matter how cryptically the songs begin you can be sure you’ll be mumbling all these choruses to yourself throughout the day regardless of how good the songs actually are.

Barring a couple of non-events, I’m With You is a fine album: a mix of more of the same and some hit-and-miss experiments (“Dance, Dance, Dance”) with a couple of golden nuggets here and there. It’s uneven stuff but fans and non-fans alike should enjoy it regardless.

We’ll have to wait either for John Frusciante’s return or for the band to give Josh Klinghoffer more freedom to bring the edge back, it seems, if we’re going to get the fresh re-invention we were promised. For now though, I’m With You is a fair one to check out, it won’t blow you away but just be happy the band made it through and are back in business.

Besides, 3 Red Hot Chili Fellas out of 5 ain’t half bad.