I'm With You - Red Hot Chili Peppers

This week I will be sharing my thoughts and feelings upon the much anticipated new album by the Red Hot Chili Peppers. There has been a lot of speculation and judgement towards this album, particularly because it features a brand new guitarist who creates an entirely new dynamic and writing style for the band. While some of the ingredients stay the same in the creation of this album, it is a very different venture from the norm of the Chili Pepper's career.

First off some history on the band, formed in Los Angeles in 1983, the original lineup consisted of only current members Anthony Kiedis (Lead Vocals) and Flea (Bass guitar). The other members of the band varied throughout the years and it wasn't until their fourth album, Mother's Milk, in 1989 that the band had formed what is considered it's "true" lineup. This was made up of Chad Smith (Drums) and John Frusciante (Lead Guitar). This four piece group busted out as a powerhouse combining their roots in funk and rock, with more modern hip hop and rap styles. A part of this important dynamic was the fact that Flea (known worldwide for his incredible talent behind the bass) was a child prodigy with a trumpet before he made the transition to bass guitar. The ability to have a member inside the band play a horn allowed for the funk influences to arise and really take hold, rather than being washed away by the trending rock and rap styles. Throughout the years, the band has remained true to this lineup, for the most part, and had a lot of success during the late 90's through the 2000's. After three straight knockout albums (Californication, By the Way, and the epic Stadium Arcadium) guitar player Frusciante decided he was ready to retire, and he approved of guitarist Josh Klinghoffer to replace him for the rest of the tour. Both Josh and John had ben friends for awhile and had played together and shared similar musical styles. Then after a few year hiatus, the band decided to re-enter the studio to produce the yet to be titled I'm With You.

Upon listening to this album many times it is a very complex piece of work that weaves in and out of many themes, ideas, styles, and emotions. While not the most fun album of the Chili Pepper's career, it may be one of the deepest and most touching.

The album begins with the monstrous "Monarchy of Roses" which is an interesting tune, fading in to a rumbling bass, guitar, and primitive drums. This track has a very futuristic feel, and at the beginning of the song it is if the band is almost being withheld by some force and their anger and tension breaks through into the chorus which becomes very catchy and melodic. The feeling of this song is almost as if it takes place in a futuristic time where the music is not allowed, but the band rebels and plays because they know that the music can never be stopped.

The next song is "Factory of Faith". This song is a speedy tune composed primarily of Flea's Bass riff and Kiedis' rapid vocals. This song is ok, but it is very rigid and gives the feeling of some sort of modern disco tune.

The third track is the first great piece of music on the album, titled "Brendan's Death Song". Perhaps the subject matter is what draws out the deep emotions into this song, as it is written about the band's close friend who got them into the music business. During one of the first days that the band met to record the album, Singer Kiedis got the news that their dear friend had passed away. Thus the band wrote this song, not neccesarily as a simple lament or elegy, but more as a surviving legacy and a farewell to the mortal constraints of their companion. It becomes apparent in the lyrics "Im almost dead Im almost gone" that Kiedis was heavily contemplating his own personal mortality during the writing of this song.

The fourth song is titled "Ethiopia". This song hails to the band's influence form African music, which Flea has stated many times that has been a crucial element to his own musical style. Also during the time before the recording of this album, Flea and guitarist Josh traveled and played music throughout the country of Ethiopia learning of the cultures and lives of the people there.

The fifth track is a semi-ballad called "Annie Wants a Baby". This track deals with grim subject matter and the music follows along with an emotional struggle. As the band plays their hearts out and Kiedis wails the story of poor Annie, the audience has a little trouble connecting to this song in particular.

The sixth song "Look Around" is the first song that gets back to the typical popular format of previous Chili Peppers hits. Look Around goes through a verse of Kiedis rapping over a stiff bassline from Flea. However, when the chorus kicks in Chad Smith unleashes on the drums and Klinghoffer comes in to create the catchy popular hook.

The Seventh song "Adventures of Raindance Maggie" is an interesting song that was the first single released off of this album. Although the song is very catchy, the main verse structure is lacking substance, the guitar is very shallow and as neat as the bassline is from Flea, the song feels like a Hamburger missing the patty. Looking back the song is a lot of fun to blast out of the speakers and rock out too, however it was probably a mistake to make the first single off the album.

"Did I Let You Know" is the eighth song on the album. The song begins with Chad Smith being able to finally get into a groove and strut his stuff a little faster. Interestingly as the song goes on, it turns to very jazzy roots from the guitar and bass. The song gives off a really relaxing yet upbeat feeling, and Kiedis does a very good job providing melody on this song. The audience really gets their first taste of how truly (yet subtly) talented the new guitar player is.

"Goodbye Hooray" is the ninth song on the album. This song, up with Monarchy of Roses, is the most heavy and rock influenced tracks on the album. The pounding power chords of the guitar and the rest of the band work together to produce a punk rock song, giving them one more level of diversity on the album.

The tenth song is the very unique "Happiness Loves Company". During the period before this album, Flea had taken some time to go back to school and to study musical theory and he learnt to play the piano. This song begins with a simple but elegant chord progression from the piano following through the verse. This vers sounds very much like a classic burlesque sounding song, until the chorus hits. This is where the song truly unveils its emotional pot of gold. The audience can very much connect with the emotion and lyrics of Kiedis during the chorus as he shares how "We all struggle wit some lonelines" and the line " Stop Jumping 'cause we've got something to say,
Young Lovers keep it pumping in the streets of L.A." At this point is feels as though the entire world has joined into the song and all the hardworking hopeful dreamers of the world are united and joining together in song. This is a song that the audience can truly enjoy and connect with, and it brings hope and comfort to it's listeners.

The eleventh song "Police Station" is a beautiful ballad. This is another one of the songs from the album that is truly a great work of music. This song truly builds up and comes together very organically, and musically, the flow of the gentle guitar gives the feeling of waves slowly rising up and down on a beach. As the song progresses over its five and a half minutes the emotions rise and fall as does the tide of the ocean.

The twelfth song is titled "Even You Brutus". This song goes back to to Flea playing the piano, however this time it is a hip hop styled song. This song is another one of the more fun and gets into a groove that is much more mainstream. Although it does not represent the rest of the album, this would have made a very good single as it is a very good radio song. This is another great display of the talent and versatility of Klinghoffer's ability to play the guitar.

The thirteenth song on the album is the heartbreaking "Meet Me At The Corner". The complex and beautifully compassionate playing of the guitar matches well with the tearjerking sense of loss in the voice of Anthony Kiedis. This song is a goodbye to lost love, and is a musical masterpiece by any standards.

The fourteenth song on the album is "Dance, Dance, Dance". This is another modern song and while a good track to end on, it can't help but be anything but a hinderance to the album when played after "Meet Me At The Corner". While at times this track is deep, it is also very modern and does not exactly know where it belongs. This song is not a bad song to listen to at all, it is just very unique and does not fit into any one category or genre.

Throughout this 14 track album there is a lot of music, and it is very satisfying when compared to other albums that are a bunch of worthless songs written around one single. However, with that said, there is no one song from this album which can really stand on it's own, their are all a part of one another and when put together they create the work of art which is "I'm With You". As singer Anthony Kiedis has stated in many interviews, the band did not have any goals when writing the album, they just got together for two years and kept playing until they had let all their emotions and ideas out into the songs. That is very much the way in which this album functions and for that it is a truly unique and satisfying experience, even though it may not exactly be everyday listening material.

Yours Truly - Sublime With Rome

Hello, and welcome to my blog Modern Classics. Every few weeks I will have an update covering a new album by an classic rock band. The purpose of this blog is to not rank or judge the music, but rather to report on what elements do and do not come together well. There is no five star rating system here, simply a description of the words and music of these Modern Classics.

This week's topic will be the album Yours Truly by Sublime with Rome. First some background is necessary to understand where this particular band is coming from: Sublime was established in Long Beach, California in 1988 who specialized in pioneering their own brand of punk rock infused reggae/ska music. Their first album 40 Oz. to Freedom was released in 1992 under an independent label, followed by a release of the experimental Robbin' the Hood in 1994. The bands first major label album was the eponymous Sublime which received major acclaim and success in 1996. However between completing the album and it's release, lead singer, guitar player, and songwriter Bradley Nowell passed away. Losing such an important member of the band could have easily been the end of Sublime, and for thirteen years it was. However the band reformed with their new lead singer, Rome Ramirez, in 2009 and on July 12th, 2011 they released Yours Truly.

Many people compare the new album to the Original Sublime's material, but seeing that it has been 15 years and that Rome Ramirez is a different artist than Bradley Nowell, this album stands on it's own as a Modern Classic.
The album opens with it's first single titled "Panic", a rapid blistering punk fueled anthem. However as the verse flies by, the song reaches a catchy and soothing chorus followed by a saxophone lick leading back to the next verse. Rome's vocals prove very effective, while very different from that of Bradley Nowell. Then Rome has the opportunity to flash his skills as guitar player in a melodic, energetic, and speedy solo.
The album then slows down with the very tropical "Only", beginning with a mellow guitar intro reminiscent of a sunset on a beach out in the pacific. The vocals come in and Rome croons his way into the hearts of his listeners. This song in particular allows the singer to display his range and ability to tug at the heartstrings. The drumming on this track is also very effective in mellowing out the tune.
The third track "Lover's Rock" begins with simple guitar and group vocals sing a catchy melody. Then the drums and synthesizer come in to lead Rome's vocals into the verse. This song picks up a little energy from the last tune, but sacrifices some melody of the vocals in the verse. All the while the lyrics reminisce about love gone by. Although the song is catchy, fans of traditional rock and ska/reggae may be less interested in the more modern electric sounds of this particular song.
The fourth song "Murdera" is an interesting song, serving as both an homage to classic reggae, all the while standing out with its rap influence. The verse is sung quickly referring back to the rap while the chorus is very much an attempt at a classic Ska sound. Perhaps one of the most interesting parts of the song is when it breaks down in the middle to Rome's voice over a slow bass line with a moody saxophone playing in the background. At this point the song begins to sound like a standards homage, which Rome delivers very effectively. The song winds up fading out to the slow, smooth, jazzy saxophone.
The fifth song song is another fast and upbeat punk rocker titled "My World". This song fades into quick upstruming on a clean electric guitar followed by lightening fast vocals, a manic verse that energizes it's listeners. This verse flows into the equally quick chorus of pounding distorted electric guitar and Rome's ability to hook the audience in with a hummable melody. Like most punk, this song comes to an abrupt stop.
The next track "Paper Cuts" is possibly the weakest track on the entire album, simply because Rome was attempting to capture the aggression that was infused in the words and music of the late Bradley Nowell. Rome's voice could compete with any mainstream artist today, but it does not work as well with the offbeat and downright angry style of the original Sublime. This is the main separation point between the two different generations of Sublime, but neither singer should be judged against one another. This song was aimed at hardcore original Sublime fans, but it is fortunate that the other songs on the album tend to stay within the boundaries of Rome's voice.
The seventh track is a great  song titled, and my personal favorite, "PCH [Pacific Coast Highway]". This is the first tune on the album to feature the acoustic guitar, and does so very effectively. The simple chord progression leads into a groovy drum track and behind solid vocals trading off with a tasty little guitar lick. The song keeps a strong melody through verse and choruses, until it reaches a bridge of Rome's singing over a short but sweet electric guitar solo. The solo breaks down into Rome's voice alone, and then goes back to the simple acoustic guitar chords of the intro. This song is the type of song that belongs on the radio in the middle of summer, driving along in a car full of friends with no destination in sight. The only flaw to this song is that it ever comes to an end.
The eighth track, "Same Old Situation" continues with the acoustic guitar sound, layered over an electric guitar strumming in the background as well. The tone of this song is a little more serious than the last, but still has a relaxing melody and beautiful chord progression. The lyrics describe a relationship on the brink of destruction, but the music is not too dark leaving the listeners with a hopeful feeling inside. The middle of the song kicks up with a bridge of electric guitar chords and phenomenal vocals breaking the song back down to a simple acoustic guitar strumming bringing the song back to the beginning and starting all over again.
The ninth song is "Take It Or Leave It" the second single off the album. This song introduces itself with a simple but catchy acoustic guitar lick, leading into electric guitar strumming and melodic vocals. From beginning to end this is one of those songs where anyone can get a feel for the vocals and start to sing along, not just the incredibly catchy chorus. Towards the end of the song it breaks down to a heartwarming bridge, Rome gets to flash just how talented he is behind the microphone reaching deep into his soul and pulling out some great melodies.
The tenth track "You Better Listen" is a solid track reaching the end of the album, and reaches into some Hispanic influences. This song adds some female background vocals to the chorus which definitely spices up the flavor of this song. The most impressive part of this track is when Rome enters his guitar solo while singing and matching the tone of his vocals to that of his guitar. The guitar part is somewhere between Carlos Santana and Jimi Hendrix.
The next song is "Spun" a track which is similar to "PCH" in its composition of acoustic guitar chords over smooth relaxing vocals. The drums shuffle their way through the verses and into the choruses of electric guitar and Rome's echoing vocals. As the song progresses it escalates in its musical and vocals, and as a result probably should have been the final track on the album. It would have left the reader feeling complete and wrapped up.
The last track "Can You Feel It" is another song with Hispanic guitar influence, and also includes the sounds of the synthesizer as heard in "Lover's Rock", but the most important part of the song comes towards the middle when Wiz Khalifa makes his guest appearance. At first Khalifa is taking over the vocals of Rome, but then he begins rapping his own verse as the music slowly dissolves to become more and more artificial. Eventually, Rome comes back for another verse and chorus, but there isn't too many memorable elements to this final song. The main purpose of the song was to appeal to a wider demographic of listeners, which does not ruin the whole album, but in hindsight it was an unnecessary addition to an otherwise flawless collection of paramount tunes. The reincarnation of Sublime is much different, but is a great band in it's own right, working with the distinct style of Rome Ramirez's vocals to deliver an excellent piece of work.