By Steve Weinstein
By Bryan Bierman
By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
"By the Way," the first and only barely listenable track on the album, is a virtual poo-poo platter of styles that the Chili Peppers have dabbled in over the years. Flea gets his deep slappin' bass on. Anthony Kiedis spits phrases that sound something like "oh-ah Christian and a milk shake, oh-ah kissin' and a moocheck" completely unintelligible couplets that are more existentially appealing than his actual "poetry" because at the very least you get to play free association. Sometimes he's soft and slow and singing (off-key, always) and sometimes his rap penetrates the wailing echo of his atonal chorus.
Either way, Kiedis's lyrics are absolutely baffling. It's as if he picked up a rhyming dictionary and arbitrarily strung some phrases together. "Black jack/Dope dick/Pawn shop/Quick pick/Kiss that dyke/I know you want to hold one/Not on strike/But I'm about to bowl one/Bite that Mic/I know you never stole one/Girls that like a story/So I told one," he wails. Yeah, how 'bout a story that isn't so fragmented it makes T.S. Eliot jealous? Is Kiedis saying that he wants to have a lesbian love affair in Vegas while bowling the perfect game only to sell the trophy to a toothless pawnbroker in hopes of scoring some dope to inject in his cock? Everybody loves their own BO, but not everyone is inspired to write a song about it.
In 1991 the Chili Peppers hit the top 10 with their enigmatic "Under the Bridge," a truly divergent, heartfelt ballad about heroin, desperation, and downtown desolation. Kiedis had something in that greasy hair, those rocker-worn sad eyes crying without tearsan air of emotion. It pulled a heartstring. And the Chili Peppers were launched from frat bay to the oceans of adult contemporary and the bedrooms of suburban teenage girls. They could never go backKiedis's barking evolved into the whimper of a hungry castrated beagle.
"Throw Away Your Television" shows signs of life in Chad Smith's jungle-swing drumming and Flea's maniacal bumping. But come on, who wants a cultural lecture about TV-watching from a band whose only hope of record sales is pimping their wares on MTV2 and VH1 through commercials, not even actual rotation? In "The Zephyr Song," Kiedis's magic pen and testicle-less vocals are joined by some orchestral-humming/snake-slaughtering backup, which adds oomph to lyrical gems like "Rebel and a liberator/Find a way to be a skater/Rev it up to levitate her." The songs on this album are as formulaic and repetitive as O-Town, but the Chili Peppers cop the war-hero attitude like sheer survival is justification enough. They also suck at harmony. It all sounds like a listless allergic reaction.
"We should get naked and hurl our bodies into bodies of water . . . we should eat watermelon at a feverish pitch and smear it all over ourselves . . . we should subtly ogle members of the opposite sex in their bathing suits . . . we should have dirty feet."From Flea's Diary on the RHCP Web site. This is the kind of sentiment missing from By the Way. The kind of loosey-goosey, sunshine-soaked, Puck-induced delirious ideas that insist on not only getting your feet wet but getting them summer dirty. The kind of dirty the Peppers used to be.