The Top Ten Most Bumping Albums of All Time (Part 2)

At number 10 on the list of Most Bumping Albums was Red Hot Chili Peppers' classic, "Blood Sugar Sex Magik."

The Chili Peppers have always been a band I liked, but never a band I loved. I hadn't listened to them in years, but a friend nominated the album, and I dug out my copy.

From the start, Anthony Kiedis got us ready with his "hey batter, batter, hey batter, SWING!" Flea's bass dropped in, and we were off and running on a high energy funkternative journey.

The first song, "Power of Equality" featured some of the finest bass work I've heard from Flea. The bass line sounded like it was lifted from a Family Stone album, retouched with distortion, and surrounded by heavy rock instruments. Kiedis's vocals were charged, lively, and innovative for its time. Kiedis and company created an entirely new sound with an interesting blend of rap, metal, grunge, and funk.

The second song, "If You Have to Ask" starts with clean funk guitar. Kiedis joins with a spoken word style rap. The chorus busts in with the flavor of a Parliament Funkadelic song, complete with falsetto backing vocals. The drums: a hand drum tone with a tribal edge. The guitar work was somewhere between edgy, and groove-based.

"Breaking the Girl" was the album's first taste of the pop-sounding acoustic rock taste that spurred much of the Peppers' success. This song enriched the album with a sensitivity that's sometimes obscured by sheer energy in the Chili Peppers' catalogue. It also featured some unique instrumental passages, including a drum break and acoustic jam that conjured flavors of campfire jams and friendly gatherings.

In my opinion, songs like this gave the album the depth that made it a classic, yet probably hindered the album's "bump" factor due to its calm, easy feel.

"Funky Monk" begins with an acoustic guitar riff that is super funky, but with a raw organic tone that is earthier than similar amped-up licks. In fact, John Frusciante's playing throughout the album was crisp, groundbreaking, and progressive.

There was a slightly sludgey feel to this track, and though RHCP came first, the song reminded me of Florida-based swamp funk band, Mofro. Kiedis continued to blend spoken word with singing and succeeded in creating a whole new sound. The outro of the song also had an element that made me think of David Bowie funk.

"Suck My Kiss" was a song I recall being very popular without the radio exposure of "Under the Bridge" or "Give it Away." The alternative, grunge feel was heavier on this tune than some of the other songs, yet still had a funky edge. One thing I have always loved about the Peppers, they have let their influences leave an indelible mark on everything they have done, from the super funky to the heavier guitar riffs.

"Mellowship Slinky in B Major" began with a grungy, rock riff, but soon Chad Smith's drums snapped into funk mode, and the guitar transitioned to a cleaner tone. Kiedis came in with more signature rap-rock vocals.

I always appreciated that the Peppers were a part of that 90s era, yet seemed to have a touch of the Beat Generation influence. In this tune, Kiedis actually name checked Bukowski. The song maintained the bumping funk until the outro which reverted to the opening grungy riff.

The transition into "The Righteous and the Wicked" was instantaneous. The rock-funk fusion, thoroughly blended as Kiedis' vocals were a bit more aggressive. Flea's bass line is quintessential Peppers, and has been imitated by a number of bands. Something about Flea's energy, tone, and general power has always been remarkable.

The next tune, "Give it Away" was one of the biggest hits of the 90s, and undoubtedly one of the Chili Peppers' most popular songs. Kiedis commanded the mic with explosive energy, raw emotion, and an equally amped band. If you listened closely, you would notice that the jaw harp is subtle, yet made the song ... without it, I'm not sure it would have been a hit.

"Blood Sugar Sex Magik," the title track, featured a laid back rhythm, and one of my favorite riffs on the album. All of the guitar work on this tune had a unique, interesting, and creative feel that made me smile — A great example of Frusciante's writing and playing ability. The frantic bridge only lasted three seconds, but created another dimension to the tune. The vocals came back in a restrained way before exploding back into the chorus. The guitar solo at the end was simple and perfect. Nothing spectacular ... just exactly what the song needed.

"Under The Bridge" was the song that put the Chili Peppers forever on the map. The beautiful guitar work is part ballad, part funk influenced folk, and part rock. Kiedis trades his monotone rap for melodic singing. The song represented a struggle the band, and particularly Kiedis was having with heroin. The melody... beautiful, the lyrics... heavy, and the hook... catchy.

While it may be the least "bumping" tune on the album, it most certainly gave the album it's centerpiece, and was likely responsible for the majority of the 12 million copies sold.

"Naked in the Rain" jumped back to bumping with the reverberations of some heavy handed Flea work. The slap style was distinct, and sat prominently in the mix. I'd have to say Flea was almost single-handedly responsible for this album's nomination in the "most bumping" contest, though Chad Smith's tight drumming also added to the funk flavor. The bass solo in this tune was the best on the album, in what was otherwise one of the more easily forgotten tracks.

"The Greeting Song" was one of the heavier songs on the album, but still had a funk basis. The standard funk licks were given a slightly faster tempo and a little more distortion to create a hint of metal. The vocal production made Kiedis' vocals sound more like a chorus than his normal solo sound. Definitely one of the weirder parts of the album.

The same stylistic blend was evident on "My Lovely Man." While It wasn't one of my favorite songs, it does have a nice light funky section in the middle with hand drums, solid riffs, and nice drum work.

"Sir Psycho Sexy" was the tune that made my mother confiscate this album when I was a teenager: It's vulgar lyrics were just too much for her to handle. Musically and lyrically, the song ambled along with the cadence and confidence of a pimp strut.

"Sir Psycho Sexy" has always been one of my favorites on the album. It injected the album's last "bumping" touch, and certainly played a big role in getting "Blood Sugar Sex Magik" nominated as one of the most bumping albums of all time.

Overall, the album bumped, it had depth, creativity, continuity, and innovation. Rick Rubin's production was stellar, and the Peppers were at the top of their game. This album was truly a classic, and has enjoyed residual success throughout the duration of their career.

When it comes to the Peppers, it just doesn't get much better than Blood Sugar Baby!

Stay tuned for next week's review of number 9: Deep Banana Blackout's "Rowdy Duty."