Red Hot Chili Peppers: Return of the Dream Canteen Album Review
Album release: Friday, October 14th, 2022
Vocalist: Anthony Kiedis
Bassist: Flea
Drummer: Chad Smith
Guitarist: John Frusciante
Red Hot Chili Pepper's Return of the Dream Canteen is a cathartic, vibrant, kaleidoscopic trip. The best way to describe the seventeen-track album is "mass confusion in a mason jar." One moment you're jamming out in a desert, next you're grieving the unrequited, then you're like botanical blooming out of a hollow carcass.
The first single of the album "Tippa My Tongue" is a playful in-your-face, super ambitious introduction to the album. "We've only just begun, funky monks are on the run" will definitely be stuck in your head like a never ending rigmarole.
Track two, "Peace and Love" feels like you track you would have listened to on The Getaway released in 2016. It's a fun pop groove that you can sway and bump to, that dips into a smooth saxophone solo.
"Eddie" is a loopy track that pays homage to the late Eddie Van Halen. The beachy early 00s acoustic is nostalgic and reminiscent of Red Hot's By The Way.
Next up is "Fake as F@ck.” It starts out simple but decides to twist and turn into something deliciously funky—70s funky with some Frusciante riffs that'll take you back to "Hump de Bump" from Stadium Arcadium.
Things switch gears with "Bella." Red Hot delivers a refined, up-to-date ode to LA girls. (cough, cough, Californication.)
Photo credit: Clara Balzary
If you're looking for reggae influence, turn to track eleven's "Handful.” Chorus, “Someone to roll me right over. Handful of love when it's time to get older" and lyrics “I need to see you comin' 'round my front door. It don't matter why, nah-nah-nah-nah-nah-nah-nah, it don't matter what for” are enjoyable moments. Especially with the dreamy horns.
"The Drummer" has a hypnotizing bassline. A certified jam. I may have or may not have mimicked air drums to this track, while shuffling in my socks.
The room spins with "Bag of Grins." The vampy, spacey movie score vibe is satisfying. Total ear worm. Your ear gets a taste of dark metal and thick gloom before the chorus. Some highlights include the refrain “Flowers cry on the corpse of love.” And that outro? “I am somewhere else my love. And I think you'll know just where to find me…You are somewhere else good love. And this life of crime that's all behind me.” Talk about grungy and achingly beautiful.
The curtains slightly close with "La La La La La La La La.” It's atmospheric, sweet track. "Give me your honey," Mr. K softly pleads in the chorus. "I won't it spend it one place. Bended knee to get a taste." You're bound to slow down with the faint jazz harmonies throughout. Hearing "I lost you at the Vegas Louvre--but we don't need no rings to prove,” just makes you want to go on a long drive, and lose yourself in a daydream of shoulda-coulda-woulda’s.
"Copperbelly” features my favorite chorus. Frontman Anthony sings "Someone's in love with emotional pain. Keys to this kingdom that come with your name. I don't wanna go, she don't wanna know.” The chaotic, claustrophobic frustrated guitar solo is music to my ears. The ending lyrics "Take me by my warm hand and I'll be there. I'll be in your evening chair" is an easter egg from Unlimited Love's "White Braids & Pillow Chair."
Now, "Carry Me Home" is now one of my Red Hot Chili Peppers songs, lyrically. It starts out heartfelt and funky with a passionate guitar into. Some moments are slow but guitarist Frusciante picks it back up with promising build-ups, and a heavy sexy solo starting at 2:37.
"In The Snow" plays on 80s adjacent synths, the equivalent to those climatic montage movie scores from 80's romantic dramas—given the first line is "My mates are all getting married now." Kiedis stretches out the lyrics "Slow rodeo the snow” making the song feel more dazed. Instantly you picture a lone solider returning from war mid-Winter, or a cowboy sadly treading through the Midwest. "Tell me what you want to see. Tell me what you want. And I'll take my time. And I'll move it forward, now” is a meaningful proposition. Kiedis' inner poetic justice comes out when he does a spoken word starting off with "High- waisted, she tasted like a salacious confrontation salvation.”
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