I’m With You
Red Hot Chili Peppers
The Red Hot Chili Peppers are the Def Leppard of funk-rock. Just when you think the death or dismissal of a key band member has killed the group’s career, the guys bounce back with a newly shuffled lineup, eager to prove they’ve still got some fiery bite.
On “I’m With You,” the Chili Peppers find themselves working without longtime guitarist John Frusciante, who left the lineup in 2009. In his place is Josh Klinghoffer, nearly 20 years his band mates’ junior, who toured with the group as a backup musician during the final dates of the “Stadium Arcadium” tour. Conscious of being the new kid in town, he ducks and weaves his way around the arrangements, drenching everything in layers of electric guitar without showing off.
When Dave Navarro briefly joined the group during the mid-‘90s, the Chili Peppers changed their sound to suit their new guitarist. Mr. Klinghoffer doesn’t demand that sort of flexibility, choosing instead to mold his own style to the band’s familiar mix of funk, hip hop and alternative rock. If there’s a significant difference between “I’m With You” and the albums before it, it’s not the lineup switcheroo as much as Flea’s new grasp on musical theory, which he gained by taking classes at the University of Southern California and puts to good use on highlights like “Happiness Loves Company.”
Still, “I’m With You” feels more like a continuation of the band’s recent path than a detour. Red Hot Chili Peppers simply sound like Red Hot Chili Peppers, no small feat for a band whose 30-year anniversary is just around the corner.
Black and White America
Lenny Kravitz’s music has always been a melting pot of various genres, but he boils things down on “Black and White America,” the first genuine funk album of his career.
Like its title suggests, the album deals with civil rights and racial politics, filtering both through Mr. Kravitz’s own experience as a biracial American. Some modern dance beats work their way into the mix, but most of “Black and White America” is distinctly retro, from the warm analog sound to the funky specter of Curtis Mayfield, whose influence is felt in the way Mr. Kravitz grunts, struts and croons his way around each horn break.
Like any musician who reaches for the rafters, Mr. Kravitz sometimes comes up short. There’s nothing as ham-fisted as “Fly Away” on this tracklist, though, and the album’s lyrics are weighty enough to warrant the moments where he loses himself in the music, shouting “Come on and git it!” like the second coming of Shaft. Before, it always seemed like Mr. Kravitz was lost in his own little world, too caught up in free love platitudes and rock & roll nostalgia to keep himself from drifting into cheesy territory. Here, he has a new sense of direction … not to mention some killer songs.