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| Stadium Arcadium | 
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| Artist: Red Hot Chili Peppers
Label: Warner Bros / Wea
Category: Music
List Price: $21.98
Buy Used: $5.65
You Save: $16.33 (74%)
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Avg. Customer Rating:  653 reviews
Sales Rank: 781
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.3
Dimensions (in): 5.6 x 4.7 x 0.5
MPN: 49996
UPC: 093624999621
EAN: 0093624999621
ASIN: B000EMGAOY
Release Date: May 9, 2006
Availability: Usually ships in 1-2 business days
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| Tracks:
Disc 1
| • | Dani California | | • | Snow (Hey Oh) | | • | Charlie | | • | Stadium Arcadium | | • | Hump De Bump | | • | Shes Only 18 | | • | Slow Cheetah | | • | Torture Me | | • | Strip My Mind | | • | Especially In Michigan | | • | Warlocks | | • | Cmon Girl | | • | Wet Sand | | • | Hey |
Disc 2
| • | Desecration Smile | | • | Tell Me Baby | | • | Hard to Concentrate | | • | 21st Century | | • | She Looks To Me | | • | Readymade | | • | If | | • | Make You Feel Better | | • | Animal Bar | | • | So Much I | | • | Storm In A Teacup | | • | We Believe | | • | Turn It Again | | • | Death of a Martian |
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| Editorial Reviews:
Amazon.com
Four-year career hiatuses followed by sprawling double-albums could spell trouble for a band of the Chili Peppers' stature: consider they'd originally recorded enough for three discs. The restless, trouble-plagued outfit that helped break alternative rock into the mainstream with a potent fusion of punk 'n' funk in the '80s finds itself two decades on almost completely devoid of the former's energetic abandon, while the latter's effusive rhythms are considerably subdued over the course of this two-hour, 28-track collection. It's not so much that the Peppers have lost their muscular, often uber-macho edge as they have willfully tamed it in service of mature reinvention here. The mellower, often introspective, if no less potent pop ethos that characterized the crossover hit "Under the Bridge" blossoms fully here on tracks like disc one's "Snow," "Wet Sand," and the jazz-cool of "Hey." The title track, "Desecration Smile," and "She Looks To Me" finds them venturing further into laid back pop ballad territory, while the tricky rhythms of "Dani California," "Charlie," and "So Much I" eventually kick into familiar top gear on the pop-savvy "Tell Me Baby" and hip-hop seasoned "Storm in a Teacup." It's not that there's a paucity of musical adventure here ("If" and "Animal Bar" finds them wafting into Floydish neo-psychedelia while "Make You Feel Better" seems to channel no less than Joe Jackson) but that it's delivered with a subtlety--and dare we say it?--tasteful musical restraint that's a stark contrast to the band's early, overly overt nature. There's perhaps too much mid-tempo simmering and reflection going on; like most double-albums it could be focused into a much more compelling single disc. But that seems largely beside the Peppers' hooks-over-histrionics point here: an unlikely record to kick back to, and one that both challenges assumptions and eases the band into middle age with an oft languorous, if undeniably savory groove. --Jerry McCulley
Album Description
Anthony Kiedis of the Red Hot Chili Peppers calls the band's first new album in four years, Stadium Arcadium, the most-anticipated album of the spring, "the best thing that we've ever done…. There's this weird kind of sublime, subliminal undercurrent that is suggestive, in a spirited way, of our earliest records." Exuding all the passion, energy and funked-up rock that have made the Red Hot Chili Peppers one of the most popular bands in history, the 2-CD Stadium Arcadium, simply put, will knock your socks off.
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| Customer Reviews: Read 648 more reviews...
 A very inspired and honest record May 9, 2006
20 out of 22 found this review helpful
Like anyone at this point, I only got an initial impression of the record, albeit a strong one, since I gave it my full attention and listened on a good sound system, in a silent environment. To sum it up, it's a very well-writen, artistic, and enjoyable album.
It's a surprise. The more you know and have followed the band through its previous records, the more you'll be surprised at the level of songwriting they have reached (think Beatles-level). Originality (or the -successful- pursuing of it) is a constant. Where it isn't completely original, it is a stellar interpretation of existing structures.
It's an achievement. There is no price to be paid for all this creativity: it never sounds idiotic, pretentious, or aggressive - but free and humble. Even the most daring propositions (like Animal Bar) sound pleasing. Rick (the producer) and the recording guys are to be taken credit for this, alongside the band.
It's funky, in more than one defition. 'The funk is back', for whom it makes sense, is a true affirmation. Flea actually sounds fat for the first time since Blood Sugar Sex Magik (the band's reference funk record), due to a different choice of instrument. On the Mars half, Anthony is heard using his voice in ways that inevitably remind us of that record, and earlier ones. Where the music gets obviously funky, the mix also gets propositally old-school and rough, to further bring us memories of things as remote as 'American Ghost Dance'.
It's strange. I began my experience with the album by reading the lyrics and looking at the artwork. They communicate confusion, uncertainty, chaos. Anthony's writing suggests disenchantment with our world, alleviated by cheap pleasures and distractions. He never sounds actually sad like he does on By the Way, but true happiness is equally absent. The whole experience, music added, forms a landscape non-coincidentally reminescent of our real world.
It's a development. Chad today is the same musician as he has been since Californication (his big growth happened much earlier, beginning with One Hot Minute). He's the only estatic one though. Anthony shows a new level of control over his voice, enabling him to deliver the perfect beauty of 'Especially in Michigan'. Flea finally takes (or accepts, or reaches?) the liberty to take that intrincate, spontaneous approach, characteristic of his live jams, to the studio. John keeps the voice layering going, this time flawlessly throughout the record, and masters his guitar into new sounds that rocket-propel the music forwards.
It's too much for a jewel case. In my local Brazilian pressing exemplar, the fat booklet doesn't fit easily into the plastic, resulting in a damaged booklet. The plastic holding the discs also doesn't open smoothly, which caused one of my discs to fall music-side-down to the ground. Today's cases are real bad, this album deserves a better one.
A great album to have that is never going to bother you. A must have for Peppers fans.
Knock the world right off its feet and straight onto to its head... May 12, 2006
18 out of 19 found this review helpful
First off, Nobody, and I mean NOBODY should be reviewing this album if you havent listened to it at least 4 times through. Pick any one of the last 8 albums they've put out and think back to when you first purchased it or started listening to it. I know for me I generally like a few songs on the album at first, then a handful, and sometime later I love the whole thing in its entirety. Furthermore, my favorite songs on a fresh RHCP album when i first start listening to it are the ones I most rarely listen to a year, a month, and even a week down the line. By that point, I have evolved, if you will, with the album.
Those of you who have purchased even their last 3 albums know this feeling. This is what makes this group so f*cking good, and particularly what makes their albums so good, respectively. If you think about it, the songs that you like instantly (regardless of the band) are the songs that don't stand the test of time for you. The songs that you always used to skip over or the ones that took you as many as 50 listens to like are the ones you end up loving the most down the line. This goes for albums too. My point is that, like every other one of their 7 PLATINUM ALBUMS, you evolve with the album. A lot of these negative reviews are speaking in the moment, and lack the proper hinesight needed to see that they too will LOVE this album in as soon as a couple weeks if they continue to listen. Great bands and great albums do not strike you as amazing at first. To me, what makes a great album is one that you can listen to 5, 10, 20 years after you first heard it. IF an album is good enough to keep getting played, then you get to the sentimentality part of it, a point that some of these reviewers have unknowingly hit on and that I'd like to address...
BSSM and Mother's Milk, amongst other past favorites are amazing to those of us who have been listening to them for so long, NOT ONLY because they are amazing albums, but because the music is so good that we have continued to listen to the album--many of us frequently--for so many years. The level of sentimentality an album such as Blood Sugar Sex Magik has to us simply cannot be attained in even as many as 3 or 4 years, in my opinion. Perhaps that is why Californication, By The Way, One Hot Minute don't strike as much of a fancy for me than does BSSM. But in my case I also don't listen to these 3 as much as BSSM (I've been listening to that album quite frequently for 15 years). This still amazes me. Is it the music I love so much or what was happening while it was played? Probably both.
The reviews of this album are going to look a lot different in a year from now than they look today. I think they'll keep getting better (if at all possible). Will we still be reviewing this album in 15 years? I think so. I just went to the BSSM page on Amazon and it continues to get reviews by those who bought it 15 years ago (there were 5 reviews this week alone). Amazing.
I have been listening to Stadium Arcadium continuously for the past 3 days, for an average of 5 or 6 hours a day, so I 've heard it now probably 7 times through. My favorite songs 3 days ago are not my favorites now. I'm hearing things in songs I didn't hear 3 days ago. AND THIS IS JUST AFTER 3 DAYS!!! I can't seem to stop listening to it because each day I'm finding 3 or 4 more songs that I like a lot, and everything else in between continues to get better. You get my point. Based on what is happening so far I'd guess that in a month I will love the entire album song for song.
Regarding the actual content, I've read a lot of reviews that interpreted many of the songs on this album as "ballads". THERE ARE ONLY 4 BALLADS ON THIS ALBUM. The album seemed a lot softer and melodic to me as well at first, but let me attempt to provide one explanation for this...
AK's voice has gotten BETTER and BETTER over the years, and is best on this album. It has always been good, but now I think it carries many of these songs more so than it did before. I'm not sure of the degree to which the production has influenced this (no doubt some). The production alone emphasizes his voice (volume in proportion to other inputs, etc...) on a lot of this album. I think this is why many of us are getting the ballad effect. Some of these songs come across more as ballads because his voice has more range and tone now, as opposed to the more monotonish, almost rapping that was prevalent on many of the earlier albums, but also because of the production emphasis on his voice now.
Don't get me wrong, there are songs on here that rock just as hard as The Greeting Song and Naked in the Rain, they are just fewer in ratio to the total amount of songs. And there is SOOOOO much material here. I dont think we realize this either. I'm starting to realize the depth of this album more and more now. They could have made an album that rocked a lot harder and louder by picking a certain 10 songs on here and making an album with just those songs. On the other hand, they could have taken a different 10 songs and made a completely different sounding album. It's too early for me to even comment on the variance of style here, but I think it is substantial. There's quite a range of different sounding stuff on here, and I believe this will become more and more apparent with time and more listens.
On a final note I'd like to comment on the lyrics, which I believe regardless of the musical group, often take a backseat to the music itself. Will you all please take a little time and listen particularly to the lyrics? If you cant hear them, go to a site and read some. The poetry is fantastic, and the content and message screams Red Hot Chili Peppers. I have'nt heard enough to even comment on any particular themes, but theres interesting stuff being said here.
PS- "She's only 18" might be the best name for a song I've ever heard.
Be patient, don't jump to conclusions, and keep listening...
I'm with the band on this one...it's a masterpiece. May 15, 2006
16 out of 17 found this review helpful
Wow. I see a lot of old fans complaining about the direction "their" Peppers have taken here. Well, if you don't like it go form your own band and write your own "perfect" music!
There are a few common fallacies being repeated here:
1) "This album is soft. Too many ballads. Boo hoo." Huh? Maybe you are not playing it loud enough, but I hear plenty of blistering guitar and slammin beats for my tastes. The bass tone is as good as it has been since BSSM and the drums are bright and present. There are quite a few mid-tempo pieces, but they usually resolve to scorching bridges of pure rock power.
2) "The Peppers have abandoned their roots! Boo hoo." Please. Just because they are not retreading their young punk vibe over and over again it does not mean they have lost their integrity. I personally think punk AND metal sound best when a young band has something to prove. If they keep at it, without maturing, it sounds pretty stale. So I appreciate that they have moved on. I still love the old records and they are not going anywhere. Bottom line, if you want a dangerous punk sound look underground, this band has grown up.
3) "They mailed it in. It's all about Frusciante now. Boo hoo." Nonsense. They bring it all to the table on this record. Yes, John's layered sounds are a huge part of the post-Californication sound, but I personally think this is Flea's best work. He is master of a ridiculous number of styles and still manages to sound like himself. No imitators possible. He practically invents a new style of bass on "Hard to Concentrate". I defy you to tell me you've heard anything like that stuttering little groove played on a bass guitar before (he seems to be pulling modern hip hop grooves into his own brand of upper register playing) and the next tune "21st Century" is a clinic on creative funk bass groove. Flea has reached a perfect balance of his relentless power and a "less is more" approach. If you have seen them play "Subway to Venus" at a billion beats per minute recently you know that neither he nor John have lost their chops, they just make different choices now. They are playing exactly what they think is beautiful and powerful and funky, no more no less. The reason I buy every album they make is because I trust them to make THEIR choices not MINE. I do that in my own band. I like where they are going as much as where they have been. Anthony Keidis has NEVER sounded better. His lyrics are on par with the other albums, equal parts sublime abstract genius and quirky Keidis nonsense delivered in his unique style. Again if you think the lyrics aren't good, then grab a mike and let us hear yours. Keidis is doing his thing well here.
4) "It's still not as good as Blood Sugar! Boo hoo." Of course not, but it is not trying to replace that album. That was 15 freaking years ago folks! That was the perfect album for that time. I was 19 at the time and it absolutely consumed me, but that was a young man's album. This is an album for the same man 15 years later. It may not be for everyone, but it's not the Pepper's problem if you haven't grown up or if you just don't care for the music they like to make.
5) "They only care about singles now! Boo hoo." More nonsense. They are making the best music they can in the style that they like which includes more flavors than almost any other band out there. It is an insult to them or any other band to tell them they are half-assing it. It takes a lot of hard work and dedication to put together even a so-so band, so when a band like this goes in to make a double album of "over produced" material it is NOT because they are just trying to sell a few more albums. These guys are already independently wealthy. They are making music, period. If you don't like it...hey...there are more bands out there than ever before...good luck finding one that cares as much about their music as these guys.
Oh...the album... (hee hee)
It is twenty eight songs of pure "grown up" Peppers. If you like the last two albums there is plenty here to digest for the entire summer. If you just like the old "real" Peppers then go dig up your old albums, stay in your cave and dream about the "good old days" when you thought they were "your" band...or you could come out into the sunshine with the REAL living Peppers and enjoy the ride.
"If you don't like this album, then you don't like the Red Hot Chili Peppers. Period." - Flea
Mars by itself is amazing, Jupiter is good. June 3, 2006
16 out of 21 found this review helpful
The truth about this album is that it's extremely deep. In fact, I'd say besides being this band's deepest album I'd say it's the deepest album I can think of right now off the top of my head. By deep, I mean there are 28 songs, mostly all of which are very strong tracks, and standout tracks in their own respective ways. I'll try to say something insightful about each track...
Note that I think theres a lot more going on on the second Disc (Mars). I would describe the first disc as good and the second as nearly mind-blowing, and extremely solid.
Dani California: The Mary Jane's Last Dance parallel is uncanny. When I first heard this song on the radio before the album dropped I remember turning to a friend in the car and saying this sounds a lot like Mary Jane's Last Dance. Not sure what the deal is here. I'd say that Frusciante probably heard the Tom Petty song shortly before coming up with the riff and that it was the work of the unconcsious, IF the lyrics and drum beat werent so similar too. Not sure what else to say about this one. Its a simple almost folky song with a simple drum beat that sets its tone. I like the section in the middle where anthony and John sing in unison in real high pitch.
Snow: This might be the catchiest song on the album and it definately was one of the first and easiest songs to grab me. Now it sounds to me like one of the poppiest songs on the album. Sounds to me like it could have easily fit into By The Way.
Charlie: Strong song, not one of my faves, but I could see this one growing on me over the course of years.
Stadium Arcadium: Very nice, one of the darker songs on the album, sung in a sad tone. One of the cooler guitar solos on the album. They use a cool, echoey, almost western-like effect for it. Everytime I hear it I picture a western saloon for some reason (think Desperado) To me theres nothing super cool about this strack other than that solo.
Hump De Bump: Fun song, don't listen to this one often, nothing i absolutely love about it right now.
She's Only 18: This one's the standout of the first disc for me. One of the best songs on the album. Arguably the best chorus on the album. So heavy, a little slow but urgent. This guitar solo works the best of any track because the segue into the last chorus is seemless and amazing. Amazing transition there, listen for it, it makes the whole song. Also love Keidis' playful bird-sounding "haha" in the middle of the solo.
Slow Cheetah: Acoustic ballad, not crazy about the chorus, kind of sounds cheesy to me. I wish they would have done soemthing more with it.
Torure Me: Fast drum beat, decent song, nothing really stands out for me to make me love it.
Strip My Mind: One of the slowest paced songs on the album. Nice chorus. The song works. What cool is this is a track where the whole band sings in unison for parts of it. Kinda cool, theres a couple like that i think. Cant imagine hearing this live though.
Especially In Michigan: I've read reviews on here criticizing this album for it's pointless and meaningless lyrics. I completely disagree with this and love the poetry thru the whole thing but this song is probably a testamate for those reviews. Other than making a reference to the Detroit Lions and Tigers (kinda cool), the lyrics dont mean much...but they work, and to me they are just random observations about the state where Kiedis and Chad Smith grew up. As far as the song goes, to me this is another stand out of the disc. I love the chorus here. Its very interesting, distorted and sounds like there might be 2 or 3 voices chanting the distortion, but it might also just be frusciante. Who knows. Very cool.
Warlocks: I dont care much for this one. Theres just not enough going on with it. One thing thats cool though is theres a verse in the middle that stands out because it sounds so different ("Make a deal with...") Its very cool and sounds to me like something off of Dark Side of the Moon.
C'Mon Girl: Arghhhh. This songs not bad at all, nice guitar riff and a cool baseline, BUT the chorus absolutely bludgeons this one for me. It just doesnt fit the song, and I'd say it even ruins it for me, making the song almost intolerable. Wish they would have done something with the Chorus.
Wet Sand: Heres a song that really evolves and has an energy that slowly builds throughout the whole song. This is an example of one of many very creative tracks on this album that shows lots of versatility by containing sections that sound somewhat different, or extrapalate on eachother. The Chorus is amazing. Theres a point about 2/3 the way through the song right when the second chorus kicks in that is the absolute climax of this song. Theres a swooshy, space-like sound effect and then the chorus kicks in, but unlike the first chorus, this one has another sound effect thats really cool and continues throughout the entire chorus, underlying everything and changing tone all along. Its very discreet and you have to listen for it. Not sure why I love this so much but, just adds energy I think. Probably something Rubin threw in to add character. Nice ending too.
Hey: Not much to say about this one. Kind of a lame chorus. Good placement of this song because its successor is one of the stars of the album...
Desecration Smile: Ohhhh yea, this song is a total emotional rollercoaster. Its a somber, its joyous, its reflective. All around just an extemely versatile and well composed piece. It starts out sounding like it's going to be a fluid ballad but about 20 seconds in it takes a drastic turn and the mood is set. Kiedis vocals here are like nothing we've heard from him before (sung in such high pitch) He sounds a lot like Neil Young from CSNY times. Keidis' volcals here are a major and crucial component of this song, but I'd say everything else is as important. Everyone comes to play here. Nice picking guitar work by fruciante.
Tell Me Baby: Another gem on the album. Totally cool track. Lots of personality, great representation of this band. Cool theme about the motives of 20-somethings that move out to LA searching for something they cant even put their finger on. Nice rapping section in the middle. Very versatile track, very nice chorus. Overall extremely solid and I hope this DOES NOT become a single because I would hate for this to be overplayed and I generally steer away from songs designated for radio play (maybe for no reason at all, but I do)
Hard to Concentrate: I think a lot of people really like this one, and personally I dont get it at all. Probably one of the 4 or 5 tracks I might dump if I were forced to cut the album down some. Nice poem, too schmoozy though.
21st Century: An absolute standout for me. Keidis' vocals dominate the whole song, and Fruciante brings the A-game. Very dancable song with lots of energy. Amazing chorus, amazing basework, Chad is solid on the drums, nice guitar solo closing it out.
She Looks to Me: Another stand out track for me. This just works, dont know why i like it, kind of reminds me of early 90's rock. Contains maybe my favorite verse on the album ("down in the south seas...") So different than the rest of the track. Cool lyrics here too. I mean really, how much better can the album get from here??? LOTS...
Readymade: Ohhhhhh man, I mean they keep bringing it track after track on this disc. One of a handful of total gems on the album. Hard rocking song from the start, a serious rocker, love the backround "ahhhhhh" vocals from the rest of the band behind Keidis' voice in the chorus.
If: sounds like a slower phish song to me. kind of a reflective song. Cool electric sound effect underlying the entire song. I'd consider this the breather of the second disc. Some might say its a refreshing brake from the insanity and strength of the songs preceding and before they close the album out with another bundle of solid brilliance, others might consider this a break in the momentum.
Make You Feel Better: Cool song about, well... I'll leave that one up to you. Love Keidis' periodic "oh yea" high-pitch scream here. If he didnt scream it I probably would.
Animal Bar: One of the most complex songs on the album. It does different things. It moves, it changes. Grew on me the most. Love the chorus ("rain on my...") and the "babadaba" in the background. Crazy twist at the end and fizzles out...
So Much I: how solid can this disc possibly be??? They are still bringing it with variance and full force here. Like about 20 other songs on the album, this one has its own unique charater and sound thats nothing like the others. Srong track.
Storm in a Teacup: One of the gems, love the verse building up to both choruses "little lady love youre gonna make some" brilliant structure of words and just well written. This is almost beastie-boys meets RHCP. You can hear the Rubin element here. Energetic all the way through, but certain parts ooze enery, particularly when it gets real quiet before the last chorus section and to me this sounds a lot like something off Check Your Head (an album i think rubin produced; not sure of this though) Its got an extraordinary quality to it, great song.
We Beleive: Not sure what he deal is with this one, its definately the message of the album though. I think its the band speaking directly to the album, almost a refleection from them. I could be dead wrong. Nice santana-ish guitar effect. Cool lyrics. "The risk is, it worth it, The disc is, it perfect?" I'll let you answer that one. Very cool distortion over Keidis' words to fade the track out.
Turn it Again: Huge rocker, very loud, led by somewhat distorted heavy electric guitar. This one is reminiscent of GunsnRoses for me, particularly toward the end. Very heavy, very distrorted, similar sound.
Death of a Martian: Def a gem of the album, perfect closer, like nothing theyve ever done before. Kind of trippy sound. The song kind of trickles downward the whole time. Some of the best lyrics on the album. Very cool ending poem with some of the coolest lyrics I've ever heard in song. Keidis ends the album on a somewhat screaming "AWAAAAAAAAY" love it. Great song to listen to while you reflect on what you just heard and its sad only because the album has come to an end. Oh well, time to Turn it Again...
In closing I'd say there is definitely enough here to keep someone busy for a while and the depth is amazing.
Thanks.
The Greatest Rock'n'Roll Album of all Time? May 10, 2006
15 out of 20 found this review helpful
Sweet merciful Christ.. what a brilliant collection of music. I've been a Chili Peppers fan for years, and I always knew it was only a matter of time before they went and put out one of the greatest albums of all time. You can talk all you want about your brilliant, unknown underground bands, but it's about time that someone gave mainstream rock and roll a good solid kick in the ass, and Stadium Arcadium delivers. They're pumping out hit single after hit single, and not because they sound like everything else out there, but because they're better than anything else out there. It's as good as Dark Side of the Moon. It's as good as Electric Ladyland. It's as good countless Beatles albums. If anything, it's an improvement on all of the great pieces of music that have come before it, and it sets a new standard. It touches off all of the old Chili Peppers sounds, right back to their pre-fame days, except it takes them to a completely different level. "Hard to Concentrate" is the most beautiful, sincere love song I've ever heard, "Storm in a Teacup" is a throwback to Uplift Mofo Party plan complete with cosmic Hendrix-style guitar solos, "Charlie" will go on to be a classic drug anthem, and the title track is a breathtaking Pink Floyd-style psychedelic epic. John Frusciante, the driving force behind this brilliant piece of music, has officially emerged as the greatest guitarist of our time; an artist who explores the sonic capabilities of his instrument rather than just stopping at technical proficiency. The album as a whole sounds like it could be a damn good greatest hits album, and at least 20 of the 28 songs could skyrocket to the top of any singles chart. Make no mistake about it, this one isnt going anywhere for a while. We're gonna be hearing these songs all over radio stations everywhere for years to come. It's a classic for our generation.
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