By the Way

Red Hot Chili Peppers

Product Details

• Audio CD (July 9, 2002)
• Original Release Date: July 9, 2002
• Number of Discs: 1
• Label: Warner Bros / Wea
• ASIN: B000067CPX
• Also Available in: Vinyl  |  MP3 Download
• Average Customer Review: 4.2 out of 5 stars See all reviews (695 customer reviews)
• Amazon.com Sales Rank: #3,329 in Music (See Bestsellers in Music)

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Editorial Reviews

Amazon.com
When the Red Hot Chili Peppers first appeared smeared in neon body paint with socks dangling precariously from their wieners, even the most faithful funk-metal convert couldn't have conceived they would be around some 20 years later, carrying on in much the same fashion. Despite a long history of tragedies and personnel upheavals, the California quartet's eighth album is mostly business as usual--and business, as usual, is quite good. The title track, "By the Way," is a powerful, bruised piece of slap-bass and intermediary white-boy rapping. "Universally Speaking" pays sweaty, soulful tribute to singer Anthony Kiedis's hometown of Detroit. And "Lemon Trees on Mercury" sounds eerily like it could have been lifted from 1984's Freaky Styley. The band's reliable eclectic side, meanwhile, surfaces on the Latin-flavored "Cabron" and moody "Venice Queen." But the biggest surprise is "Tear," a masterful homage to the Beach Boys that suggests the Chili Peppers' perpetual state of arrested development may someday lift. --Aidin Vaziri

Product Description
2002 album.

Customer Reviews

Most Helpful Customer Reviews

31 of 32 people found the following review helpful:

5.0 out of 5 stars By The Way, This Is Amazing, February 14, 2007

By	Collin Lauten (Los Angeles, California) - See all my reviews

The Red Hot Chili Peppers are unquestionably the greatest band that has ever lived. Evolving in a storybook-like fashion from having sold roughly 25,000 copies of their debut album, to the 13 million Californication accumulated. The band has experienced countless line-up change, heartbreaks, and tragic upheavals, giving the foursome a bleak future. 20 years ago, not a single person could have foretold this. By the Way came at a time when music begged for originality and uniqueness. It is lush, poignant, and immaculate; By the Way evokes fascination in all, as to what the band has transformed into.

It begins with "By the Way", one of the only numbers on the entire album which have preserved the once quintessential funk and rap-driven verses. It is vastly discrepant to those of the other recordings found on the album, and is, thus, misleading. The intricate song structure evolves from mellow, harmonious and humble beginnings to a brazen verse and impeccably bridges into a melodic chorus. "Universally Speaking" follows. It's instantly apparent that this song has very few things relative to that of it's predecessor. The song has a sort of Doo-whop feeling as it bridges expressively from the verse into a 60's-type chorus.

"This Is the Place" has to be one of the most beautiful tracks on the entire album. It begins with a modest base line (which is played throughout the entire song), and gives way to Chad's lustrous drum beat and Anthony's masterful lyrics; it contains some of the best song-writing I have ever seen, though one never knows what he is actually alluding to. John comes in with a seemingly invisible guitar segment; all until the chorus, when it brings through stunning life altering sounds. The most notable segment is the conclusion, when Kiedis sing unwaveringly, and John pounds furiously on his guitar. "Dosed" follows, which is elegant, wispy, and, for some reason, makes me feel as if I were in an Arctic blast. Four guitar lines run luxuriantly through the song.

"Don't Forget Me" has the most intricate and zealous guitar-playing I have ever heard. Like "This Is the Place", the exact same base-line is played perpetually until the conclusion. Anthony's haunting and ubiquitous voice resonates in your mind, as John picks masterfully at his guitar. Following the first and second choruses, astonishingly intricate solos are given by Frusciante. Each one is an ecstasy of euphoric delirium, executed with impeccable perfection. "The Zephyr Song" comes next, and seems as though it were lifted directly out of the 70's. It's psychedelic nature stands out wondrously.

"Can't Stop" is, without a doubt, my favorite song, ever. It starts fast paced, but somewhat quiet, until it reaches the climax. An amazing bridge to the verse is played by John. The verse is far better than the chorus, as Frusciante provides majestic backing vocals. Amazing song. "I Could Die for You", the shortest song on the album, is hard to describe. It's elegant and beautiful and gentle in it's nature. The track is quiet, yet perky and alive, as though driven by an enveloping, fervent, fanatical force. "Midnight" is another gem. The sounds which it engages have rarely been seen elsewhere. It is so unique, as each one of the songs are. Melodic and lush, bare and unsparing. "Throw Away Your Television" is the funkiest number on the album, though certain sections imply an innovative sense, and as though one were experiencing a whirlwind of nuance and jet speed illustriousness.

"Cabron" is an experimental track, which has a tang of Latin influences, hence the name, and is played exclusively on an acoustic guitar. It is another vastly dissimilar song which contradicts much of its colleagues. "Tear", a striking and lethargic (and long) song is an unexpected tribute to the Beach Boys. A magical trumpet solo is performed by Flea, which allows the song to prevent itself from becoming lost on the record. "On Mercury" is, if there had to be one, the weakest track on the entire album. The faux ska sound simply sparks too much turmoil between the songs it surrounds, and does not fit in with the grand message which By the Way is attempting to articulate.

It is succeeded by an outstanding track, however: "Minor Thing", which shows, blatantly, how much Kiedis has evolved as both a lyricist and a singer. His compelling and spellbinding voice gives way to the enchanting, enthralling and captivating guitar playing given by John. "Warm Tape" is possibly the most mysterious and inexplicable track the Chili Peppers have ever produced. The sound is difficult to describe, as it seems to squirm in a sensual manner, unlike anything ever created.

The final and longest song on By the Way, "Venice Queen", may be the most meaningful. It's mellow and windy intro gives one the sense of walking in a forest, while the bitter cold wind attacks you from all angles. It defines beauty, yet is as unforgiving as an astringent stone. Anthony comes in perfectly and begins singing in a depressed and crestfallen manner. Until, however, the song completely turns around and kicks itself into high gear. Near the halfway mark, it turns from a glum ballad to a driven acoustic melody, alluding to the death of Gloria Scott, a woman who aided Anthony in the fight against drugs. John provides majestic backing vocals, to make this song an amazing stand out.

So, if you took the time to read why By the Way is the best album ever recorded, you'll purchase it. Carefree.

27 of 28 people found the following review helpful:

5.0 out of 5 stars Change is a good thing, August 23, 2002

By	Andrew L. Chmelko (Long Island City, NY United States) - See all my reviews (REAL NAME)

Lately I have heard many MANY people slinging mud at the Red Hot Chili Peppers calling them everything from "sellouts" to "no fun anymore". While earlier outings such as "The Uplift Mofo Party Plan" and "Mother's Milk" are what got me into the Chili Peppers in the first place, if they were still trying to churn out the same exact funk-punk that they did in the 80's I am certain I'd be bored to tears with them by now. I relish the fact that no two Chili Peppers albums really sound the same, and even appreciate the greatly panned "One Hot Minute" for its own unique style (I certainly wouldn't have minded hearing a second album with Navarro on guitar before he took off). As far as them being sellouts...whatever. I used to be one of those brainless sheep that called every band with a hit single "sellouts" until I read Henry Rollins's "Get in the Van," where he said that Black Flag were considered sellouts for (among other things) cutting their hair, not playing every single song the audience requested, playing songs that were longer than 3 minutes, and...horror of horrors...RELEASING ALBUMS. People who accuse bands of selling out should be taken every bit as seriously as an Anna Nicole Smith film festival.
This album, while maybe not as close to the typical idea of "fun" as albums where the boys rapped about sex and partying, is indeed a treasure. I'll admit I wasn't too crazy about it at first, but upon repeated listenings I found myself unable to listen to anything else for weeks. My personal favorites are the block of "This is the Place," "Dosed," and "Don't Forget Me." Other gems include the Living Colour-esque "Midnight" (seriously, imagine Corey Glover singing the chorus), the Latin-flavored "Cabron", the irresistably bouncy "On Mercury", and of course the two singles "By the Way" and "The Zephyr Song." The only thing about this album that I was a bit upset about is the fact that Flea's bass gymnastics have completely taken a back seat this time around. His contributions are much more subtle than on previous records and his breathtaking slaps and pops are sorely missed. This is an Anthony and John album all the way. But on the plus side...this is an Anthony and John album all the way! Anyone who's heard and enjoyed John's stunning 2000 solo effort "To Record Only Water For Ten Days" (easily one of the best albums of that year) knows what an unrivaled genius John is now that he's said good riddance to heroin. His sublime guitar play and experimental synth work snake their way all over this album in the aforementioned tracks and others such as "Warm Tape," "Venice Queen," and "Tear."
No fun anymore? I suppose that all depends on your idea of fun. If you're looking for something to blast at your next house party amidst kegstands and random hook-ups, look elsewhere. By the Way affects you in a much different way, but is by no means boring or not fun. Pick it up and listen to it at least twice before you pass judgment.

33 of 36 people found the following review helpful:

5.0 out of 5 stars I Like the Music, July 9, 2002

By	Michael Leach "mleach25" (Australia) - See all my reviews

"By the Way" is, undeniably, a stellar album, representing yet another tremendous offering from the Red Hot Chili Peppers. It easily equates its predecessor, "Californication", in terms of its accessibility and the consistency with which it displays quality musicianship and meaningful lyrics. As always, Anthony Keidis' wonderfully unique vocals are complemented expertly by Flea's mastery of the bass guitar, Fruisciante's great guitar performances and Chad Smith's rhythmic drum beats. It is understandable, then, that, in a similar vein to "Californication", all 16 of the album's tracks are excellent, and are not let down by any pointless `filler' tracks.
However, the Chili Peppers appear to have significantly stretched their musical boundaries since "Californication", as "By the Way" manages to encapsulate an earnestness and emotiveness that the band has rarely revealed to its legion of fans. While the album retains the band's raw edge, especially through hard-hitting songs such as catchy first single "By the Way" and the bittersweet funk tune "Can't Stop", it also introduces a wealth of songs based around beautiful vocal harmonies and soaring melodies. Moving ballad "I Could Die For You" illustrates this point perfectly, as it stands as among the most beautiful three minutes in the Chili Peppers' recording history. Thankfully, the band has definitely not transformed into a soppy, dull, Train-esque rock act. Even the album's most tender moments either maintain a degree of intensity or are balanced out by more unrefined moments, such as those involving rapping and chanting. For instance, the juxtaposition of Keidis' aggressive rapping with moving vocal harmonies in "Minor Thing" culminates in an aurally appealing contrast.
All in all, after careful consideration of the album's 16 superb songs, I would have to say that "Midnight" is my personal favourite. It is a rocking, lyrically-rich, orchestral monster of a song that is home to one of the Chili Peppers' most powerful, uplifting choruses to date. The album attains five stars from me for this song alone; its fellow 15 stand-out tracks make this album worthy of much more than just five stars.