Produced by Rick Rubin , its musical style differed notably from the techniques employed on the band's previous album Mother's Milk , and featured minimal use of heavy metal guitar riffs. The album's subject matter incorporates sexual innuendos and references to drugs and death, as well as themes of lust and exuberance. It was the Chili Peppers' introduction into worldwide popularity and critical acclaim, although guitarist John Frusciante quit the band mid-tour in returning in due to his inability to cope with its popularity. The album is recognized as an influential and seminal component of the alternative rock explosion of the early s, with Steve Huey of AllMusic calling it "probably the best album the Chili Peppers will ever make". The band's previous album, 's Mother's Milk , became the band's second album to enter in the Billboard , peaking at number 52 and at the time the biggest of their career. He convinced Frusciante to play with an overall heavier tone, and instructed Kiedis to write lyrics that would be more radio-viable, thus causing the band to feel restricted creatively.
Blood Sugar Sex Magik
Blood Sugar Sex Magik (album) | Red Hot Chili Peppers Wiki | FANDOM powered by Wikia
In , the Red Hot Chili Peppers were a long shot to make it to the 21st century. They were a party band back then—too funky for hair metal, too cock-obsessed for college rock. They wrote songs about their dicks ; they then stretched cotton socks over those same dicks and jumped around on stage without fear of gravity. In the music world, they were definitely not a big deal. And then, the world changed.
Blood Sugar Sex Magik (album)
The Red Hot Chili Peppers ' best album, Blood Sugar Sex Magik benefits immensely from Rick Rubin 's production -- John Frusciante 's guitar is less overpoweringly noisy, leaving room for differing textures and clearer lines, while the band overall is more focused and less indulgent, even if some of the grooves drag on too long. Lyrically, Anthony Kiedis is as preoccupied with sex as ever, whether invoking it as his muse, begging for it, or boasting in great detail about his prowess, best showcased on the infectiously funky singles "Give It Away" and "Suck My Kiss. Three of those last four songs excluding "My Lovely Man" mark the band's first consistent embrace of lilting acoustic balladry, and while it's not what Kiedis does best as a vocalist, these are some of the album's finest moments, varying and expanding the group's musical and emotional range.