Every Red Hot Chili Peppers album ranked: From worst to best

When it comes to Red Hot Chili Peppers, you either love them or hate them. For some, the band are geniuses who have found a way to seamlessly fuse funk, punk, rock, and hip-hop in unique ways. For others, they are just another jock-rock band. Both viewpoints are valid. However, it’s impossible to undermine the influence and impact the band have had on pop culture and music as a whole. And while they have had more member turnover rates than a fast-food restaurant throughout their nearly 40-year career, the band’s identity and presence always feel relevant and recognizable regardless of era. 

Red Hot Chili Peppers are undoubtedly the sum of four distinct and crucial characters, including their most consistent lineup of vocalist Anthony Kiedis, bassist Flea, guitarist John Frusciante and drummer Chad Smith (who is a doppelganger of actor/comedian Will Ferrell). Most recognizable are Flea’s intricate and commanding basslines and the simple imagery and lyricism of Kiedis, who is in many ways more of a poet than a bonafide vocal powerhouse. When these two elements are combined with the locked-in grooves of Smith and the vibrant guitar brush strokes of Frusciante, you get the signature Chili Peppers sound, perfect for a trippy California day spent soaking up the sun. 

Read more: 20 greatest punk-rock vocalists of all time

And while the band’s music is often laid back, playful, and mellow, there’s still an underlying darkness and serious self-reflective narrative that creeps in due to their early years spent navigating addiction, trauma, and untimely deaths. In fact, things were so bleak for the band in the ’80s and into the mid-’90s, it wouldn’t have been wrong to assume that the band would never make it 40 years. Thirteen records, countless platinum certifications and sold-out world tours later, Red Hot Chili Peppers beat the odds and are now spending their time celebrating the victories and holding on to the same creative spark that brought them together in the first place. 

Every Red Hot Chili Peppers album ranked

Warner

13. Stadium Arcadium (2006)

Unless you are Pink Floyd, a double album is never a good idea, and Red Hot Chili Peppers’ Stadium Arcadium is no exception. The record, save for a few hidden games, is bloated and shows a band lost in an echo chamber of nonsense ideas. While the album does contain some of the band's most commercially successful singles, such as "Snow (Hey Oh)" and "Dani California," it is hard to not cringe that these songs are still regularly played over the speakers of dead-end malls and J.C. Penny dressing rooms around the country. It is a shame that Stadium Arcadium marked the last record with Frusciante before he took his second hiatus from the band in the years following the release before returning in 2019. 

"Desecration Smile," which kicks off the second half of the double album, is serviceable with Frusciante's vocal additions and unmistakable guitar tone. However, it still feels like a worse B-side from the By The Way Sessions. Funny enough, the album's most critically panned single, "Hump de Bump," is the most enjoyable because it is so stupid that it works with the over-the-top basslines and cowbell solos that can't help but make even the most jaded Chili Peppers fans crack a smile. 

Warner

12. I’m With You (2011)

Much had changed in the Red Hot Chili Peppers world in the five years since the release of Stadium Arcadium. The band enlisted touring auxiliary guitarist Josh Klinghoffer to fill the enormous shoes of Frusciante. Though he tried his best, the magic was gone at that point, and this record was dead in the water from the start. 

While opening track "Monarchy of Roses" is a fun step into dance-punk territory for the band, as well as the catchy lead single "The Adventures of Rain Dance Maggie" and the shredding guitar work of "Goodbye Hooray," the remainder of I'm With You is underwhelming. In fact, the biggest issue with the record is that it elicits next to no emotional response, whether good or bad. However, it’s still worth giving the band props for trying new things instead of simply regurgitating an easy radio hit or two. For that, all is forgiven, Chili Peppers. 

Warner

11. Unlimited Love (2022)

In 2019, the impossible happened. Beloved guitarist and songwriter John Frusciante rejoined Red Hot Chili Peppers after another 10-year hiatus from the band, and undoubtedly the hype leading up to their 12th studio album, Unlimited Love, was through the roof. Thankfully, the band delivered 17 genre-spanning tracks that touch on just about every sonic path the band had ventured on throughout the last 40 years. Standout tracks include "Here Ever After," which felt plucked straight from the By The Way era, albeit with a sharper edge, as well as "Aquatic Mouth Dance," which showed the band returning to their early funk roots and in many ways could be looked at as a spiritual sibling to their beloved track "Aeroplane."  

"Bastards of Light" is another fun track that offers just about everything that makes Red Hot Chili Peppers great, including soaring harmonies, playful grooves, and mesmerizing guitar riffs. Additionally, the 12-string acoustic-driven closing track "Tangelo" ends the record on an intimate note that features Kiedis' vocals raw and upfront with nothing to hide behind save for a few flourishes of organs that caps off the overall sonic experience quite beautifully. The only major critique of the album, along with most of their releases, is the long run time that often results in several filler tracks. Still, the band desperately need to learn that it is always best to have quality over quantity. 

Warner

10. Return of the Dream Canteen (2022)

From the moment the throwback-funk opening track "Tippa My Tongue" kicks off, it is clear that Red Hot Chili Peppers are having the time of their life, celebrating their restored personal and musical relationship and letting the good times flow. Their 13th record, Return of the Dream Canteen, was written and recorded during the sessions for their previous album, Unlimited Love. Still, it feels like something other than a collection of B-sides. Take a song such as "Eddie," which pays a warm tribute to the late Eddie Van Halen, and it is clear that the band are simply flowing with good ideas. This track, in particular, is one of their strongest since 2002's By The Way. And not to mention, "Fake as Fu@k" feels like the band are back in their 20s again, and with the addition of horn sections, the track is pure nonstop fun. 

Other highlights include "Afterlife" and "Bella," which both pair alluring grooves with lyrical sincerity, as well as the grunge-tinged "Bag of Grins." Once again, the main glaring issue with the record is the sheer length and excess of unneeded tracks, such as the painfully dull "In The Snow" and "La La La La La La La La." 

Warner

9. The Getaway (2016)

For their 11th studio album, The Getaway, Red Hot Chili Peppers parted ways with longtime producer/collaborator Rick Rubin and enlisted fresh ears with producer Danger Mouse (Gorillaz, MF DOOM, the Black Keys). This was a stellar move for the band and helped open a realm of new possibilities and sounds that they had yet to explore. On The Getaway, guitarist Klinghoffer also seemed to have been settling further into his role (though it would be his last with the band) and managed to insert a great deal of artistic character into tracks such as "The Longest Wave" and "Detroit," the latter of which felt like the band finally tapping back into their aggressive spirit. 

Danger Mouse's production felt warm and analog in every sense. The record is balanced quite well, where every part feels intentional, direct, and simply not buried beneath stacks of unnecessary instruments. Additionally, Danger Mouse pushed the band to pen some of the most left-field and inventive songs of their later career, including the thumping lead single "Dark Necessities" and the piano and the horn-driven ballad "The Hunter," which both felt like high art when stacked up against their more pedestrian material on the previous release. The title track and the song "Go Robot," also captured the band's classic tendency for infectious grooves in striking new ways. The Getaway was a blessing in the middle of an otherwise underwhelming later era for the band. 

EMI/Capitol

8. The Red Hot Chili Peppers (1984)

Upon releasing their 1984 self-titled debut album, Red Hot Chili Peppers' resident bass virtuoso Flea once described the band's music as "bone-crunching mayhem funk," in their first interview for MTV, which honestly couldn't be a better way to explain their sound. In addition, he pledged that the band's motto around the release was to always play as if they had a "big dick." Phallic comparisons aside, Red Hot Chili Peppers' first album is as raw as it gets for the band and can be argued as being a pioneering funk-metal album. 

Take for example the track "Get Up and Jump," which is sure to incite the same visceral reaction as the title suggests. This album could quite possibly be the band's only proper mosh-worthy release to date. Other gems include the hilarious and X-inspired single "True Men Don't Kill Coyotes" and "Out In L.A.," the first song the band ever wrote. Notably, the self-titled album is their only record to include the late guitarist Jack Sherman, who took over for founding member Hillel Slovak during his brief hiatus from the group.  

EMI

7. Freaky Styley (1985)

Freaky Styley is perhaps Red Hot Chili Peppers' most bat-shit crazy record in their catalog. Produced by the eccentric and highly influential Parliament-Funkadelic ringleader George Clinton in Detroit, Michigan, Freaky Styley was the product of a nonstop debaucherous studio party experience. Upon first listening to the record, it makes sense that it sounds the way it does, but that is part of its overall charm. Tracks such as "Jungle Man" incorporate almost tribal elements, especially with the drums and vocalist Anthony Kiedis' inflections that sound almost like a confident rock ‘n’ roll version of Tarzan, beating his chest with vigor and pure testosterone. 

Freaky Styley also includes a cover of Sly & The Family Stone's classic hit "If You Want Me To Stay," which does the original justice. Not to mention, the band's first semi-breakthrough single, "Catholic School Girls Rule," is in many ways one of their most urgent and high-octane tracks to date. Lastly, we cannot forget "Yertle The Turtle," which features a spoken-word intro from Clinton's cocaine dealer, who demanded payment for the drugs he supplied. Still, as they could not pay, they offered him a brief cameo, which he accepted and is now forever immortalized in the chaotic funk banger of a track. 

Warner

6. One Hot Minute (1995)

In retrospect, Red Hot Chili Peppers' 1995 album One Hot Minute was always destined to fail no matter what. The band had the enormous weight of hype and passing time following the release of their mainstream breakthrough album Blood Sugar Sex Magik — as well as experiencing the first departure of chief songwriter and guitarist Frusciante in 1992. One Hot Minute was the first and only album to feature guitarist Dave Navarro of Jane's Addiction. It showed the band in the midst of an identity crisis — essentially trading in their signature funk sound for new styles, including grunge and psych rock.

While the album was a commercial and critical flop, it did feature some truly great songs. That includes "Warped," which showed the heaviest and darkest sound we probably ever will get from the band, as well as the acoustic-driven ballad "My Friends," which is perhaps one of the best songs they have ever written. Additionally, the throwback funk sound of "Aeroplane" still holds a candle to even their most iconic tracks and features an incredible music video that screams '90s nostalgia. "Tearjerker" is also one of their most criminally underrated songs and offers a heartwarming tribute to the late Kurt Cobain that will surely trigger a tear or two. All in all, One Hot Minute can be considered a cult classic with a host of underrated gems that got lost throughout history. 

EMI

5. The Uplift Mofo Party Plan (1987)

Red Hot Chili Peppers' The Uplift Mofo Party Plan is the essential rock-leaning album in their catalog. In fact, without this record, there might not have been a rap-rock movement barely a decade later with groups such as Limp Bizkit and Crazy Town. The Uplift Mofo Party Plan is the only Red Hot Chili Peppers album to feature the original founding lineup. By the sound of the record, the band were beginning to fire on all cylinders and refine their musical chemistry in exciting new ways. 

Lead single "Fight Like a Brave" is tailor-made for amping up a sports team before a big game, and songs such as "Me and My Friends" and "Skinny Sweaty Man" are pure chaos. "Behind The Sun" marked the first time the band truly leaned on melody, pretty vocals, and accessibility, all to great results. We also cannot forget their cover of Bob Dylan's "Subterranean Homesick Blues," which transforms the original source material in magical new ways and shows a locked-in funk band playing perfectly in the pocket.

EMI

4. Mother’s Milk (1989)

Mother's Milk, the fourth studio album from Red Hot Chili Peppers, marked the end of an era and, at the same time, a new beginning. This album was the first to be released following the untimely death of founding guitarist Hillel Slovak and the departure of original drummer Jack Irons after the tragedy. However, Red Hot Chili Peppers' dynamic duo of Kiedis and Flea miraculously persevered and enlisted new members John Frusciante (guitar) and Chad Smith (drums), who are now considered to be the key players who primarily represent the Chili Peppers we all know and love today. 

With the band's musical dynamic restored, the band penned triumphant songs such as "Knock Me Down," which serves as an anthem for recovery following addiction. Additionally, the band nailed their renditions of "Fire" by Jimi Hendrix and "Higher Ground" by Stevie Wonder, the latter of which has even become as iconic as the original. Other highlights include the sultry and sly "Taste The Pain," which features a genuinely epic trumpet solo, and "Johnny, Kick A Hole In The Sky," a precursor to the band's later sound. We cannot forget the instrumental bliss of "Pretty Little Ditty," later sampled by nu-metal one-hit wonders Crazy Town on their iconic track "Butterfly." Mother's Milk was a well-deserved victory lap for the band, and including the then-19-year-old Frusciante added a fresh new perspective and energy to the band's songwriting. 

Warner

3. Californication (1999)

In 1999, Red Hot Chili Peppers rose from the ashes of addiction, inner-band turmoil, critical failures, and devastating departures with the release of one of their most beloved albums, Californication. The LP marked the return of Frusciante after beating near-fatal drug addictions and a seven-year hiatus from the band. The result is an album that felt like the band were finally able to let the light back in. From hits such as the somber ballad "Otherside" and "Californication," which features arguably one of the most iconic videos of the '90s, to the reflective intimacy of "Scar Tissue" and the brilliant funk gibberish of "Around The World," Californication had something for every Chili Peppers fan. Additionally, the record highlighted the tremendous growth Kiedis experienced as a vocalist, proving that he was so much more than a glorified hype man spouting nonsense over funk rock. 

Californication was also the record that set the stage for the band's later years, incorporating breezy melodies and more accessible song structures while paying homage regularly to their love of California. The only major critique of the record is, of course, the mix and overall production. While the band's longtime record producer Rubin manned the boards again for this release, the record has an over-compressed quality. It is often regarded as an early yet negative example of the loudness wars of the new millennium. 

Warner

2. By The Way (2002)

By The Way takes what the band were beginning to develop previously on Californication in terms of more mellow sounds and melodically rich arrangements and dials it up to 11. The record was primarily spearheaded by Frusciante in terms of melody and song structure, with Kiedis using the lyrics to analyze the last two decades of his life spent on the road as a full-time rock star and the various setbacks, heartbreaks, and high points that came along the way. By The Way is hands down the lushest record in their catalog and features impeccable harmonies between Kiedis and Frusciante. Standout tracks include the title track and its rapid-fire vocal deliveries and "The Zephyr Song," with its almost lullaby qualities. Additionally, their smash hit single "Can't Stop" feels like the thesis statement behind the band's overall mission and core sound. 

Warner

1. Blood Sugar Sex Magik (1991)

When looking back at the '90s, it really doesn't get more iconic than 1991. That year spawned the acclaimed Nirvana album Nevermind, Pearl Jam's Ten, Soundgarden's Badmotorfinger, and, of course, Red Hot Chili Peppers' best album, Blood Sugar Sex Magik. Pound for pound, Blood Sugar Sex Magik contains the band's most memorable and quality tracks, including everything from the barn burners "Give It Away" and "Suck My Kiss to stunning ballads such as "I Could Have Lied," which almost an emo song if you really think about it, and "Under The Bridge," which is considered to be the quintessential Chili Peppers track that paints an unforgettable picture of Kiedis' addiction and steps toward healing. 

Other highlights include "Breaking The Girl," which details the brief romance between Kiedis and enigmatic '90s singer-songwriter Sinead O'Connor and the universally relevant cry for social justice of the opening track "The Power Of Equality." While Blood Sugar Sex Magik marked a new and more profound shift in perspective and lyricism, the band still allow some comedic gold to shine through as well with tracks such as "They're Red Hot" and the nearly eight-and-a-half long epic "Sir Psycho Sexy," which chronicles a fictitious encounter with a seductive police officer.