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Blood Sugar Sex Magik
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Blood Sugar Sex Magik
Studio album by Red Hot Chili Peppers
Released
September 24, 1991 (1991-09-24)
Recorded
April–June 1991
Studio
The Mansion. Los Angeles
Genre
Funk rock
alternative rock
funk metal[1][2]
Length
73:55
Label
Warner Bros.
Producer
Rick Rubin
Red Hot Chili Peppers chronology
Sock-Cess
(1989)Sock-Cess1989 Blood Sugar Sex Magik
(1991) What Hits!?
(1992)What Hits!?1992
Singles from Blood Sugar Sex Magik
"Give It Away"
Released: September 4, 1991
"Under the Bridge"
Released: March 10, 1992
"Suck My Kiss"
Released: May 1, 1992
"Breaking the Girl"
Released: July 30, 1992
"If You Have to Ask"
Released: February 1993
Blood Sugar Sex Magik is the fifth studio album by American rock band Red Hot Chili Peppers, released on September 24, 1991. Produced by Rick Rubin, it was the band's first record released on Warner Bros. Records. The musical styles of Blood Sugar Sex Magik differed notably from the techniques employed on the Chili Peppers' preceding album, Mother's Milk, and featured little use of heavy metal guitar riffs. The album's subject matter incorporated sexual innuendos and references to drugs and death as well as themes of lust and exuberance.
Peaking at number one in Australia, Canada, and New Zealand, and at three on the United States' Billboard 200, the album has sold over 13 million copies worldwide and was the Red Hot Chili Peppers' introduction into worldwide popularity and critical acclaim. Blood Sugar Sex Magik produced an array of hit singles including the hugely successful "Under the Bridge" and one of their most popular songs, "Give It Away". The other three singles released were "Suck My Kiss", "Breaking the Girl", and "If You Have to Ask". Guitarist John Frusciante quit the band mid-tour in 1992 (not returning until 1998) due to his inability to cope with the album's popularity. Blood Sugar Sex Magik is recognized as an influential and seminal component of the alternative rock explosion in the early 1990s. Steve Huey of AllMusic stated that Blood Sugar Sex Magik is "... probably the best album the Chili Peppers will ever make."[3]
Contents
[hide]
1 Background
2 Recording and production
3 Music
4 Artwork
5 Promotion and release
6 Critical reception
6.1 Accolades
7 Tour and John Frusciante's departure
8 Legacy
9 Track listing
10 Outtakes
11 Personnel
12 Charts and certifications
12.1 Album
12.2 Singles
13 References
Background[edit]
The band's previous album, 1989's Mother's Milk would become the band's second album to enter in the Billboard 200, peaking at number 52 and at the time the biggest of their career.[4] Although the record was mildly successful, production was weighed down by producer Michael Beinhorn. 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.[5][6]
As the Chili Peppers' contract with EMI came to an end, they began looking for a new record company to release their next album. The group reached a consensus to go with Sony BMG/Epic, with the proviso that they buy out their last album from EMI.[7] Even though the label promised it would take only a few days, the process stretched out into several months.[7] Although a deal had been made with Sony/Epic, Mo Ostin of Warner Bros. Records called Kiedis to congratulate him on the successful deal, and complimented the rival record label.[8] Kiedis recalled of the situation: "The coolest, most real person we had met during all these negotiations had just personally called to encourage me to make a great record for a rival company. That was the kind of guy I'd want to be working for."[9] The group pursued the idea, and eventually dropped the contract with Sony in favor of a deal with Warner Bros. Ostin called an old friend at EMI, who immediately allowed for the label transfer.[5][9]
Recording and production[edit]
Now settled into Warner Bros. Records, the Chili Peppers began looking for a suitable producer. One person in particular, Rick Rubin, stood out, as he was more broadminded in contrast to individuals they had worked with in the past even though Rubin previously turned down the band's offer to produce their 1987 album The Uplift Mofo Party Plan due to the drug problems of Kiedis and guitarist Hillel Slovak who would die of a heroin overdose a year later.[10] Eventually, the band decided Rubin would be the best choice as a producer, and therefore hired him to produce what would become Blood Sugar Sex Magik. Unlike the Peppers' previous producers, Rubin was someone that they felt confident to ask for guidance and input during times of difficulty. He would often help arrange drum beats, guitar melodies and lyrics.[5][11]
The band sought to record the album in an unconventional setting, believing it would enhance their creative output. Rubin suggested the mansion magician Harry Houdini once lived in, to which they agreed. A crew was hired to set up a recording studio and other equipment required for production in the house. The band decided that they would remain inside the mansion for the duration of recording, though according to Kiedis Smith was convinced the location was haunted, and refused to stay.[12] He would, instead, come each day by motorcycle.[12][13] Smith himself disputes this account, and instead claims the real reason he did not stay at The Mansion was because he wanted to be with his wife.[14] Frusciante, however, disagreed with Smith, and said "There are definitely ghosts in the house," and Frusciante felt they were "very friendly. We [the band] have nothing but warm vibes and happiness everywhere we go in this house."[15]
Frusciante, Kiedis, and Flea each had their own separate rooms at each end of the house. When not recording with the band, Frusciante would spend his time painting, listening to music, reading and recording songs he'd written.[12] Due to the seclusion, Kiedis ended up recording all his vocals in his room, as it was large enough to accommodate the recording equipment.[12] For over thirty days, the Chili Peppers worked inside the house; Kiedis felt it was an accommodating and resourceful environment which allowed him to complete the rest of the lyrics.[13] During production, the band agreed to let Flea's brother-in-law document the creative process on film.[12] When the album's recording was complete, the Chili Peppers released the film, titled Funky Monks.
Music[edit]
"Give It Away"
"Give It Away", the first single from the record, combined funky guitar riffs and prominent sexual references with an overall "drier" guitar sound attributed to producer Rick Rubin.
"Under the Bridge"
"Under the Bridge", the second single from Blood Sugar Sex Magik, was a reflective and melodic composition that would go on to become one of the defining songs of the nineties. The track reached number two on the Billboard Hot 100 in early 1992.
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Blood Sugar Sex Magik was written at a more rapid pace than the band's previous album.[16] Prior to the Chili Peppers relocation into the mansion, Frusciante and Kiedis collaborated at each other's homes, in order to arrange song structures and guitar riffs.[17] They would then present ideas to Flea and Smith, and the band would, as a whole, decide what they would use for the bass, guitar, vocal and percussion ensembles.
Kiedis focused lyrically on sexual references and innuendos as they were frequently on his mind.[18] Songs such as "Suck My Kiss", "If You Have to Ask", "Sir Psycho Sexy", "Give It Away" and "Blood Sugar Sex Magik" all contained various sexual links, with lyrics like "A state of sexual light / Kissing her virginity / My affinity" and "Glorious euphoria / Is my must / Erotic shock / Is a function of lust."[19] The concept behind "The Greeting Song" was a request by Rubin, who asked Kiedis to write a song solely about girls and cars. Although Kiedis disliked the concept, he wrote the song as Rubin requested and ended up hating nearly every aspect of the lyrics.[16] Kiedis also began to write about anguish, and the self mutilating thoughts he would experience as a result of his heroin and cocaine addiction; he believed his life had come to its lowest point under a bridge in downtown Los Angeles.[20][21] Over a month later, Rubin stumbled upon a poem that would become the lyrics to "Under the Bridge", and suggested Kiedis show it to the rest of the band. Kiedis was, however, apprehensive because he believed the lyrics to be "too soft" and unlike the band's style. After singing the verse to Frusciante, they began structuring the song the next day.[22] The two worked for several hours arranging chords and melodies until they both agreed it was complete.[22] Frusciante ultimately chose the chords he played in the intro to balance out the depressing atmosphere of the song: "my brain interpreted it as being a really sad song so I thought if the lyrics are really sad like that I should write some chords that are happier."[23] "Naked in the Rain" was one of the first songs written for the album and even played once at the end of the Mother's Milk Tour in 1990 while the intros for "The Greeting Song" and "Sir Psycho Sexy" were also teased during the end of that tour but neither song was completed or had lyrics.
Blood Sugar Sex Magik integrated the band's typical punk and funk style, but moved away from this with more melodically driven songs.[3] Tracks like "The Righteous and the Wicked", "Suck My Kiss", "Blood Sugar Sex Magik", "Give it Away" and "Funky Monks" still incorporated use of heavy metal guitar riffs, but differed from Mother's Milk in that they contained less distortion.[24] Flea, who had centered his bass playing around the slapping technique, downplayed on this in favor of more traditional and melodic bass lines.[25] He also adopted a minimalist, "less is more" philosophy: "I was trying to play simply on Blood Sugar Sex Magik because I had been playing too much prior to that, so I thought, 'I've really got to chill out and play half as many notes'. When you play less, it's more exciting—there's more room for everything. If I do play something busy, it stands out, instead of the bass being a constant onslaught of notes. Space is good."[25] Kiedis felt that the album would expand the Chili Peppers' musical horizons, and that it was a departure from their previous material.[26] One of Blood Sugar Sex Magik's more melodic tracks, "Breaking the Girl", was written about Kiedis' constantly shifting relationships. He feared that he was following in his father's footsteps and simply becoming a womanizer, rather than establishing stable and long-term relationships:[20] "... As exciting and temporarily fulfilling as this constant influx of interesting and beautiful girls can be, at the end of the day, that shit is lonely and you're left with nothing."[26] The track also featured a bridge in the middle, consisting of percussion instruments salvaged from a garbage dump.[27]
Although jams had always been an integral aspect of song creation for the Chili Peppers, Blood Sugar Sex Magik saw songs being created with more structure. One specific jam would lead to the breakout song on the album: Frusciante, Flea and Smith were all playing together—with Kiedis at another part of the room watching—when "... Flea started playing this insane bass line, and Chad cracked up and played along ... I always had fragments of song ideas or even specific isolated phrases in my mind. I (Kiedis) took the mic and belted out 'Give it away, give it away, give it away, give it away now."[27] The philosophy behind the lyrics originated from a conversation Kiedis had with Nina Hagen, regarding selflessness and how insignificant material possessions were in his life. It, thus, gave birth to the song "Give It Away."[27] He'd also been reminiscing about late Chili Peppers guitarist Hillel Slovak, composing "My Lovely Man" in his tribute.[20][28] Kiedis wrote "Sir Psycho Sexy" to be an over-zealous and overly exaggerated version of himself; a figure that could get any woman, and do anything he pleased to them.[28] "The Power of Equality" confronted topics concerning racial equality, prejudice and sexism.[29] Kiedis wrote "I Could Have Lied" to document the brief relationship he had with Irish singer Sinéad O'Connor.[29]
Artwork[edit]
Featured in the album cover booklet is a photographic collage of various tattoos the band members have.
All photography, paintings and art direction for Blood Sugar Sex Magik were credited to filmmaker Gus Van Sant,[30] with the exception of the "tongue illustration", which, according to the album booklet, is credited to Henky Penky (Henk Schiffmacher). The cover of the album features the four band members' faces positioned around a rose. The lyrics are printed in white lettering across a black background, hand written by Kiedis.[30] The booklet also contains a collage of photos assembled to showcase the band members' various tattoos, which feature faces of Native American tribal leaders, animals and sea creatures, as well as various symbols and phrases. Photographs of each band member alone, and two photographs of the band as a whole are also included.[30]
Singles released to coincide with the album share little with Blood Sugar Sex Magik's artwork. The cover of "Give It Away" was a painting of a Chinese infant, surrounded by fish, vegetables, fruits and sushi; "Under the Bridge" is a photograph of a bridge in the city of Los Angeles; "Suck My Kiss" had a black and white photograph of the band, with Kiedis and Flea holding a large fish; "If You Have to Ask" is an illustration of an avocado next to a girl's large buttocks in a yellow bikini; and "Breaking the Girl" featured a painting of a human being covered in magma.
Promotion and release[edit]
Blood Sugar Sex Magik was released on September 24, 1991, the same day as Nirvana's breakthrough album Nevermind. It was certified gold just over two months later on November 26, 1991, and certified platinum on April 1, 1992; since then it has gone seven times platinum in the United States.[31] The album peaked at number 3 on the Billboard 200.[32][33] Originally, "Give it Away" did not fare well in the mainstream; several of Warner Bros.' target radio stations refused to air it, telling the band to "come back to us when you have a melody in your song."[34] KROQ (of Los Angeles), however, began to play the single several times daily, and that, according to Kiedis, "was the beginning of the infusion of 'Give It Away' into mass consciousness."[35] The single ultimately peaked at number 9 on the UK Top 40 and number 73 on the Billboard Hot 100.[36][37] Blood Sugar Sex Magik has sold over 13 million copies worldwide.[38]
Due to the success of "Give it Away", the band did not foresee "Under the Bridge" as being equally viable. Warner Bros. sent representatives to a Chili Peppers' concert in order to figure out what would ultimately be the next single. When Frusciante began playing "Under the Bridge", Kiedis missed his cue; the entire audience began singing the song, instead. Kiedis was initially "mortified that I had fucked up in front of Warner's people ... I apologized for fucking up but they said 'Fucking up? Are you kidding me? When every single kid at the show sings a song, that's our next single.'"[39] "Under the Bridge" was, therefore, selected as Blood Sugar Sex Magik's second single. By January 1992, "Under the Bridge" had exploded, peaking at number 2 on the Billboard Hot 100.[37][39]
To promote the album in Europe, Kiedis and Frusciante both agreed they would make the trip.[34] However, it proved difficult for Frusciante to adapt to life outside of the mansion, after being in near-seclusion for almost 30 days. Kiedis recalled of the situation: "He had such an outpouring of creativity while we were making that album that I think he really didn't know how to live life in tandem with that creativity."[34] It was also during this period when Frusciante began to experiment with heroin, which further compromised his mental stability.[40] The European promotional trek took its toll on Frusciante, and he decided to return home when he and Kiedis reached London.[35]
Critical reception[edit]
Professional ratings
Review scores
Source
Rating
AllMusic [3]
Encyclopedia of Popular Music [41]
Entertainment Weekly B−[42]
Los Angeles Times [43]
Mojo [44]
Pitchfork 7.1/10[45]
Q [46]
Rolling Stone [47]
Select 4/5[48]
Spin Alternative Record Guide 8/10[49]
Blood Sugar Sex Magik was well received by critics, who praised the Chili Peppers for not overpowering the listener with heavy metal guitar riffs as their previous album had. Rolling Stone's Tom Moon credited Rick Rubin for the change in style; Rubin "[gave] the Chilis' dynamic."[47] He went on to praise the overall sound, which "displayed a growing curiosity about studio texture and nuance."[47] Steve Huey of AllMusic said the album was "The Red Hot Chili Peppers' best album ... 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."[3] He considered Blood Sugar to be "varying ... it expands the group's musical and emotional range."[3] Guitar Player magazine credited Frusciante with the Chili Peppers' drastic change in style: "by blending acid-rock, soul-funk, early art-rock, and blues style with a raw, unprocessed Strat-and-Marshall tone, [Frusciante] hit on an explosive formula that has yet to be duplicated."[50] Devon Powters of PopMatters said that "in one funked-out, fucked up, diabolical swoop, Blood Sugar Sex Magik reconfigured my relationship to music, to myself, to my culture and identity, to my race and class."[51] In an article published in The Tampa Tribune, editor Philip Booth praised the record as "an ambitious effort that amounts to a culmination and blossoming of the musical forces that have been brewing in the band's sound since Kiedis and Flea birthed the band in 1983."[52] Robert Christgau gave it an honorable mention in his Village Voice consumer guide, naming "Give It Away" and "Breaking the Girl" as highlights while writing "they've grown up, they've learned to write, they've got a right to be sex mystiks."[53] Chicago Sun-Times critic Michael Corcoran was more reserved in his praise, deeming the record "great" only on occasion while finding the length of the album excessive.[54] Blood Sugar Sex Magik is considered to be an influential album, throughout the nineties, by establishing itself as a fundamental foundation for alternative rock.[47][51][55] It has also been referred to as "the cornerstone album of funk rock" by FasterLouder.[56]
"Under the Bridge", which became a breakout song for the band, was considered to be a highlight of the album by several critics.[3][47][51] Allmusic reviewed the song individually and called it a "... poignant sentiment ... it is self evident among the simple guitar which cradles the introductory verse, and the sense of fragility that is only doubled by the still down-tempo choral crescendo", and ultimately "has become an integral part of the 1990s alterna-landscape, and remains one of the purest diamonds that sparkle amongst the rough-hewn and rich funk chasms that dominate the Peppers' own oeuvre."[57] However, Entertainment Weekly criticized the seriousness that the Red Hot Chili Peppers explored as being "disapproving of the band's usual Red Hot antics", and "Under the Bridge" had "fancy-shmancy touches".[42] The song ended up peaking at number 2 on the Billboard Hot 100 in April 1992.[57] "Give It Away" was also praised, though as "... a free-associative mixture of positive vibes, tributes to musical heroes, and free love", with Frusciante "... adding the song's two most unpredictable change-ups: a sudden contrast to Kiedis' hyperactivity in the form of a languid solo pre-recorded and dubbed backwards over the rhythm track, and a hard-rocking riff which is not introduced until the song's outro ..."[58] Tracks such as "Sir Psycho Sexy", however, were criticized for being overly explicit. Devon Powters of Pop Matters said that "Eight minutes of 'Sir Psycho Sexy' will turn RHCP's young listeners into quivering masses of hormonal jello. Oversexed lines sneak their way into 'Apache Rose Peacock'; 'Blood Sugar Sex Magik', simply, sounds like fucking. Even the purest virgin comes away from Blood Sugar Sex Magik with a degree of sexual maturity; even the slickest playa can learn a couple of new moves."[51] In contrast, "Suck My Kiss", according to Amy Hanson of Allmusic, "completely flew in the face of the established pecking order of alternative rock."[59] With the song, the Chili Peppers "fully allied themselves with the very few genre-bending bands that were able to make a radical impact on the sonic landscape that was dominated, it seemed, from every minute angle by grunge."[59]
Accolades[edit]
Publication
Country
Accolade
Year
Rank
Visions Germany "The Most Important Albums of the 90s"[60] 1999 1
Pause & Play United States "The 90s Top 100 Essential Albums"[61] 1999 N/A
Rolling Stone United States The 500 Greatest Albums of All Time[62] 2003 310
Rolling Stone United States The 100 Greatest Albums of the Nineties[63] 2003 19
Spin United States "Top 90 Albums of the 90s"[64] 1999 58
Q United Kingdom "90 Albums of the 90s"[65] 1999 58
Guitarist Magazine United Kingdom "101 Essential Guitar Albums"[66] 2000 N/A
Guitar World United States "The 100 Greatest Guitar Albums of All Time"[67] 2006 18
My Favourite Album Australia "Australia's Favourite Albums of All Time"[68] 2006 8
Rock and Roll Hall of Fame United States "The Definitive 200: Top 200 Albums of All-Time"[69] 2007 88
Tour and John Frusciante's departure[edit]
Main article: Blood Sugar Sex Magik tour
Before the Blood Sugar Sex Magik Tour began, Kiedis saw the music video for The Smashing Pumpkins' "Rhinoceros" on MTV. He then called the band's manager and asked him to accommodate The Smashing Pumpkins for the tour.[70] Several days after the Pumpkins confirmed they would accompany the Chili Peppers, former Chili Peppers drummer Jack Irons called and asked the band to allow his friend's new group, Pearl Jam, to open for them on the forthcoming tour.[70] The first show following the release of Blood Sugar Sex Magik was at the Oscar Mayer Theater in Madison, Wisconsin,[70] which was met with positive reactions from the Milwaukee Journal: "the audience was a swirling mass of airborne cups, ice cubes, shoes, shirts, pogo dancers, body-passers and stage divers. And it wasn't purely a boy's club in the moshpit—many females bought into the mayhem, stripping down to their bras and flinging themselves about madly as the band tore through 'Higher Ground', 'Suck My Kiss', and 'Give it Away', which was Goth-ed up by Frusciante when he added a riff from Black Sabbath's 'Sweet Leaf'."[71]
Blood Sugar Sex Magik began receiving heavy radio play and massive sales in the middle of their U.S. tour. Frusciante, who preferred the Chili Peppers to remain in the underground music scene, entered a state of denial and depression because of this.[72] According to Kiedis, "He began to lose all of the manic, happy-go-lucky, fun aspects of his personality. Even onstage, there was a much more serious energy around him."[72] Frusciante was slowly slipping away from the band altogether, and began to form grudges against his bandmates.[5][72] He saw the band's newfound popularity as shameful.[72]
Onstage tension began to grow between Kiedis and Frusciante.[5] Kiedis recalled an argument after a show in New Orleans: "We had a sold-out house and John just stood in the corner, barely playing his guitar. We came offstage and John and I got into it."[73] With the Peppers now playing shows at arenas rather than theaters, the promoters of the tour decided that Pearl Jam should be replaced with a more successful act.[73] Kiedis contacted Nirvana drummer Dave Grohl, and asked him if Nirvana would replace Pearl Jam on the tour—an offer Grohl accepted. The Smashing Pumpkins' Billy Corgan, however, refused to play with Nirvana as he once dated frontman Kurt Cobain's wife Courtney Love. The Pumpkins were, therefore, taken off the concert bill and replaced with Pearl Jam.[55][74] Their first show with Nirvana was at the L.A Sports Arena. Kiedis considered their act to be "raw energy; their musicality, their song selection, they were like a chain saw cutting through the night."[74] When the Red Hot Chili Peppers finished touring with Nirvana, they traveled to Europe, where Frusciante, in need of someone to connect to, brought along his girlfriend Toni Oswald. Kiedis said that "John had broken our unwritten rule of no spouses or girlfriends on the road."[70] Briefly interrupting the European-tour, the Chili Peppers flew to New York City and performed on an episode of Saturday Night Live. The band played "Under the Bridge" as the second number; a performance that Kiedis felt was sabotaged by Frusciante:[75]
[Frusciante] was experimenting the way he would have if we'd been rehearsing the tune. Well we weren't. We were on live TV in front of millions of people and it was torture. I started singing in what I thought was the key he was playing in. I felt like I was getting stabbed in the back and hung out to dry in front of all of America while this guy was off in a corner in the shadow, playing some dissonant out-of-tune experiment.
The band took a two-week hiatus between the European and Japanese legs of the tour, which began in May 1992. Minutes before the Chili Peppers were scheduled to perform in Tokyo, Frusciante refused to go on stage, claiming he quit the band.[5][20][76] After half an hour of coaxing, Frusciante agreed to play the show, though he asserted it would be his last. Kiedis recalled of the situation: "It was the most horrible show ever. Every single note, every single word, hurt, knowing that we were no longer a band. I kept looking over at John and seeing this dead statue of disdain ... And that night, John disappeared from the topsy-turvy world of the Red Hot Chili Peppers."[76] The band hired guitarist Arik Marshall to complete the rest of the tour, which included Lollapolooza and several European festivals.[5][77][78] Marshall, however, was fired at the end of the tour.[77]
Legacy[edit]
Years later, Blood Sugar Sex Magik was placed atop many "Best Of" lists, especially those pertaining to the '90s. Spin magazine charted the album at number 58 on their "Top 90 Albums of the 90s", and number 11 on a similar list compiled by Pause & Play.[61][64] The record was placed in slapnpop Magazine "101 Essential Guitar Albums";[66] and included in the book 1001 Albums You Must Hear Before You Die.[79] Blood Sugar Sex Magik also ranked number 310 on Rolling Stone's the "500 Greatest Albums of All Time" and number 14 on the "100 Best Albums of the Nineties".[62][63]
Track listing[edit]
All songs written by Red Hot Chili Peppers except where noted.
No.
Title
Length
1. "The Power of Equality" 4:03
2. "If You Have to Ask" 3:37
3. "Breaking the Girl" 4:55
4. "Funky Monks" 5:23
5. "Suck My Kiss" 3:37
6. "I Could Have Lied" 4:04
7. "Mellowship Slinky in B Major" 4:00
8. "The Righteous & the Wicked" 4:08
9. "Give It Away" 4:43
10. "Blood Sugar Sex Magik" 4:31
11. "Under the Bridge" 4:24
12. "Naked in the Rain" 4:26
13. "Apache Rose Peacock" 4:42
14. "The Greeting Song" 3:13
15. "My Lovely Man" 4:39
16. "Sir Psycho Sexy" 8:17
17. "They're Red Hot" (Robert Johnson cover) 1:12
[show]iTunes bonus tracks
No.
Title
Length
18. "Little Miss Lover" (Jimi Hendrix cover) 2:40
19. "Castles Made of Sand" (Jimi Hendrix cover) 3:21
Outtakes[edit]
Around 25 songs were written and recorded during the Blood Sugar Sex Magik sessions. Seventeen of those songs made the album's final cut. The album's singles contained four outtakes from the album sessions as b-sides. Among those songs were the instrumental "Fela's Cock", a cover of the Stooges' "Search and Destroy", "Sikamikanico" (which would also appear on the Wayne's World soundtrack" in 1992), and "Soul to Squeeze", a song that would eventually become a hit single in 1993 when it was released on the Coneheads soundtrack. The song was also included on the band's 2003 Greatest Hits album. "Little Miss Lover" and "Castles Made of Sand" (a song the band had been performing live for a few years), two Jimi Hendrix cover songs, would eventually be released in 2006 as iTunes bonus tracks. An unknown song appeared in the VH-1 Blood Sugar Sex Magik documentary, Ultimate Albums.[80] A rough mix of the album surfaced on the Internet and contains some alternate versions of the songs recorded during the album's sessions.[81]
Personnel[edit]
Red Hot Chili Peppers
Anthony Kiedis – lead vocals, percussion on "Breaking the Girl"
John Frusciante – electric and acoustic guitars, backing vocals, keyboard on "If You Have to Ask", percussion on "Breaking the Girl"
Flea – bass, backing vocals, trumpet on "Apache Rose Peacock", piano on "Mellowship Slinky in B Major", percussion on "Breaking the Girl"
Chad Smith – drums, tambourine on "Funky Monks", "Mellowship Slinky in B Major", "If You Have to Ask", "Sir Psycho Sexy" and "Give It Away", marimba on "Sir Psycho Sexy", percussion on "Breaking the Girl"
Additional musicians
Brendan O'Brien – mellotron on "Breaking the Girl" and "Sir Psycho Sexy", Hammond B-3 Organ on "Suck My Kiss" and "Give It Away", toy celeste on "Apache Rose Peacock"
Gail Frusciante and her friends – choir vocals on "Under the Bridge"
Pete Weiss – Jew's harp on "Give It Away"
Production
Brendan O'Brien – engineering, mixing (with Rick Rubin)
Rick Rubin – producer
Howie Weinberg – mastering
Design
Gus Van Sant – art direction
Charts and certifications[edit]
Album[edit]
Chart
Peak
position
Certifications
Billboard 200[33] 3 7x Platinum[82]
UK Albums Chart[36] 5 3x Platinum[83]
Canadian Albums Chart[84] 1 4x Platinum[85]
Swedish Top 60[86] 26
Austria[87] 17
France[88] 71
Finland[89] 16
Germany[90] 12 Platinum[91]
Norway[92] 5
Switzerland[93] 10
Australia[94] 1 2x Platinum[95]
New Zealand[96] 1
Singles[edit]
Year
Single[32]
Chart
Peak
position
1991 "Give It Away" Modern Rock Tracks 1
Billboard Hot 100 73
1992 "Under the Bridge" Billboard Hot 100 2
Mainstream Rock Tracks 2
Modern Rock Tracks 6
"Breaking the Girl" Mainstream Rock Tracks 15
Modern Rock Tracks 19
"Suck My Kiss" Modern Rock Tracks 15
References[edit]
Jump up ^ Stanley, Bob (2013). Yeah Yeah Yeah: The Story of Modern Pop. Faber & Faber. ISBN 978-0-571-28198-5.
Jump up ^ Gittins, Ian (2015). The Periodic Table of Heavy Rock. Random House. ISBN 978-1-78503-165-6.
^ Jump up to: a b c d e f Huey, Steve. "Blood Sugar Sex Magik – Red Hot Chili Peppers". AllMusic. Retrieved July 21, 2007.
Jump up ^ {{cite web|url=http://www.billboard.com/artist/364771/red+hot+chili+peppers/chart |title=Mother's Milk |accessdate=June 7, 2007 |work=Billboard |archiveurl=https://web.archive.org/web/20070929131504/http://Template:Billboardurlbyname
^ Jump up to: a b c d e f g VH1's Behind the Music: Red Hot Chili Peppers – 2002
Jump up ^ Kiedis, Sloman, 2004. pp. 240–4
^ Jump up to: a b Kiedis, Sloman, 2004. p. 260
Jump up ^ Kiedis, Sloman, 2004. p. 261
^ Jump up to: a b Kiedis, Sloman, 2004. pp. 261–262
Jump up ^ Kiedis, Sloman, 2004. p. 257
Jump up ^ Kiedis, Sloman, 2004. pp. 270–280
^ Jump up to: a b c d e Kiedis, Sloman, 2004. pp. 274–275
^ Jump up to: a b Red Hot Chili Peppers; Funky Monks
Jump up ^ Kiedis, Anthony; Balzary, Michael; Frusciante, John; Smith, Chad; Mullen, Brendan (October 19, 2010). An Oral/Visual History by the Red Hot Chili Peppers. ItBooks. pp. 166–167. ISBN 978-0-06-135191-4.
Jump up ^ Apter, 2004. p. 225
^ Jump up to: a b Kiedis, Sloman, 2004. p. 264
Jump up ^ Kiedis, Sloman, 2004. p. 263–267
Jump up ^ Kiedis, Sloman, 2004. p. 266
Jump up ^ Kiedis, Sloman, 2004. pp. 260–275
^ Jump up to: a b c d David Fricke. "The Naked Truth". Rolling Stone. Archived from the original on October 13, 2007. Retrieved August 10, 2007.
Jump up ^ Kiedis, Sloman, 2004. pp. 265–266
^ Jump up to: a b Kiedis, Sloman, 2004. p. 267
Jump up ^ The Making of "Under the Bridge"; Red Hot Chili Peppers Greatest Hits
Jump up ^ Apter, 2004. p. 288
^ Jump up to: a b Malandrone, Scott (October 1995). "Flea Interview". Bass Player.
^ Jump up to: a b Kiedis, Sloman, 2004. p. 271
^ Jump up to: a b c Kiedis, Sloman, 2004. p. 272
^ Jump up to: a b Kiedis, Sloman, 2004. p. 273
^ Jump up to: a b Kiedis, Sloman 2004. p. 275
^ Jump up to: a b c Blood Sugar Sex Magik booklet and liner notes
Jump up ^ "Gold and Platinum: Searchable Database". RIAA. n.d. Archived from the original on June 26, 2007. Retrieved June 24, 2007.
^ Jump up to: a b "Red Hot Chili Peppers' singles charts". Allmusic. Retrieved July 23, 2007.
^ Jump up to: a b "Blood Sugar Sex Magik charting". Billboard. Archived from the original on September 29, 2007. Retrieved July 23, 2007.
^ Jump up to: a b c Kiedis, Sloman, 2004. p. 280
^ Jump up to: a b Kiedis, Sloman, 2004. p. 281
^ Jump up to: a b "UK Top 40 Singles Chart". Everyhit.com. Retrieved July 23, 2007.
^ Jump up to: a b "Red Hot Chili Peppers Artist Chart History: Singles". Billboard. Retrieved October 3, 2007.
Jump up ^ "Red Hot Chili Peppers discography". Top40. Retrieved September 12, 2007.
^ Jump up to: a b Apter, 2004. pp. 284–285
Jump up ^ Kiedis, Sloman, 2004. p. 290
Jump up ^ Larkin, Colin (2011). "Red Hot Chili Peppers". The Encyclopedia of Popular Music (5th concise ed.). Omnibus Press. ISBN 0-85712-595-8.
^ Jump up to: a b Wyman, Bill (September 27, 1991). "Blood Sugar Sex Magik". Entertainment Weekly. Retrieved August 13, 2007.
Jump up ^ Hochman, Steve (September 15, 1991). "Chili Peppers Get Some Humility". Los Angeles Times. Retrieved November 25, 2015.
Jump up ^ Eccleston, Dan (July 2004). "The best of Red Hot Chili Peppers". Mojo (128): 75.
Jump up ^ Gordon, Jeremy (31 July 2016). "Red Hot Chili Peppers: Blood Sugar Sex Magik". Pitchfork. Retrieved 21 September 2016.
Jump up ^ Odell, Michael (May 2006). "Supersonic". Q (238): 85.
^ Jump up to: a b c d e Moon, Tom (August 28, 2003). "Blood Sugar Sex Magik". Rolling Stone. Retrieved July 22, 2007.
Jump up ^ Perry, Andrew (November 1991). "Red Hot Chili Peppers: Blood Sugar Sex Magik". Select (17): 77.
Jump up ^ Weisbard, Eric; Marks, Craig, eds. (1995). Spin Alternative Record Guide. Vintage Books. ISBN 0-679-75574-8.
Jump up ^ Di Perna, Allen (November 1991). "Blood Sugar Sex Magik". Guitar Player.
^ Jump up to: a b c d Devon Powters. "Blood Sugar Sex Magik review". Pop Matters. Retrieved July 22, 2007.
Jump up ^ Booth, Philip. "ChiliPeppers will sock it to ya." The Tampa Tribune. August 21, 1992.
Jump up ^ Christgau, Robert (January 26, 1993). "Consumer Guide". The Village Voice. Retrieved October 30, 2016.
Jump up ^ Apter, 2004. p. 234
^ Jump up to: a b "Red Hot Chili Peppers Biography". Allmusic. Retrieved July 22, 2007.
Jump up ^ "Red Hot Chili Peppers - Blood Sugar Sex Magik". Fasterlouder.com.au. 2004-02-10. Retrieved 2013-05-07.
^ Jump up to: a b ""Under the Bridge" song review". Allmusic. Retrieved July 23, 2007.
Jump up ^ ""Give It Away" song review". Allmusic. Retrieved July 23, 2007.
^ Jump up to: a b Hanson, Amy. "Suck My Kiss review". Allmusic. Retrieved January 21, 2008.
Jump up ^ "The Most Important Albums of the 90s". Visions. Retrieved 2008-05-06.
^ Jump up to: a b "The 90s Top 100 Essential Albums". Pause & Play. Archived from the original on 2007-09-27. Retrieved August 10, 2007.
^ Jump up to: a b "500 Greatest Albums of All Time". Rolling Stone. Archived from the original on June 24, 2011. Retrieved June 18, 2011.
^ Jump up to: a b "100 Greatest Albums of the Nineties". Rolling Stone. Archived from the original on June 17, 2011. Retrieved June 18, 2011.
^ Jump up to: a b "Top 90 Albums of the 90's". Spin. Retrieved August 11, 2007.
Jump up ^ "90 Greatest Albums of the 90s". Q magazine. Retrieved August 11, 2007.
^ Jump up to: a b "101 Essential Guitar Albums". Guitarist Magazine. Retrieved August 11, 2007.
Jump up ^ Apter, 2004. p. 256
Jump up ^ "Australia's Favourite Albums of All Time". Australian Broadcasting Corporation (Australia). Retrieved October 20, 2007.
Jump up ^ "The Definitive 200: Top 200 Albums of All-Time". Rock and Roll Hall of Fame (United States). Archived from the original on March 24, 2007. Retrieved April 7, 2007.
^ Jump up to: a b c d Kiedis, Sloman, 2004. p. 282
Jump up ^ Apter, 2004. p. 237
^ Jump up to: a b c d Kiedis, Sloman, 2004. p. 284
^ Jump up to: a b Kiedis, Sloman, 2004. p. 286
^ Jump up to: a b Kiedis, Sloman, 2004. p. 288
Jump up ^ Kiedis, Sloman, 2004. pp. 300–301
^ Jump up to: a b Kiedis, Sloman, 2004. p. 295
^ Jump up to: a b Kiedis, Sloman, 2004. pp. 298–304
Jump up ^ "Artist Bio". MTV. Archived from the original on July 18, 2007. Retrieved July 23, 2007.
Jump up ^ Dimery, Robert. (November 2006). 1001 Albums You Must Hear Before You Die. Universe Publishing.
Jump up ^ stipemate (March 5, 2012). "Red Hot Chili Peppers - VH1 Ultimate Albums - Blood Sugar Sex Magik". Retrieved October 2, 2016 – via YouTube.
Jump up ^ "Blood, Sugar, Sex, Magik - Red Hot Chili Peppers Sessions Archive". Retrieved October 2, 2016.
Jump up ^ "Top 100 Albums page five". Recording Industry Association of America. Archived from the original on October 18, 2015. Retrieved October 2, 2007.
Jump up ^ WebCite query result
Jump up ^ "Top Albums/CDs – Volume 56, No. 4, July 25, 1992". RPM. Retrieved 2010-10-09.
Jump up ^ "Gold Platinum Database: Blood Sugar Sex Magik". Canadian Recording Industry Association. Archived from the original on June 12, 2012. Retrieved September 18, 2011.
Jump up ^ "Swedish album chart archives". hitparad.se. Retrieved July 20, 2007.
Jump up ^ "Austrian Chart Archives". austriancharts.at. Retrieved July 20, 2007.
Jump up ^ "French Chart Archives". lescharts.com. Retrieved July 20, 2007.
Jump up ^ "Finnish Chart Archives". finnishcharts.com. Retrieved July 20, 2007.
Jump up ^ "Chartverfolgung / RED HOT CHILI PEPPERS / Longplay". Retrieved 2010-11-20.
Jump up ^ "Gold-/Platin-Datenbank ('Blood Sugar Sex Magik')" (in German). Bundesverband Musikindustrie.
Jump up ^ "Norwegian Chart Archives". vg.no. Retrieved July 23, 2007.
Jump up ^ "Swiss Chart Archives". hitparade.ch. Retrieved July 20, 2007.
Jump up ^ "Rod Hot Chili Peppers – Blood Sugar Sex Magik (Album)". australiancharts.com. Retrieved July 30, 2017.
Jump up ^ "ARIA End of Year Albums 1992". ARIA. Retrieved July 30, 2017.
Jump up ^ Steffen Hung. "Red Hot Chili Peppers – Blood Sugar Sex Magik". charts.org.nz. Retrieved 2011-08-15.
Bibliography
Apter, Jeff (November 23, 2004). Fornication: The Red Hot Chili Peppers Story. Omnibus Press. ISBN 1-84449-381-4.
Kiedis, Anthony; Sloman, Larry (October 6, 2004). Scar Tissue. Hyperion. ISBN 1-4013-0101-0.
[show]
v
t
e
Red Hot Chili Peppers
Anthony Kiedis
Flea
Chad Smith
Josh Klinghoffer
Hillel Slovak
Jack Irons
Jack Sherman
Cliff Martinez
DeWayne McKnight
D. H. Peligro
John Frusciante
Arik Marshall
Jesse Tobias
Dave Navarro
Studio albums
The Red Hot Chili Peppers (1984)
Freaky Styley (1985)
The Uplift Mofo Party Plan (1987)
Mother's Milk (1989)
Blood Sugar Sex Magik (1991)
One Hot Minute (1995)
Californication (1999)
By the Way (2002)
Stadium Arcadium (2006)
I'm with You (2011)
The Getaway (2016)
EPs
The Abbey Road E.P. (1988)
2011 Live EP (2012)
Rock & Roll Hall of Fame Covers EP (2012)
2012-13 Live EP (2014)
Live In Paris EP (2016)
Single series
I'm with You Singles Collection (2012–13)
Live releases
Live in Hyde Park (2004)
Official Bootlegs (2011–2017)
Cardiff, Wales: 6/23/04 (2015)
Compilations
Sock-Cess (1989)
What Hits!? (1992)
Live Rare Remix Box (1994)
The Plasma Shaft (1994)
Out in L.A. (1994)
The Best of the Red Hot Chili Peppers (1994)
Under the Covers: Essential Red Hot Chili Peppers (1998)
Greatest Hits (2003)
Road Trippin' Through Time (2011)
I'm Beside You (2013)
Videos
Red Hot Skate Rock (1988)
Psychedelic Sexfunk Live from Heaven (1990)
Positive Mental Octopus (1990)
Funky Monks (1991)
What Hits!? (1992)
Off the Map (2001)
Live at Slane Castle (2003)
Greatest Hits and Videos (2003)
iTunes Originals – Red Hot Chili Peppers (2006)
Red Hot Chili Peppers Live: I'm with You (2011)
Red Hot Chili Peppers: Live From the Basement (2012)
Tours
1983 Tour (1983)
1984 Tour (1984)
Freaky Styley Tour (1985–86)
The Uplift Mofo Party Tour (1987–88)
Turd Town Tour (1988)
Mother's Milk Tour (1989–90)
Blood Sugar Sex Magik Tour (1991–93)
Tour de La Sensitive (1994)
One Hot Minute Tour (1995–97)
Californication Tour (1999-00)
2001 Tour (2001)
By the Way World Tour (2002–03)
Roll on the Red Tour (2004)
Stadium Arcadium World Tour (2006–07)
I'm with You World Tour (2011–13)
2013/2014 Tour (2013–14)
The Getaway World Tour (2016–present)
Related articles
Articles
Discography
Videography
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Songs
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Scar Tissue
An Oral/Visual History by the Red Hot Chili Peppers
Fandemonium
Woodstock 1994
Unearthed
Silverlake Conservatory of Music
"Bedrock Anthem"
Bands
What Is This?
Atoms for Peace
Rocket Juice & the Moon
Antemasque
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Chad Smith's Bombastic Meatbats
Ataxia
Dot Hacker
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Jane's Addiction
Fear
Eleven
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Thelonious Monster
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P
The Mars Volta
Gnarls Barkley
Fishbone
Circle Jerks
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Category
Book
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Play with Fire (The Rolling Stones song)
From Wikipedia, the free encyclopedia
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"Play with Fire"
American single picture sleeve
Single by the Rolling Stones
A-side
"The Last Time"
Released
26 February 1965 (1965-02-26) (UK)
13 March 1965 (US)
Format
45 rpm record
Recorded
11 January 1965 – 18 February 1965
Studio
RCA, Hollywood, California
Genre
Pop
Length
2:14
Label
Decca (UK)
London (US)
Songwriter(s)
Nanker Phelge
Producer(s)
Andrew Loog Oldham
Rolling Stones UK singles chronology
"Little Red Rooster"
(1964) "Play with Fire"
(1965) "(I Can't Get No) Satisfaction"
(1965)
Rolling Stones US singles chronology
"Heart of Stone"
(1964) "Play with Fire"
(1965) "(I Can't Get No) Satisfaction"
(1965)
"Play with Fire" is a song by English rock band the Rolling Stones, originally released as B-side to the song "The Last Time". It was later included on the American release of their 1965 album Out of Our Heads.
Contents
1 Composition and recording
2 Releases and lawsuit
3 Personnel
4 Cover versions
5 Notes
Composition and recording[edit]
"Play with Fire" is credited to Nanker Phelge, a pseudonym used when tracks were composed by the entire band, even though lead singer Mick Jagger and guitarist Keith Richards are the only Rolling Stones to appear on the track. The song was recorded late one night in January 1965 while the Stones were in Los Angeles recording with Phil Spector at the RCA Studios. Richards performed the song's acoustic guitar opening while Jagger handled vocals and tambourine (enhanced using an echo chamber). Spector played bass (actually a tuned-down electric guitar), and Jack Nitzsche provided the song's distinctive harpsichord arrangement and tamtams. The Stones left for a tour of Australia the following day.[1]
The song's lyrics talk of the singer's relationship with a high society girl, disparaging the lifestyle much in the same way that "19th Nervous Breakdown" would in a more up-tempo feel. The title refers to the idiom "If you play with fire, you will get burned."
In a 1995 interview with Jann Wenner for Rolling Stone, entitled "Jagger Remembers," Jagger said, "'Play with Fire' sounds amazing—when I heard it last. I mean, it's a very in-your-face kind of sound and very clearly done. You can hear all the vocal stuff on it. And I'm playing the tambourines, the vocal line. You know, it's very pretty."[2] According to Richie Unterberger, a friend of the Stones wrote that an unreleased version of the song, entitled "Mess with Fire", was also recorded, featuring a much more upbeat, soul-oriented feel. However, the story is considered dubious by Unterberger[3]
Releases and lawsuit[edit]
"Play with Fire" went to No. 96 on the U.S. chart.[4] It was also featured on the U.S. version of Big Hits (High Tide and Green Grass) (1966), Hot Rocks (1971) and Singles Collection: The London Years (1989). The song was performed in concert during the Rolling Stones' tours of 1965 and 1966, and was revived on their 1989–90 Steel Wheels/Urban Jungle Tour.
In July 2008, "Play with Fire" became the subject of a lawsuit when ABKCO Music, which owns the rights to the Rolling Stones' early catalogue, filed a suit against Lil Wayne, asserting that the rapper's song "Playing with Fire" is based on the Rolling Stones' song.[5]
Personnel[edit]
Mick Jagger – lead vocals, tambourine
Keith Richards – acoustic lead guitar
Jack Nitzsche – harpsichord, tam-tam
Phil Spector – detuned electric rhythm guitar
Cover versions[edit]
This section may require cleanup to meet Wikipedia's quality standards. The specific problem is: versions may not meet WP:SONGCOVER. Please help improve this section if you can. (May 2018) (Learn how and when to remove this template message)
In 1971, English singer Ruth Copeland covered "Play with Fire" for her second album I Am What I Am.
An extended live version can be found on the 1974 release Live 'n' Kickin' by West, Bruce and Laing.
American garage punk band Dead Moon covered the song for their 1992 album, Strange Pray Tell.
English progressive rock group Manfred Mann's Earth Band recorded a cover version for their 1996 album Soft Vengeance.
In 2009, Northern Irish pop punk/new wave band, the Undertones covered "Play with Fire" for Onder Invloed, a project by Dutch journalist Matthijs van der Ven which showcases various musicians from all over the world covering their favorite songs.
Judas Priest vocalist Rob Halford stated that the band recorded a cover of the song during the sessions for their 1988 album Ram It Down, and that it was "a shame" that the song didn't make it on the album.[This quote needs a citation]
In 2012, Michelle Branch released an acoustic cover of the song for free online, produced by the Grammy-winning John Leventhal.[6]
In 2013, American singer/songwriter Chris Pureka covered "Play with Fire" for her album Chimera II.
In 2016, The Doors guitarist Robby Krieger said that the song "Play With Fire" was the inspiration for the song "Light My Fire".[7]
Notes[edit]
Jump up ^ "Play With Fire". Time Is On Our Side. 2007 (accessed 8 May 2007).
Jump up ^ "Jagger Remembers". Rolling Stone. 14 December 1995 (accessed 7 July 2010).
Jump up ^ Unterberger, Richie "Play With Fire". AllMusic accessed 8 May 2007).
Jump up ^ https://www.billboard.com/music/The-Rolling-Stones/chart-history/hot-100/song/570583
Jump up ^ Honan, Edith (24 July 2008). "Lil Wayne Sued Over Stones Song". Reuters UK. Retrieved 14 September 2008.
Jump up ^ [1]
Jump up ^ rollingstone.com
show
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e
The Rolling Stones
Mick Jagger
Keith Richards
Charlie Watts
Ronnie Wood
Brian Jones
Ian Stewart
Mick Taylor
Bill Wyman
Tony Chapman
Ricky Fenson
Colin Golding
Carlo Little
Dick Taylor
Video releases
Let's Spend the Night Together (1983)
Stones at the Max (1992)
The Rolling Stones: Voodoo Lounge Live (1995)
The Rolling Stones Rock and Roll Circus (1996)
Bridges to Babylon Tour '97–98 (1998)
Four Flicks (2003)
The Biggest Bang (2007)
Ladies and Gentlemen: The Rolling Stones (2010)
Some Girls: Live in Texas '78 (2011)
Sweet Summer Sun: Live in Hyde Park (2013)
The Rolling Stones: Havana Moon (2016)
Documentaries
Charlie Is My Darling (1966)
The Stones in the Park (1969)
Gimme Shelter (1970)
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Biblical judges
From Wikipedia, the free encyclopedia
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Timeline of Biblical judges (one interpretation)
The judge Shamgar slaughters 600 men with an ox goad. From a medieval German manuscript.
The Biblical judges (sing. Hebrew: שופט šōp̄êṭ/shofet, pl. שופטים šōp̄əṭîm/shoftim) are described in the Hebrew Bible, and mostly in the Book of Judges, as people who served roles as military leaders in times of crisis, in the period before an Israelite monarchy was established.
Contents
[hide]
1 Role
2 Historicity and timeline
3 Judges mentioned in the Hebrew Bible
4 See also
5 References
6 Bibliography
Role[edit]
A cyclical pattern is regularly recounted in the Book of Judges to show the need for the various judges: apostasy of the Israelite people, hardship brought on as punishment from God, crying out to the Lord for rescue.[1]
The story of the judges seems to describe successive individuals, each from a different tribe of Israel, described as chosen by God to rescue the people from their enemies and establish justice.
While judge is the closest literal translation of the Hebrew term used in the Masoretic text, the position as described is more one of unelected non-hereditary leadership[2] than that of legal pronouncement. However, Cyrus H. Gordon argued that they may have come from among the hereditary leaders of the fighting, landed and ruling aristocracy, like the kings (basileis) in Homer.[3] Coogan says that they were most likely tribal or local leaders, contrary to the Deuteronomistic historian's portrayal of them as leaders of all of Israel,[4] but Malamat pointed out that in the text, their authority is described as being recognized by local groups or tribes beyond their own.[5]
Historicity and timeline[edit]
Biblical scholar Kenneth Kitchen argues that, from the conquest of Canaan by Joshua until the formation of the first Kingdom of Israel and Judah (ca. 1150–1025 BC), the Israelite tribes may have formed a loose confederation. In this conception, no central government would have existed but in times of crisis, the people would have been led by ad hoc chieftains, known as judges (shoftim).[6] However, some scholars are uncertain whether such a role existed in ancient Israel.[7]
Working with the chronology in Judges, Payne points out that although the timescale of Judges is indicated by Jephthah's statement (Jdg 11:26) that Israel had occupied the land for around 300 years, some of the judges overlapped one another. Noting that Deborah's victory has been confirmed as taking place in 1216 from archaeology undertaken at Hazor, he suggests that the period may have lasted from c. 1382 to c. 1063.[8]
If "all the figures given in Judges (years of oppression, years the judges led Israel, years of peace achieved by the judges) are treated as consecutive, then the total duration of the events described in Judges is 410 years. If we accept a date of 1000 BCE for the beginning of David’s reign over all Israel, which puts the beginning of Eli’s leadership of Israel at about 1100 BCE, then the judges period would begin no later than 1510 BCE - impossible even for those who date the conquest to the fifteenth century BCE".[9]
There is also doubt among some scholars about any historicity of the Book of Judges.[7][10][11]
Judges mentioned in the Hebrew Bible[edit]
שופטים
Judges in the Bible
Italics indicate individuals not explicitly described as judges
Book of Joshua
Joshua
Book of Judges
Othniel
Ehud
Shamgar
Deborah
Gideon
Abimelech
Tola
Jair
Jephthah
Ibzan
Elon
Abdon
Samson
First Book of Samuel
Eli
Samuel
v
t
e
In the Bible, Moses is described as a shofet over the Israelites and appoints others to whom cases were delegated in accordance with the advice of Jethro, his Midianite father-in-law.[12] The Book of Judges mentions twelve leaders who judged Israel: Othniel, Ehud, Shamgar, Deborah, Gideon, Tola, Jair, Jephthah, Ibzan, Elon, Abdon, and Samson. The First Book of Samuel mentions Eli and Samuel, as well as Joel and Abiah (two sons of Samuel). The First Book of Chronicles mentions Kenaniah and his sons. The Second Book of Chronicles mentions Amariah and Zebadiah (son of Ishmael).
The biblical text does not generally describe these leaders as "a judge", but says that they "judged Israel".[13] Thus, Othniel "judged Israel" (Judges 3:10), Tola "judged Israel twenty-three years" (Judges 10:2), and Jair judged Israel twenty-two years (Judges 10:3).[14]
See also[edit]
Shophet
Moses
Book of Judges
Book of Samuel
References[edit]
Jump up ^ Boling, Robert G., revised by Richard D. Nelson, Harper Collins Study Bible: The Book of Judges
Jump up ^ Judges 12:7–15
Jump up ^ Cyrus H. Gordon, Greek and Hebrew Civilizations (1962) Ch.VIII, pp. 296–297
Jump up ^ Coogan, pg 178
Jump up ^ Malamat, 129
Jump up ^ Kitchen, Kenneth A. (2003), On the Reliability of the Old Testament (Grand Rapids, Michigan. William B. Eerdmans Publishing Company)(ISBN 0-8028-4960-1)
^ Jump up to: a b Thomas L. Thompson (1 January 2000). Early History of the Israelite People: From the Written & Archaeological Sources. BRILL. p. 96. ISBN 90-04-11943-4.
Jump up ^ Payne J.P. "Book of Judges" in New Bible Dictionary edited by J.H. Marshall et al. Nottingham: IVP, 1996. pp. 630-631.
Jump up ^ Arnold, Bill T.; Williamson, H. G. M. (2005). Dictionary of the Old Testament. InterVarsity Press, USA. p. 590.
Jump up ^ Marc Zvi Brettler (2002). The Book of Judges. Psychology Press. p. 107. ISBN 978-0-415-16216-6.
Jump up ^ Philip R. Davies (1995). In Search of "Ancient Israel": A Study in Biblical Origins. A&C Black. p. 26. ISBN 978-1-85075-737-5.
Jump up ^ Exodus 18:13-26
Jump up ^ Hauser, A. J., "The 'Minor Judges' - a Re-evaluation", Journal of Biblical Literature, Vol. 94, No. 2, June 1975
Jump up ^ The Easy-to-Read Version uses the word "judge" as a noun rather than as a verb
This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). "Judges". Catholic Encyclopedia. New York: Robert Appleton.
Bibliography[edit]
Boling, Robert G., revised by Richard D. Nelson, The Harper Collins Study Bible: Book of Judges, Harper Collins Publishers, 2006
Malamat, A. Judges. Ed. Benjamin Mazor. Givatayim, Israel: Rutgers University Press, 1971. 129–63. Print.
Coogan, Michael D., A Brief Introduction to the Old Testament, Oxford University Press, 2009
Wolf, C. U., The Interpreter's Dictionary of the Bible: Judge, Abingdon Press, 1962
Retrieved from "https://en.wikipedia.org/w/index.php?title=Biblical_judges&oldid=829365644"
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