They're Red Hot

Red Hot Chili Peppers · Other Songs - Red Hot Chili Peppers

Hot tamales and they red hot, yes, she got 'em for sale
Hot tamales and they red not, yes, she got 'em for sale
I got a girl, say she long and tall
She sleeps in the kitchen with her feets in the hall
Hot tamales and they red hot, yes, she got 'em for sale, I mean
Yes she got 'em for sale, yeah

Hot tamales and they red hot, yes, she got 'em for sale
They're too hot, boy
Hot tamales and they red hot, yes, now, she got 'em for sale
You know the monkey, now the baboon playin' in the grass
Well, the monkey stuck his finger in that old Good Gulf Gas, now
Hot tamales and they red hot, yes, she got 'em for sale, I mean
Yes, she got 'em for sale

Hot tamales and they red hot, yes, she got 'em for sale
Hot tamales and they red hot, yes, she got 'em for sale
She got two for a nickel, got four for a dime
Would sell you more, but they ain't none of mine
Hot tamales and they red hot, yes, she got 'em for sale, I mean
Yes, she got 'em for sale, yes, yeah

Hot tamales and they red hot, yes, she got 'em for sale
I'm 'onna upset your backbone, put your kidneys to sleep
I'll due to break 'way your liver and dare your heart to beat 'bout my
Hot tamales 'cause they red hot, yes, they got 'em for sale, I mean
Yes, she got 'em for sale, yeah

About They're Red Hot

"They're Red Hot" stands as a vibrant track from the Red Hot Chili Peppers' seminal 1991 album, Blood Sugar Sex Magik. The song exemplifies the band's signature fusion of funk, rock, and psychedelic elements, characterized by Anthony Kiedis's rapid-fire vocals and Flea's driving basslines. Released during a period of intense creative exploration, the recording captures the group's ability to blend high-energy performance with introspective lyrical themes. As a staple of their discography, it has become a defining sound of the alternative rock era, influencing countless artists who followed. The track remains a powerful representation of the band's live energy and their commitment to pushing musical boundaries through dynamic instrumentation and rhythmic complexity.