Red Hot Chili Peppers, “Unlimited Love.”

Red Hot Chili Peppers spared little creative and musical expense on their 12th album, Unlimited Love (their first in six years). It’s 17 tracks, many upward of four or five minutes. Quantity doesn’t always equal quality, but fortunately for the Chilis, Unlimited Love hits most of the right notes.

The album is a departure from 2016’s The Getaway, on which they teamed up with Danger Mouse to create a reinvented sound. This time around, the band sounds more mature and hones in on what it does best: laidback funk rock that’s heavy on groove. Anthony Kiedis’ signature delivery and nonsequitur lyric writing is back in full force, as well. The album is also significant for another reason: it marks the return of long-time guitarist John Frusciante after 16 years. Frusciante’s impact is immediate and part of the reason the album sounds true to the Red Hot Chili Peppers’ sound.

Frusciante’s guitar work and stellar tone is the first thing listeners hear on the opening track, “Black Summer.” The album starts off mellow, though the track does feature a biting guitar solo midway through. Songs in a similar mold include “She’s a Lover” and “Whatchu Thinking” (both are toe-tappers).

It’s not just Frusciante showing off his skills. Flea’s nimble bass work is at the forefront of the intro to “Here Ever After,” which also features Kiedis’ quickly delivered and tightly enunciated lines. The funk continues on “Aquatic Mouth Dance,” which features Flea and drummer Chad Smith playing off each other, providing an ample rhythm section.

Where Unlimited Love succeeds is its balance between the Chilis’ established sound with a bit of musical exploration. While the album is rooted in the funk rock for which the band is known, there are some brief detours. From jazz influences to the country tinge of ballad “Not the One,” the album does provide surprises. “Poster Child” is a spacious bluesy funk romp that locks into a groove and doesn’t let go.

Mid-tempo rocker “The Great Apes” is as much about Frusciante’s guitar playing as Kiedis’ delivery. Both sit at roughly the same volume and play off each other’s melodies, making for an interesting sonic contrast. The pace slows for rhythmic ballad “It’s Only Natural.”

“Bastards of Light” opens with Kiedis tightly singing along with the guitar and bass before the drums come in and the song flip-flops between a funk rocker and a Southern-influenced jam. Things tone down a bit for the neat and tidy melodies of “White Braids & Pillow Chair.” Kiedis taps into his rap-flow cadence on the grooves of “One Way Traffic,” an upbeat and fun anthemic track. The band locks back into its mid-tempo groove on melodic cuts “Veronica” and “Let ’em Cry.”

Red Hot Chili Peppers mix in a bit of a curveball at the end of the album with spacey alt-rocker “The Heavy Wing,” which jumps around in tempo and vibe. Things end on a quiet and unexpected note with “Tangelo,” which has Kiedis singing with largely only a synth organ as accompaniment.

In all, Unlimited Love is a solid return to form for a band with a deep catalog of classic songs. It may be a little bulky, but the 17 songs are reliably solid. And the few surprises RHCP provide along the way that will give long-time fans something to dig into.

Follow writer Mike DeWald at Twitter.com/mike_dewald.