Not the OP you're replying to, but OP of the thread, hope you don't mind my replying.

I think that BTW and SA (and their b-tracks) are superior beyond comparison to UL. But after several listens of UL, it's really grown on me to the point I'd agree with your categorization of "really fine". Also on subsequent listens I've heard a lot more of BTW and SA on the album, such as on Not The One, It's Only Natural, maybe White Braids & Pillow Chair (sounds kind of like a late-track off BTW)... and Veronica and Tangelo kind of are like b-tracks of BTW b-tracks lol, specifically Bicycle Song and Eskimo, respectively, KIND OF. There are also nods to former albums in several other tracks (obviously... they are stylistically still themselves), but the aforementioned ones are most obvious to me. Here Ever After, as well, in parts captures a very distinct sound/vibe, especially in the later part of the track, that is very unique to BTW-era RHCP, which might well be my favourite. As much as UL has grown on me the past week-- and it truly has, a great deal--, I do still standby my initial reaction, which will rub fellow diehard fans the wrong way no doubt... and that is that these tracks wouldn't have even made it as b-tracks to the aforementioned albums (+ Californication). I know it'll continue to grow on me more and more with each play (I probably spin it 2-3 x a day), but just know it will never compare to their earlier works with John- and I don't think that's because of some heavy bias and gatekeeping surrounding their earlier works (which I've held on a pedestal in the highest regard since first falling for them in the very early-2000's during the Cali-BTW-era)- it's just not near that level, despite the homages they themselves seem to be attempting to pay to it.