Rick James Albums (11)
What The Critics Say
Rick James spent most of the '90s either fighting the law or incarcerated, which naturally hurt his career. But what was more damaging to his musical reputation was the fact that he had spent the latter half of the '80s in creative limbo, producing only a handful of worthy tracks. Urban Rapsody was the 1997 comeback effort that was supposed to restore his personal and professional reputations, and to a certain extent, it does just that. The media blitz that accompanied its release did forcefully bring him back into the spotlight, and his collaborations with Snoop Doggy Dogg and Rappin' 4-Tay brought him to a younger audience, while his collaborations with Bobby Womack and Charlie Wilson retained his older following. However, Urban Rapsody doesn't really offer anything new -- it's the same collection of smooth ballads and freaky urban funk that he'd been peddling since the late '70s. The lack of variety is a bit of a disappointment, but that disappointment is tempered by the fact that much of the album is well crafted and performed, illustrating that James has not entirely lost it. While the lack of variety prevents Urban Rapsody from being a totally triumphant comeback, the cuts that do work help make the record his best album in over a decade. ~ Leo Stanley, All Music Guide
What The Critics Say
Rick James had pretty much exhausted his bag of tricks by the late '80s. This album was little more than a shell of his former works, lacking the aggressiveness, energy, humor, or even the posturing that once gave his work a rebellious air. It was strictly a formula job, and wasn't even an up-to-date one. This plodding effort was quickly forgotten, even though James did land a number one R&B hit with "Loosey's Rap." ~ Ron Wynn, All Music Guide
What The Critics Say
Rick James had reached the end of the creative road by the time this was issued in the late '80s. Prince had taken the punk/funk hybrid and made it his own, while James' vocals and production lacked the spunk, rebellious air, and energy that had made him one of the early '80s' more charismatic figures. These are leaden, woefully performed numbers, with no inspiration or conviction. The production and arrangements were just as uninspired. ~ Ron Wynn, All Music Guide
What The Critics Say
By the mid-'80s, Rick James' funk had become a very tired cliché. Hits like 1984's "17" found an artist who had been so exciting only a few years earlier sounding increasingly formulaic and predictable. But he got out of his artistic rut in a major way with the excellent Glow. In interviews, James had expressed a desire to record an all-out rock album, and while Glow doesn't fit that description, he does incorporate rock and pop elements with splendid results on everything from the new wave-ish "Can't Stop" to the sweaty "Rock & Roll Control." But make no mistake: this is an R&B album first and foremost, and seductive numbers like "Moonchild" and the title song would be worthy of Kashif or Luther Vandross. Regrettably, James' risk-taking didn't pay off, and Glow was far from a major hit. Next to Garden of Love, Glow may be the most underrated album of Rick James' career. ~ Alex Henderson, All Music Guide
What The Critics Say
The last gasp for Rick James, at one time the king of '80s punk/funk. He was close to the end by the time this came out, but got some fresh life from a surprising source. A ballad between James and Smokey Robinson, possibly the two least compatible male vocalists around, proved a big hit and regenerated James as a single artist for a few more years. But the remainder of the album marked his continual deterioration as a producer, arranger, songwriter, and performer. ~ Ron Wynn, All Music Guide
What The Critics Say
Rick James fans generally agree that 1981's Street Songs is his finest album -- in fact, Street Songs is essential listening for anyone with even a casual interest in hardcore funk. Unfortunately, James tried to recycle the album's formula on many of his subsequent albums, and by the mid-'80s, he had become a very predictable and redundant caricature of himself. But in 1982, James was still exciting. That year's Throwin' Down, the album that followed Street Songs, falls short of essential but is still rewarding. Many of the songs are excellent, including the cynical "Money Talks" and the major hits "Standing on the Top" (which features the Temptations) and "Dance Wit' Me." Not surprisingly, hardcore funk dominates the record, although Throwin' Down contains a few pleasing soul ballads as well. "Happy," a duet with Teena Marie, and "Teardrops" point to the fact that James can be a very expressive ballad singer even though he is best known for his up-tempo material. This album does sound like recycled Street Songs at times, but in 1982, James had yet to run the formula into the ground. All things considered, Throwin' Down was an enjoyable, if imperfect and slightly uneven, addition to the funkster's catalog. ~ Alex Henderson, All Music Guide
'Street Songs: Rarities Edition'
Release Date 1/1/1981
Tracks 8
Label Motown
See Album Tracklist and Review
What The Critics Say
Disappointed because Garden of Love wasn't as well received as it should have been, Rick James made a triumphant return to defiant, in-your-face funk with the triple-platinum Street Songs. This was not only his best-selling album ever, it was also his best period, and certainly the most exciting album released in 1981. The gloves came all the way off this time, and James is as loud and proud as ever on such arresting hits as "Super Freak," "Give It to Me Baby," and "Ghetto Life." Ballads aren't a high priority, but those he does offer (including his stunning duet with Teena Marie, "Fire and Desire") are first-rate. One song that's questionable (to say the least) is the inflammatory "Mr. Policeman," a commentary on police misconduct that condemns law enforcement in general instead of simply indicting those who abuse their authority. But then, the thing that makes this hot-headed diatribe extreme is what makes the album on the whole so arresting -- honest, gut-level emotion. James simply follows what's in his gut and lets it rip. Even the world's most casual funksters shouldn't be without this pearl of an album. ~ Alex Henderson, All Music Guide
What The Critics Say
Without a doubt, Garden of Love was Rick James' most underrated release. The album went gold and was far from a flop, but Motown wanted double or triple platinum, and anything less was disappointing. And when funk fans reminisce, Garden isn't one of the albums they mention. A departure from the type of hard and rowdy funk that defined Come Get It!, Bustin' Out of L Seven, and Fire It Up, Garden boasted only one major hit ("Big Time") and was surprisingly laid-back by James' standards. The album contains more ballads than usual, and Rick uses subtlety to his artistic advantage on songs ranging from the clever "Mary Go Round" to the haunting "Summer Love." Unfortunately, some mistook subtlety for wimpiness. But make no mistake: the songs are first-rate, though they lack the type of immediacy he was known for. Those who overlooked Garden need to give it a closer listen. ~ Alex Henderson, All Music Guide
What The Critics Say
Rick James's third album in 18 months may have spread the funk a little thin (or saturated the market), since Fire It Up was not as effective as his first two efforts. The usual mix of rock and R&B had some disco added, which dulled the music's edge and made it more formulaic. At the same time, James's single-entendre come ons, notably the album's biggest single, "Love Gun," were beginning to sound less provocative than just smutty. James had all the weapons for success in his arsenal, but he hadn't yet figured out a unified plan of attack, and Fire It Up was a holding action. ~ William Ruhlmann, All Music Guide
What The Critics Say
Rick James' second album, Bustin' Out of L Seven, maintained his status among R&B fans, almost topping the LP chart and spawning hits in the title track, "High on Your Love Suite," and "Fool on the Street," though none of them matched the popularity of the debut album's "You and I" or "Mary Jane." James managed an effective amalgam of recent R&B big-band styles, from Sly & the Family Stone to Earth, Wind & Fire and Funkadelic, overlaying the result with his jeeringly rendered sex-and-drugs philosophy. What was missing this time was a real pop crossover -- if Come Get It! had suggested he could have the pop success of Earth, Wind & Fire, Bustin' Out of L Seven threatened that his work would find as restricted an audience as Funkadelic, and without the critical cachet. ~ William Ruhlmann, All Music Guide
