Rufus Albums (12)
What The Critics Say
Rufus was one of the most respected groups in the '70s and '80s. Although lead singer Chaka Khan's charismatic vocals were their drawing card, few outfits boasted the skill as Rufus as a band. Songs like "Please Pardon Me," "Sweet Thing," and "Fool's Paradise" are a few of the tracks that displayed the perfect marriage. This 1977 effort is the follow-up to 1975's Rufus Featuring Chaka Khan. Ask Rufus has the group doing more sophisticated and constantly challenging work with an accent on evocative ballads. The effort's lone dance track "At Midnight (My Love Will Lift You Up) has the band going for more subtlety. The jazzy "Close the Door" has a confident and gentle vocal from Khan and a beautiful string arrangement from Clare Fischer who offered them throughout this effort. The well-arranged "Earth Song" could be called botched poesy with lyrics like, "Stars what a mystical woman that you've made me," but Khan's charm keeps it from being an overstatement. The best track, the evocative and sensual "Everlasting Love" has great bass and guitar interplay from Bobby Watson and Tony Maiden, respectively, and an appealing earthy and ethereal vocal from Khan. The much loved "Hollywood" has just gotten stronger, with lines like, "Fixed expressions/Smiles worn thin" exhibiting a surprising and apropos world-weary view. The most ambitious song, the evocative "Egyptian Song," has Middle Eastern motifs and a compelling vocal from Khan that pulls it all together. With great keyboard signatures from Kevin Murphy and David "Hawk" Wolinski and Andre Fischer's steady and judicious drumming, Ask Rufus is one of their best albums. ~ Jason Elias, All Music Guide
'Stompin' at the Savoy (Live)'
Release Date 1/1/1983
Tracks 17
Label Warner Bros.
See Album Tracklist and Review
What The Critics Say
Rufus' 1983 double LP, Stompin' at the Savoy (Live) was an ambitious, eccentric, and occasionally patchy affair that grew out of a series of live shows the group staged during 1982. With Chaka Khan at least temporarily back in the fold, the band stunned packed audiences with an energetic set of old favorites and new material, even as a second Khan reunion album, Camouflage, foundered. The idea for this set, and what ultimately became the group's last album, grew out of those live shows. Recorded over three nights in January at the fabled New York venue, Stompin' At the Savoy (Live) packs three sides with live performance, leaving the fourth, a studio mini-set of all new material, the odd man out at the end. Those three live sides not only capture the effervescent spirit that infused the band whenever Khan added her phenomenal soul vocals to the funk-rock aggregate, but also wowed fans with passionate revamps of some of Rufus' brightest moments -- both "Tell Me Something Good" and "What Cha' Gonna Do for Me" are powerhouse numbers, while "Dance Wit Me" and "Sweet Thing" follow behind. It's only when we come to the studio side that the effort unravels. With a handful of songs that are essentially throwaways, it's just the lone gem, "Ain't Nobody," that salvages the moment. Completely fresh, and shunting the latter day band from lukewarm to white hot, "Ain't Nobody" scored the band their 5th R&B #1 when it debuted at the top of the charts in July 1983. And although Rufus disbanded not long after, both Stompin' at the Savoy (Live) and "Ain't Nobody" ensured that the band would exit the scene on a note as high, if not higher, than they entered it. ~ Amy Hanson, All Music Guide
What The Critics Say
As Khan released her first solo album, I'm Every Woman, the band released 1978's Numbers, sans Khan, and it went absolutely nowhere. Masterjam finds them back together, renamed Rufus and Chaka, with Quincy Jones producing the effort. Khan had worked with Jones on his 1978 album, Sounds...And Stuff Like That. The most striking thing about Masterjam is that is doesn't sound like a trademark Rufus effort. Jones' production style is so strong that the band's individual sound is all but lost. It's nothing to cry about, since Jones was at his R&B/pop peak and Rufus couldn't do it any better on their own. The album's first track is "Do What You Love What You Feel," with its subtle horn riffs arranged by Jerry Hey and vocals from guitarist Tony Maiden and Khan. On a track somewhat close to a ballad, the brilliantly arranged "Heaven Bound," Jones gets a good raw vocal from Khan. A frequent Jones collaborator, Rod Temperton, offers the title track and the even better "Live in Me." The album's only low point was a cover of Jones' own "Body Heat." On this version the pace is quickened, inexplicably turned into disco which revealed the lyrics to be paper-thin. Although Masterjam was just more of a Quincy Jones album than a Rufus effort, this ended up being one of the groups' last successful full-studio endeavors. ~ Jason Elias, All Music Guide
What The Critics Say
Rufus and Chaka Khan went through three name changes as a group: Rufus, Rufus featuring Chaka Khan and Rufus & Chaka Khan. It doesn't really matter what name is used because the result is the same: solid grooves, arresting melodies, and the overwhelming vocals of Chaka Khan. This album spawned a Top Five Billboard R&B hit with "Stay," a song with a moderate tempo and a very humble beginning that bows to an explosive plea from Khan. It reached number three on the charts after 18 weeks. "Blue Love" has that seesaw rhythm that swings from midtempo to uptempo but is controlled by Khan's delivery. It slipped into the Top 40 at number 34 in a short nine weeks. This project could have easily supported additional releases with songs like the engaging "Stranger to Love," the jazzy "Destiny," and "Best of Your Heart." That's just for starters. Tony Maiden steps in vocally on "Change Your Ways." Khan's vocals are so dynamic and have so much range that it's hard to find challenging material. This album comes close to that challenge. ~ Craig Lytle, All Music Guide
'Rufus Featuring Chaka Khan'
Release Date 1/1/1975
Tracks 10
Label ABC
See Album Tracklist and Review
What The Critics Say
One of the most talented bands of the '70s, Rufus Featuring Chaka Khan is the groups' fourth release in close to three years. Although this effort doesn't have the epiphanies of 1974's Rufusized, Rufus Featuring Chaka Khan has them becoming more established as one of the best bands in R&B and pop. The first track, Gavin Christopher's "Fool's Paradise" displays Khan's skill at screaming notes and making complex ideas sound simple, and vice versa. That art is put to work throughout Rufus Featuring Chaka Khan. "Everybody's Got an Aura" surely could be dismissed as babble but Khan gives the sentiments a ring of truth even as she shouts, "Everybody's got karma!" The lilting yet propulsive "Circle" has great bass work from Bobby Watson as Khan sings likeable and spacy lines, the best being, "My love is like a zero/It is nothing and everything." The albums biggest track, the smoldering "Sweet Thing," has Tony Maiden's gentle guitar and Kevin Murphy's economical electric piano chords. The song is arguably the group's best as Khan's bittersweet vocal provided a standard many singers have attempted to approximate to no avail. The party starters "Have a Good Time" and "Dance Wit Me" both tread familiar ground and pale in comparison to the classic "Once You Get Started." The last track, a cover of "Jive Talking," is inexplicably slowed to a crawl, therefore, diminishing its appeal. Rufus Featuring Chaka Khan perfectly captures their unconventional sound and features Tower of Power on horns and Clare Fischer's string arrangements. This album is one of their best and is recommended. ~ Jason Elias, All Music Guide
What The Critics Say
In many respects the group seems to be feeling their way through this. Luckily, Rags to Rufus does feature some can't-miss propositions. The great rock and funk mix of "You've Got the Love" all but sums up what Chaka Khan was going to be doing for the long haul. The biggest hit here, "Tell Me Something Good," is a rare instance of an artist like Stevie Wonder giving away a tune that he could have had a big hit with himself. That being said, it was Khan's playful and sensual vocal that put it over the top. The songs that veer from the formula suffer the most on Rags to Rufus. The cutesy "I Got the Wrong Street" and the saccharine "Walkin' the Sun" are duds. Even early on, Khan needed songs that were complicated either lyrically or musically. On Ashford & Simpson's "Ain't Nothin' but a Maybe," Khan displays the maturity and knowing that it took to make the song have that much more emotional weight. Rags to Rufus ends on a relaxing note with the tracks, "Look Through My Eyes," "In Love We Grow," and the sultry "Smoking Room." This album is far from perfect, but it's certainly representative of the band's gifts and Khan's vocal power. ~ Jason Elias, All Music Guide
