In a 1979 Blues and Soul interview, he pointed out the similarities shared by UK punks and his own rough experiences: “To me, a punk is someone who says what’s on his mind and doesn’t take no shit. James’ punk attitude and labeling also hinted a sacred bond with the disenfranchised, intriguing fans overseas. So Rick James’ street smarts and appeal were in desperate need, bursting through with perfect timing. Its recent film endeavors flopped and many of Motown’s classic acts were gone, and resident genius Stevie Wonder was losing his edge with a concept album exploring the life of plants. The prestigious label was an empire in decline during the late ’70s. That was a key sentiment sought by James’ label, Motown. That reputation further emphasized his fresh and unapologetic approach, shielding him from any risk of looking outdated. James’ presented his cheeky style as “Punk Funk”, a clever marketing tool made to distance his blasting tunes from disco. His own singing was teasing and raw, but never too emotional to completely tarnish the party vibes. James dominated on bass while sporting a healthy horn section and relied on bright female backup vocals. It included thrusting grooves such as “You and I”, soul searching ballads like “Hollywood” and reeked of sex and drugs with “Sexy Lady” and “Mary Jane”. James wrote, arranged and produced Come Get It! as a satisfying blend of hedonism and romance. But he was the first to enjoy chart success and position himself as the next prominent figure in funk. Like Prince, James issued his debut album in April of 1978. Perhaps so, but this ongoing debate overshadows Prince’s initial effort to overcome a different musical foe: Rick James. He proclaimed Prince won over Jackson - at least, in terms of one’s sanity. And so fans were forever left to provide their own take on “Who’s Bad?” The feud remained vivid even in the mindset of mass audiences as comedian Chris Rock addressed it in his 2004 Never Scared show. He arranged for the two to meet but it didn’t amount to anything past expressing mutual respect. The taunting title track of Bad, Jackson’s anticipated follow-up to Thriller, was designed by visionary producer Quincy Jones as a duet for Jackson and Prince. In fact, Michal Jackson and Prince themselves came close to an actual face off in 1987. Prince” parties, trying to settle a score in an argument that endured since the mid ’80s. On the 10th anniversary of James’ death at his Los Angeles home, let’s dig out our glittery braids and space boots and celebrate some of the greatest musical moments of this street-song eccentric.Purple Hippies and Michael Maniacs are still in a dance floor dispute. Yet despite all the decadence, James was an undeniably formidable song-maker who created hits for others, scored six Top 40 albums and seven Top 10 R&B singles as a solo act and spawned two deliriously iconic songs (“Super Freak” and MC Hammer’s “U Can’t Touch This”) with just one devilish riff. When Dave Chappelle and Charlie Murphy hilariously characterized “Slick James” (nickname courtesy of P-Funk’s George Clinton) as a goofball with a mean streak who spouted koan-like non sequiturs (“I’m Rick James, bitch!”) and pithy reflections (“Cocaine is a hell of a drug!”), there was little need for hyperbole. Ricky Matthews or Rick James, was reportedly more of a superfreak than any very kinky girl he didn’t take home to mother. During his five-decade career as a pop libertine, singer, producer and multi-instrumentalist, James Ambrose Johnson, Jr., a.k.a.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |