UB Soul Friday: Celebrating The King Of Punk Funk Rick James

This weeks “UB Soul Friday” spotlights one of the kings of funk, Slick Rick a.k.a. Rick James.

This week marked the 21st anniversary of his passing.

When it came to funk, no one could touch Rick James.

“UB Soul Friday,” spotlighting artists, albums, singles and videos that left a mark in R&B and Soul music!

Born James Johnson Jr., the third oldest child in a family of eight in Buffalo, N.Y., on February 1st, 1948.

Rick James is credited with establishing the “punk-funk” style. “It was my mother who raised us,” Rick James once stated “She was a small elegant woman of great dignity and strength. She always had two jobs. Sometimes she worked as a maid, but her main income came from running numbers for the Italian mob. She raised us as strict Catholics.”

An early 80s icon of rebelling against the establishment, Rick James started early by joining the navy at age fifteen and going AWOL soon after.

He fled to Canada, and it was there, in Toronto, that he founded his first group, the Mynah Birds.

Other members of the group included Neil Young and Bruce Palmer (who later formed Buffalo Springfield), and Goldie McJohn (who later joined Steppenwolf).

It was at this point that he became known as Rick James.

Being the nephew of the Temptations’ Melvin Franklin, Rick James was no stranger to Motown, and he and his band were signed to the label in the mid-sixties.

Although the group recorded a couple of tracks, nothing was ever released. Probably because Rick James (who had now relocated to Detroit) was in trouble with the military, and because the rest of the band moved to Los Angeles.

Not easily deterred, Rick went to London where he formed the blues band “The Main Line.”

He commuted between London and North America (where he was a staff songwriter for Motown in the late sixties) for the next seven years.

In 1977 Rick James finally returned to the US completely, forming a band (the Stone City Band) with which he experimented at mixing rock and funk – creating “funk ‘n’ roll.” “I’m into rock,” Rick James stated.

“I’m trying to change the root of funk, trying to make it more progressive, more melodic, and more lyrically structured. More honest, as opposed to putting riffs together, saying, ‘Get up and get down. I feel alright. Oomph! Good God! Get up and boogie’ and all that redundant bull.”

When he approached Berry Gordy in 1978, he had an entire record in hand.

Impressed by his tapes, Berry Gordy once again signed Rick James to Motown – this time to the Gordy subsidiary.

The album was released later that year as “Come Get It” and two of its songs immediately hit the charts.

“You and I” went gold in September and “Mary Jane,” a barely-disguised hymn to marijuana hit #3 on the Billboard R&B chart in October.

“Bustin’ Out Of L Seven” was his next album and sent him out on his first US tour.

Other artists that accompanied him on his “Fire It Up” tour were the Mary Jane Girls (a group that he created), and a young singer named Prince.

It was a big break for Prince and the two artists continued to be compared for a long time.

Partly due to Rick James’ wildly extroverted style of performance, the tour was a great success and drew not only large enthusiastic audiences, but also wide media attention.

Following “Garden Of Love,” an uncharacteristic ballad album, Rick James released his fifth album, “Street Songs.”

Probably Rick James’ definitive album, “Street Songs” achieved double-platinum status, stayed in theBillboard Top 100 Album chart for 54 weeks, and was nominated for a Grammy Award.

Rick James also received a Grammy Nomination for the song “Super Freak.”

When asked about “Super Freak,” Rick James explained, “‘Super Freak’ came about after Street Songs was complete. I was listening to the tracks, just riffing on my bass, when I hit on this punky-funky sounding line. Reminded me of how punkers look funny when they try to dance. I heard it as a goof and never dreamed it’d take off. The lyrics were silly. The line about ‘she’s the kind of girl you don’t take home to mother’ was jive. I could take any girl home to mother. Anyway, the song came together, I had the Temps singing behind me, and next thing I know it’s a smash.”

Although Rick James released seven more albums (six of which were released by Motown) and had several more hits on the charts, none have equaled the popularity that “Street Songs” received.

In 1983 “Cold Blooded” hit #1 on the Billboard R&B charts, and later that year Rick James collaborated with Smokey Robinson on the classic “Ebony Eyes.”

But Rick James’ legacy doesn’t only live on through his songs. He created and nurtured young artists and bands some of which have included the Mary Jane Girls, Teena Marie, and Eddie Murphy.

Rick James broke many cultural taboos by flaunting his extravagant lifestyle.

As an icon of drug use and eroticism, Rick James went further than anyone had gone before. But before long, his lifestyle started to catch up with him. “During the Throwin’ Down tour I went to see Dizzy Gillespie at the Blue Note in New York. Man, I loved Dizzy. He was a guru, a beautiful man filled with the spirit of compassion, the father I never had. Diz was never judgmental. He used to say I was too serious and warn me not to look at life so black and white. He saw I was wild. ‘Rick,’ he said, ‘you remind me of Bird. Boy, you better slow down.’ But even Dizzy, for all his wisdom, couldn’t change my reckless ways.”

Rick James flamboyant lifestyle took its toll on his health and he was hospitalized several times between 1979 and 1984.

He had major hits in 1984 and 1985 with the more relaxed “17” and “The Glow.”

The latter also provided the title for a highly acclaimed album, which reflected James’s decision to abandon drugs.

He cancelled plans to star in an autobiographical film called “The Spice Of Life” in the wake of the overwhelming commercial impact of Prince‘s “Purple Rain.”

After releasing “The Flag” in 1986, Rick James ran into serious conflict with Motown.

James left the label, signing to Reprise Records, where he immediately achieved a Billboard Urban #1 with “Loosey’s Rap,” a collaboration with Roxanne Shante.

Now “clean and loving it,” Rick James returned to the music scene with “Urban Rapsody,” his first new album since 1988‘s “Wonderful.”

“I thought about doing an acoustic album, to pour out my heart, to get all self-indulgent,” he said. “But that would have been too soul-searching. It might have been a downer.”

Snoop Doggy Dogg and Charlie Wilson contribute to “Players Way.”

And after bedding by his count “thousands” of women, Rick James, 50 at the time, had settled down with dancer Tanya Hijazi, 27 (whom he married in December 1997 after an 11-year relationship), and their son, Tazman. “I’m too old to do crazy things anymore,” stated Rick James. “Before, I’d just smoke dope and have sex. I never knew if it was day or night. Now I go to bed at 11 and get up at 7. I don’t have aluminum foil on my windows anymore.”

Swaggering decadence had been the essence of his image for so long that he wondered whether the public would be ready — or, more important, willing — to accept a Rick James whose concept of touchy-feely no longer had anything to do with an orgy.

Ultimately, Rick decided not to ask them to. “I said, ‘Fuck this, let’s get back to the roots,’” he recalled, “and I wrote some new songs.”

So instead of looking ahead, “Urban Rapsody” took a long look back.

Rick James had attempted a concept album, an audio movie of his life; he compared the recording process to “recreating Frankenstein.”

“That was just me going through an artistic ego trip,” Rick James stated “I didn’t want rappers touching my shit, but a lot of us older musicians felt that way then. I wanted to sue them. But then I saw what kind of money I was making from Hammer and LL Cool J and Will Smith and on and on with the people sampling Rick James music. And I said, ‘Never mind.’”

But if Rick James‘s rap-and-funk approach sometimes seemed derivative, it’s worth remembering that he was one of the innovators from whom it was derived.

A heart attack during a concert disabled him by depriving him of the use of his legs.

In 1998, he was hospitalized again for a heart attack.

He died on August 6th, 2004 in Los Angeles of respiratory failure and cardiac arrest. An autopsy detected several drugs in his body and pointed to cardiomyopathy as the cause.

Take A Trip Down Memory Lane with Rick James!