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Rick James: 10 Essential Tracks

The punk-funk king gets freaky on everything from a 1966 Neil Young collaboration to a groundbreaking 1988 rap duet

During his five-decade career as a pop libertine, singer, producer and multi-instrumentalist, James Ambrose Johnson, Jr., a.k.a. Ricky Matthews or Rick James, was reportedly more of a superfreak than any very kinky girl he didn’t take home to mother. 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. 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.

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.

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LOS ANGELES - CIRCA 1981: Rick James poses in his bedroom at home circa 1981 in Los Angeles California. (Photo by Michael Ochs Archives/Getty Images)

Rick James, feat. Roxanne Shanté, “Loosey’s Rap” (1988)

Though objectively laughable and James' official tap-out as a hitmaker, this was one of the first proper rap and R&B collaborations (if not the first) and somehow hit Number One on the R&B charts, which was certainly a nice look for one of the dopest female MCs ever. Sadly, her rhyme is hot garbage – "They call me Loosey, 'cause I'm so loose," really? – and Shanté gets implicated by James' increasingly disturbing world of objectification. The video, in which she did not appear, was a seamier version of Robert Palmer's "Addicted to Love" featuring an array of scantily-clad models wandering around a bathroom/dressing room/shower/soundstage in lingerie, leather and latex, along with a tiger on a chain. The remix by Juice Crew producer Marley Marl shapeshifts the track's clunky thud into a funky, stuttering SP-1200 marvel, with Big Daddy Kane elevating the proceedings by simply dropping a couple of lukewarm 16s. Here, Shanté finally cuts loose, even playfully taunting James. Clearly, it was time for the King of Punk Funk to surrender his throne.

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