The Twelve Inch 116 : Glow (Rick James)
Rick James' 'Glow': A Funk Legend's Shining Moment Amidst Rivalry and Innovation
Introduction: A Luminary in the Disco Era
Which black artist once started a band with Neil Young as guitarist, slept on the couch of Stephen Stills, took his first acid trip with Jim Morrison, and became one of the most important new talents to erupt from the disco era? If you guessed Rick James, you're correct! But there's so much more to his story than those remarkable tidbits.
How It Started: The Early Life of Rick James
James Ambrose Johnson Jr., known to the world as Rick James, was born in 1948 in Buffalo, New York. At 16, he fled to Toronto to avoid being drafted into the army, likely fearing deployment to Vietnam. It was in Toronto that he met Neil Young, who became the guitarist for "The Mynah Birds," the band James started in 1966. The Mynah Birds signed with Motown, but their debut was halted when the label discovered James' fugitive status, leading to his conviction for desertion and a brief prison stint.
The Start of a Solo Career
After spending a few years in California, where he mingled with the likes of Stephen Stills and Jim Morrison, James returned to Buffalo and formed the Stone City Band. Signing with Gordy Records, a Motown subsidiary, marked the beginning of his solo career. The Stone City Band featured prominently on James' first album cover but were soon overshadowed by his burgeoning solo stardom.
Rick James and the Disco Era
Rick James burst onto the scene when disco was at its peak. Although his music was distinctly danceable, it built on the funk legacy of pioneers like James Brown and Bootsy Collins. As the late seventies transitioned into the eighties, funk began to evolve, influenced heavily by technological advancements and new musical trends.
The Influence of Technology on Funk
The 1980s brought significant advancements in music technology, with synthesizers, drum machines, and digital recording techniques revolutionizing the soundscape. Instruments like the Roland TR-808 and TR-909 drum machines, and synthesizers such as the Minimoog and Yamaha DX7, became staples in funk production, offering a more electronic and polished feel compared to the raw, analog sound of the 1970s.
The Rise of Synth-Funk
Synth-funk, also known as electro-funk, emerged as a prominent subgenre in the 1980s, combining traditional funk elements with electronic music. This futuristic sound, characterized by tight, robotic rhythms and layered textures, became synonymous with the era. Artists like Earth, Wind & Fire and Kool & the Gang adapted their styles to stay relevant, incorporating synth-funk elements into their music.
Producers and Cross-Over Success
Jimmy James and Terry Lewis
The 1980s saw producers becoming key figures in shaping the decade's sound. Icons like Quincy Jones, Jimmy Jam and Terry Lewis, and Nile Rodgers crafted major R&B and funk hits. This period also marked significant crossover potential, highlighted by artists like Michael Jackson, who leveraged MTV's growing influence to achieve widespread success (After they succumbed to pressure to include black artists in their daytime playlists).
Punk Funk: Rick James' Unique Contribution
Rick James carved out his own niche with "punk funk," a subgenre blending punk's raw energy with funk and new wave elements. His early eighties releases, including the hit "Super Freak" and the album "Street Sounds," showcased this innovative style. Despite the success of "Super Freak," the follow-up album "Throwin' Down" didn't fare as well, leading to frustration and a notorious incident at Motown.
The Motown incident
Gordy — third eldest son of legendary Motown Records founder Berry Gordy — vividly describes how James, frustrated by disappointing sales for his 1982 album “Throwin’ Down” and its accompanying tour, marched into the office of then Motown President Jay Lasker to deliver his next LP. Then he proceeded to pour cocaine onto Lasker’s desk, snort it, jump on top of said desk, take out his penis and shove it in Lasker’s face while yelling “Sell my goddamn record!”
Then Gordy reveals that, after the singer left the room, Lasker simply said “Lionel Richie,” effectively signaling that all of Motown’s muscle would now be put behind another of the label’s stars — and James’ career was never the same.
The Beef with Prince: A Creative Rivalry
Rick James and Prince had a complex relationship marked by intense rivalry. In 1980, James took the young Prince as an opening act on his 40-date US tour. The competition was fierce, with both artists striving to outdo each other on stage.
Glow: A Shining Moment
Despite their rivalry, the competitive spirit between Rick James and Prince fueled their creativity. You clearly see the connection between both. Prince had “Vanity 6”, Rick James had “The Mary Jane Girls”. Prince produced for his band The Time, Rick for his band The Stone City Band.
In 1985, James released "Glow," his second and last number one on the dance charts and a top ten hit in Europe. The title track, with its pulsating beat and extended instrumental break, became a dance floor favorite and a testament to James' production prowess.
What Happened After Glow: The Decline
After "Glow," Rick James continued to release music but never regained the success of his early eighties peak. Personal and legal issues plagued his later years, culminating in convictions for kidnapping and assault, and a three-year prison sentence.
I’m Rick James Bitch !
Shortly before his death in 2004, Rick James made a memorable appearance on the "True Hollywood Stories" segment of "The Chappelle Show." The show recounted fictionalized stories from James' larger-than-life career, giving rise to the famous catchphrase, "I'm Rick James, Bitch!" and the quip, "Cocaine is a hell of a drug." (link below)
Conclusion: Rick James' Enduring Legacy
Rick James' success with "Glow" in 1985, along with his broader contributions to the music industry as a producer and performer, left an indelible mark on the history of dance music. His rivalry with Prince was a catalyst for innovation and excellence in the genre. Although Prince ultimately became the bigger star, both artists continue to inspire subsequent generations.
For an immersive experience, don't forget to check out the accompanying beatmix on Mixcloud. Join the conversation: What are your memories of "Glow"? Were you more of a Rick James fan or a Prince enthusiast? Share your thoughts in the comments below.
Further reading (or should I say watching)
There are a number of interesting video’s :
Charlie Murphy’s True Hollywood Stories : The very funny impersonation of Rick James (played by David Chapelle)
So You Wanna Hear More ?
I thought you would !
It’s fun to write about music but let’s be honest. Music is made to listen to.
So I prepared two options for you this week. There is the “minimalist” option. A small beat mixed taster of the twelve inch of the week and two other dance songs of the era. You’ll find it on my Soundcloud page.
The ideal soundtrack for…. Well whatever you like to do when you listen to dance music.
And then there is the “maximalist” option 🕺💃 : The full 1 hour of beatmixed dance music of the period, starting with the song we talked about in this weeks newsletter and followed by 10/15 songs of the era. That one you’ll find on Mixcloud. If you are up for a deep dive into the clublife of the period, then my mixcloud page is your n°1 go-to.
Go To The Mixcloud Mix Of The Week
Both options dissapear after a while. The Soundcloud mix because I have limited space to publish on Soundcloud and the Mixcloud mix will, eventually, turn into a Subscriber exclusive mix.
There is a Facebook & Instagram page. You can follow The Twelve Inch” to keep informed of what is happening with the blog, the mixes..etc..
So what’s in this week’s mix ?
We go (synth)funk all the way. The first three songs in this week’s mix are Rick James productions. “Glow” is followed by “Seduction” by Val Young and “Break It Up” by The Mary Jane Girls. They all share the clear reverbie production of Glow. It’s eighties funk at its best.
After Fox The Fox, Steve Arrington and two Debarge classics I’ve got two absolute gems lined up for you : “Breakin’ Down (Sugar Samba)” by Julia & Company and “I’m Just A Sucker For A Pretty Face” by West Philips.
We end with two Prince productions (on a safe distance from the Rick James productions 😁) : Sheila E with “A Love Bizarre” and “Strut” by Sheena Easton
Enjoy !
What I listened to this week :
A New Addition to My Collection: "The Salsoul Orchestra" Box Set
Earlier this week, I received my copy of "The Salsoul Orchestra" box set "It's Good For The Soul - The Vince Montana Years (1975-1978)". I've been eagerly anticipating this release ever since it was announced.
This beautifully packaged box set includes 8 CDs featuring the complete repertoire of the house orchestra from one of New York's most influential disco labels of the seventies: Salsoul Records. The Salsoul Orchestra, the brainchild of Vince Montana and the musicians behind the Philadelphia Sound, played a pivotal role in the development of disco music.
The first three Salsoul Orchestra albums are absolute gems of the genre. Many tracks from these albums became club hits and were remixed by legendary DJs like Tom Moulton and Walter Gibbons. All these mixes are included in the set.
The box set also features two artist albums produced by the orchestra: Carol Williams' "‘lectric Lady" and the Latino sensation Charo's album. While many may be familiar with "Dance A Little Bit Closer," Charo's distinct Spanish accent truly shines in her second single, "Cuchi-Cuchi." If you're having a gloomy day, this is the CD to play. 😂
However, by 1978, the quality began to decline with releases like instrumental versions of Bee Gees hits and the rather forgettable "Up The Yellow Brick Road," which features disco versions of film themes.
In essence, this box set perfectly illustrates the high quality of disco music from 1975-1977, as well as the less impressive releases from the late seventies. While it might seem like a mixed bag, the excellence of the first five CDs justifies its inclusion in any collection.
Next week, we’ll explore the relation between Disco & Motown. Or how the label that delivered important building blocks for the seventies dance revolution didn’t get to enjoy any of it’s fruits.