OK, basically everyone and their mother considers Street Songs to be Rick's magnum opus. But I go the other way, just a bit. For me, this was a lot like the albums that came before it, except for a couple of changes: A) the songs are shorter, which was like a concession to get them played on the radio, and B) the two synth-notes at the end of each measure of "Super Freak". This was mentioned way more in-depth during the "Bitchin" documentary which ran on Showtime, but it was like that stupid little touch shot that song far up the charts. It made it more palatable for the New Wave crowd. "Give It To Me Baby" is the other dance monster here, but nothing else touches those lofty heights. What works for James is the attitude, but at times he's just restating stuff from earlier records without much substance behind the sentiment. No wonder the star fell so fast, as this was something that became a more common occurrence as the 80s wore on. Still, an essential record, both for James and the crossroads of funk and pop music in general.

A long time ago I read a review which acted as if this was a jazz fusion album!!! Arrrgh!!! It's a lot like Fire It Up and the others which came before it. "Big Time" was the hit and unabashedly about him taking advantage of his star status. Which for me, is refreshingly honest. The bulk of the album is more in the slow jam ballpark which makes this weakest entry of the "early years", for me at least. But it's still good.

I would like to say James takes a step back here, because from a technical standpoint he changes barely anything, but Fire It Up is still a classic record. The guitar riff for "Love Gun" is beyond description; for me, one of his best and easily most underrated tracks.

For all of the praises heaped upon the debut and 1981's Street Songs, it's albums like Bustin' Out of L Seven (and the ones that follow) which really entrench Rick James as a unique musical presence. This particular record hits at revisiting the old days of Funkadelic because of the spooky/campy cover, but the music within is a thoughtful mix of hybrid funk/disco, and elaborate, highly charged, slow jams. "Bustin' Out" was not a major hit but defiant, infectious anthem based James' pro-weed stance, while "Jefferson Ball" is a flashy but finely-crafted ballad with depth. All of the early records are great listening; this one just has a little bit more of an edge.

Considered to be his debut record, in reality Rick James had 3 or 4 different false starts over a lengthy span - which could have rightly been considered debut records - before the real one came out when he was 30 years old. Ironically, a musician roughly similar to him, but 12 years his junior - Prince Rogers Nelson - came out with his first record in the same time frame. Compared to Prince, James acted as if he had been entrenched as a long time star, deftly employing a wide range of styles from decadent disco to spaced-out ballads to street-wise funk. The dance floor-hungry "You And I" is the centerpiece, while the retro-flavored "Mary Jane" stuck a claim in pot-head territory, which was heady thinking at the time. James had definitely given funk a new look and direction with this one.