There really isn't a huge leap from Street Songs or earlier Rick James albums to 1982's Throwin' Down, but from the ridiculously costumed look on the cover to the contents within, it's clear there's been a sea change. Up until now, his records had been a moderately fascinating contrast between serious musicianship and outrageous shock behavior, but now it's clear the latter behavior was coming to the forefront. That's not to say Throwin' Down is not worth hearing. It has many characteristics which drew people to his work in the first place, but the increase in opulence combined with an increasing lack of self-awareness becomes hard not to notice. Nearly all of the same structural moves were carried over from the previous record (you even get a Teena Marie duet, "Happy", which is one of the better tracks from the record) but there is none of its' social relevance and authentic energy. Another notable track is the hyper-sexualized "She Blew My Mind (69 Times)". A few months later, Prince and the Revolution released "1999", and the world didn't really need Rick James after that. Still, despite the trappings, this is a decent Rick James record.

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.