Feb 27 2009
Favorite Females No. 2: JANET JACKSON
We all know her first name ain’t Baby (as you know, it’s Janet… Miss Jackson, if you’re nasty). And when she’s on her game, she’s one of the most satisfying female acts to grace the pop world.
The youngest child of the legendary musical dynasty, the Jacksons, Janet Damita Jo Jackson did not leave an immediate imprint on pop music. Her self-titled 1982 debut album, as well as 1984’s Dream Street, had little to no critical or commercial impact (both albums and their singles failed to land inside the top 40 on their respective Billboard charts). No doubt longing to be just as successful as brother Michael, Janet professionally separated herself from her father and worked with producers Jimmy Jam & Terry Lewis on her breakthrough album, 1986’s Control.
With its new-jack-swing-like sound aimed directly at the future, Control remains one of the definitive female pop and R&B albums of all time. The record also established Janet as an independent woman (years before Beyonce and her girls proclaimed their independence); tracks like “What Have You Done For Me Lately,” “Nasty” and “Control” displayed her assertive, take-no-guff attitude. Perhaps Janet took a cue from Madonna, who arrived on the scene in 1983 and put forth a woman-in-charge image. However, while Madonna displayed a sexually charged image, Janet took the opposite route (at least at that time), even recording a let’s-not-rush-into-sex track (”Let’s Wait Awhile”).
Rather than make Control II, Janet took a more socially conscious approach with 1989’s Rhythm Nation 1814. Alongside lighter pop jams like “Miss You Much,” “Escapade” and “Love Will Never Do (Without You)” were serious-themed tracks like “Rhythm Nation,” “The Knowledge,” “State of the World,” “Black Cat” and “Livin’ in a World (They Didn’t Make).” Social issues like racism, illiteracy, crime and drug use were part of the message this time out, and Janet cast herself as a militant leader of her own rhythm nation. In the process, she scored seven top five hits on Billboard’s Hot 100, the most ever from one album.
Around 1991, Janet started to become more comfortable with her sexuality, and thus started removing the layers of clothing with which she covered herself up during the Control and Rhythm Nation years (witness the “Love Will Never Do” video).
(This is where the Madonna Influence really comes into play. Brother Michael likely has influenced Janet more than any other artist, but shades of Madonna can be seen throughout Janet’s career- whether it be her stance of control, assertion, or exploring her sexuality and sensitive issues. Janet has never acknowledged such influence, taking a defensive stance when asked about Madonna back in 1990 and thereafter, but as recently as last year, she squashed rumors of a feud, saying, “I think she’s done wonderful things.” “Divas” getting along, who would have thought it?)
In conjunction with her sexual awakening, Janet followed a state-of-the-world-type album with one that oozed sensuality and sexuality, in the process likening herself to Marvin Gaye. Rhythm Nation was her What’s Going On, while 1993’s janet. was similar in nature to Let’s Get it On. janet. spawned several more hits, and, later that year, the full-size photo of the cropped image used as the janet. cover art turned up on Rolling Stone magazine’s cover, with Janet appearing topless, her then-husband cupping her breasts from behind.
Amidst the sensuality, janet. also included a track that would have made James Brown proud- the African-American-woman-strong “New Agenda.” It was comforting to see that Janet still had interest in important issues, a trend that would continue with 1997’s The Velvet Rope. Exploring themes like homophobia, domestic abuse and depression, the album provided one of Janet’s best one-two punches among singles with the Joni-Mitchell-sampling “Got Till It’s Gone” and “Together Again,” a hopeful, uplifting ode to lost loved ones (in this case, as result of AIDS).
Unfortunately, The Velvet Rope was Janet’s last pretty darn good album- at least from this fan’s perspective. She had a some bright moments with 2001’s All For You (the three singles, plus “Trust a Try” and “Better Days”) and 2004’s Damita Jo, but nothing that rivaled her best work.
All For You lacked the aura of thematic importance that strengthened the previous four albums, as did Damita Jo. Released right after Nipplegate (you know, the Super Bowl wardrobe malfunction), Damita was short on true classic contemporary Janet moments. Rather, amidst some tolerable album tracks, the set’s highlights were old-school throwbacks (”I Want You,” “R&B Junkie”), with the one dance “jam”- “All Nite (Don’t Stop)”- showcasing Janet’s new low-key, whispery, lighter-than-air vocals. Granted, she’s always been a limited vocalist, but lately, it’s been more of a phone-in job than anything else.
Janet’s two most recent album- 2006’s 20 Y.O. and last year’s Discipline- have yet to take a place in my music collection. 20 Y.O. left such a negative impression on me, that I felt little inspiration to pick up Discipline (though I almost did purchase it a couple of times, since it does house a few decent tracks, including “Feedback”). Plus, in recent years, Janet’s rehashed the audio s-e-x way too much, whereas every attempt sounds like one long orgasm set to a quiet-storm background.
No matter how unimpressed, though, I am with the recent music, there’s no diminishing my love of the 80’s and 90’s force that was Janet Jackson. Never mind that, from tour to tour, she recycles what she’s already done (whether it be the innovative choreography, stagings, set design), she remains one of the most dazzling stage performers of our time, continuing to influence artists of both sexes. And with the right people working by her side (it may be time for Jam & Lewis to return as her primary collaborators), I hold out hope that Janet again can dazzle with her music.
To her credit, while on tour last fall, Janet acknowledged - for the first time in concert- her first two albums, performing a medley of “Young Love,” “Say You Do” and “Don’t Stand Another Chance.” She dedicated the old-school visit to the die-hard fans (hand raised), many who requested (via a Janet telephon hotline) that she give props to her early music. In fact, I requested the exact medley that she ended up performing- thank you, Baby… um, I mean Miss Jackson.
