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| The Official Janet Jackson thread; New album "Unbreakable" | |
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| Topic Started: Dec 31 2007, 07:05 PM (17,369 Views) | |
| FuckBuddy | Aug 11 2014, 11:36 PM Post #1901 |
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at least she's made chart history with her flops, too. two back to back albums both entering and peaking at 63 in the uk chart, now that's quite a feat |
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| Riverwide | Aug 11 2014, 11:41 PM Post #1902 |
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Nobody flops like Janet! ![]()
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| Riverwide | Sep 19 2014, 10:02 AM Post #1903 |
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Billboard: Janet Jackson's Rhythm Nation 1814 turns 25 Released 25 years ago tomorrow (Sept. 19, 1989), Rhythm Nation 1814 begins with a pledge: "We are a nation with no geographic boundaries, bound together through our beliefs." From there, it goes into the title track, a national anthem for this colorblind utopia Janet has imagined. The four digits in the album's title refer to the year "The Star-Spangled Banner" was written, and with the help of James "Jimmy Jam" Harris III and Terry Lewis -- the production team behind Control -- Jackson gives Francis Scott Key's greatest hit a New Jack Swing remake. Rhythm Nation stays political for a few songs and then segues into kinder, gentler relationship songs, many of which dominated radio and MTV. An unprecedented seven of the album's singles made the Top 5 of the Billboard Hot 100, and four of them -- "Miss You Much, "Escapade," "Love Will Never Do (Without You)" and "Black Cat" -- hit No. 1. The album, not surprisingly, topped the Billboard 200, vaulting Janet to a level of pop mega-stardom almost on par with that of her brother Michael Jackson. In honor of the record's silver anniversary, Jam and Lewis led Billboard on a track-by-track trek down Memory Lane, offering their thoughts on the disc's 13 non-interlude songs. The duo produced and wrote or co-wrote all but one, the hard-rock detour "Black Cat," which Janet penned and helmed herself. Read on to see how these Minneapolis legends remember Janet's breakout LP. If Janet Jackson's third album, 1986's Control, was a declaration of independence, the follow-up, Rhythm Nation 1814, was a constitution -- a blueprint for the kind of country that this confident, sexy and newly independent 23-year old woman wanted to live in. At least it was for roughly a third of its runtime. Released 25 years ago tomorrow (Sept. 19, 1989), Rhythm Nation 1814 begins with a pledge: "We are a nation with no geographic boundaries, bound together through our beliefs." From there, it goes into the title track, a national anthem for this colorblind utopia Janet has imagined. The four digits in the album's title refer to the year "The Star-Spangled Banner" was written, and with the help of James "Jimmy Jam" Harris III and Terry Lewis -- the production team behind Control -- Jackson gives Francis Scott Key's greatest hit a New Jack Swing remake. Rhythm Nation stays political for a few songs and then segues into kinder, gentler relationship songs, many of which dominated radio and MTV. An unprecedented seven of the album's singles made the Top 5 of the Billboard Hot 100, and four of them -- "Miss You Much, "Escapade," "Love Will Never Do (Without You)" and "Black Cat" -- hit No. 1. The album, not surprisingly, topped the Billboard 200, vaulting Janet to a level of pop mega-stardom almost on par with that of her brother Michael Jackson. In honor of the record's silver anniversary, Jam and Lewis led Billboard on a track-by-track trek down Memory Lane, offering their thoughts on the disc's 13 non-interlude songs. The duo produced and wrote or co-wrote all but one, the hard-rock detour "Black Cat," which Janet penned and helmed herself. Read on to see how these Minneapolis legends remember Janet's breakout LP. ![]() "Rhythm Nation" Jimmy Jam: It needed to be anthemic. That was the whole point. It was the anchor of the album, the title track. I think we really achieved it. It has a great energy. The thing to remember, as I always say with all of Janet's stuff, is that she's such a visual artist. It's really hard to listen to the song and not think of the imagery and all the choreography that go along with it. That's the bonus we get with a record like that. We get to see the performance that goes along with it. "State of the World" Terry Lewis: At the time, we were trying to make some statements about worldly things. The song was created from conversation. We used to talk about everything before we would even engage in starting a song. We went on talking tirades, just conversational tirades, trying to figure out not only what was going on in the world, but what was going on in Janet's head. I don't think it's overtly political. It's just drawing attention to the things of the time. In the history of music, there's always been a social commentary with most artists that were substantial artists. You can only talk about so much love and clubs. You have to bring some awareness and have a voice in the times that you live in. That happens to be one of those songs. "The Knowledge" Lewis: We got the song title in London. We were speaking to a cab driver. Over there, every cab driver knows how to get everywhere, because they take a test that's kind of like a map quiz. They know every street, every address in London. It's called "The Knowledge." When we heard that title, we wrote it down. When we had discussions about all these different things -- social commentary -- "The Knowledge" just popped up. And with Janet being associated in a lot of different ways with education, it just seemed fitting to use that subject matter and fuse it all together." "Miss You Much" JJ: That was the first song Janet heard when she walked in the studio. I remember that when she walked in the studio, I pointed at a note on the keyboard and told her to press that note. She pressed it, and that note ended up becoming the high string line in the chorus to the song. It's the record that got us off and running on the project. I love Janet's attitude on records. I think she sings that song with so much attitude. "Love Will Never Do (Without You)" JJ: At one point, we thought about doing it as a duet with Prince. It never happened, obviously. That's the reason she sings the first verse low and the second verse high. It became a duet with herself. It was a thought. I don't know how serious of a thought. This happens a lot -- you're doing a song, and you go, "You know who would sound good on this? Prince would be kind of cool." It wasn't any big thing, like we wrote it for him or anything. But then we thought, "Oh, it's cool the way it is," so we just left it like that. "Livin' In a World (They Didn't Make)" Lewis: [We were] just thinking about the turmoil that kids go through to become young adults and then adults. We throw so much mess into the situation for kids a lot of times, as a society, because we act without listening; that makes kids very uneasy about things, and rebellious. They didn't ask to be here, which is something we say all the time. They didn't ask to acquire the circumstances you put them in. We say they're our future, but they're our present, and being a kid is our past. We have to be little more mindful of those things, how we incorporate kids into our society. That song was born out of that concept, because they didn't choose to be here. Our responsibility is to teach them responsibility. "Alright" Lewis: I love "Alright." I love the swing aspect of it. I love the incorporation of and collaboration with Heavy D [on the remix]. I love the happiness of the song. It's a song that comes on and makes you immediately smile. I love the video for that song. It was one big shot. I think it might have been one or two cuts in the whole video. It was a masterpiece. It's more than friendship in that song; it's just a feeling that song gives: "It's alright. It's OK to be who you are. It's OK to be my friend. It's OK to think what you think. Whatever you're doing is cool with me. I'm not being judgmental.' That song gives you that feeling. Music is all about feeling, even when the lyrics don't say exactly that. But when the words correspond with the feeling, it's especially powerful. "Escapade" JJ: I love "Escapade." Janet wanted to have a song you'd hear at basketball games -- big-crowd-type places -- and that's how we came up with the really big beat. The whole "Escapade" idea, that's lyrically hers. The track on that song was just a rough track we intended on redoing, and it never happened. Literally, the track on that song is like one track of drums, a bass line played on my left hand and a keyboard line played on my right hand, with really not a lot of overdubs on there. "Black Cat" JJ: Janet was a tough producer. Man, she had me redoing parts a million times. [laughs] It was her way of getting back at us. We went into the booth at the end to do the [sings] "Black cat…" part, and she had us in there for hours. We're going, "Janet, we don't sing." "No, do that again!" It was a great idea, great guitar riff. Jellybean Johnson, the drummer for the Time, who's also a great guitar player, ended up working with her on that and did a great job. If I recall correctly, the solo on that song was actually done by three people … Janet did a fantastic job. It was fun to play on. Janet would ask me, "What do you think?" And I'd say, "Nope, you're the producer." [laughs] It was cool. "Lonely" Lewis: It seemed like one of those songs that would be real comforting. Everyone has moments of loneliness, no matter how many people are around you, or how many people think you're wonderful. When you get in your introverted state, your feel like you're alone, but you're never alone, because there's always someone you can reach out to. That's what that song was all about: "Anytime you need me, call me. When you're lonely, I'll be there for you." Nobody should feel like they're alone. That's probably one of the most feared feelings in the world, which causes a lot of hate and a lot of crime and a lot of everything. Everybody on earth has the same basic needs, and the biggest of these is to be loved and appreciated. "Come Back to Me" JJ: At the time we did it, it was one of my favorite songs. I loved the lyrics and the vocal on it. The interesting thing for me was the live strings. I never heard the strings when we were doing it. We'd kept it simple, and Janet said, "It'd be great to get some strings on this." There was a guy in Minneapolis we used named Lee Blaskey, who was an incredible string guy. He arranged a lot of our string stuff. I said, "Hey, Lee, come up with a string thing for this," and he did. We loved it so much that the end of the song, it basically fades out with just the strings as the last thing you hear. "Someday is Tonight" Lewis: New love! New love is always great. I don't think you can have enough of those songs. The feeling of that first commitment to someone is always a special one, whether sexually or emotionally. That song is built on that premise. You'll get to it someday, and that some day is right now! It's very special -- especially for young girls. The fact you can hold off and not be ready -- [Janet] has [sang about] that in previous songs. And then one day, you just grow and make that commitment. It's a beautiful thing. |
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| johnnox | Sep 19 2014, 12:13 PM Post #1904 |
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Such a classic pop album. Love it. |
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| Riverwide | Sep 19 2014, 12:21 PM Post #1905 |
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Definitely. One of my all-time favourite albums! |
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| johnnox | Sep 19 2014, 12:40 PM Post #1906 |
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Not one song on it that doesn't belong there. Shame everything after this became more about being fucked senseless and less about lyrics with any value. (Apart from That's The Way Love Goes - lush) |
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| Riverwide | Sep 19 2014, 12:44 PM Post #1907 |
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Oh I loved a lot of stuff on the "janet." album! Yeah, the "shag my pierced pussy up against a wall in the rain" stuff got very tiresome though. |
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| johnnox | Sep 19 2014, 06:20 PM Post #1908 |
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Was she writing about you? |
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| quoideneuf | Sep 19 2014, 07:23 PM Post #1909 |
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Teenager
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The Velvet Rope is my favorite Janet Album But for 4 albums Control, Rhythm Nation, Janet through the Velvet Rope she was excellent. The rest is pretty awful |
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| Riverwide | Sep 19 2014, 07:25 PM Post #1910 |
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The drek really started to creep in on Velvet Rope. Over half that album is crap. |
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| quoideneuf | Sep 19 2014, 07:36 PM Post #1911 |
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Teenager
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There's a couple of duds at the end (the hidden track is quite good though) But the intro of Velvet Rope, You, Got Til Its gone, is great Its also the last time the art work on her albums was any good All for you was the start of the woman's magazine cover era |
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| Liam | Sep 21 2014, 05:55 PM Post #1912 |
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Kid
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For me, "All For You" was the last album I really enjoyed from her. Everything after that seemed like a repeat of everything she has done. It became too much like lounge music and/or overtly sexual. It was fine when she did that on previous albums to some extent, but they were quite diverse. JANET was an awesome album as well as VELVET ROPE. RHYTHM NATION was a great concept album for her. It was quite different from anything anyone did at the time. She followed in her brother's footsteps in making long form videos with a message behind it. I hope she releases something new in the future. I do like her. Being she's been away for sometime from the music album, it could definitely be a time she could re-invent her style and do something with a great concept again. |
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| Jimmy Mack | Sep 21 2014, 07:19 PM Post #1913 |
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"Rhythm Nation" and "Janet" are both fabulous albums. I LOVE those big, wall of sound tracks like "Rhythm Nation" and "If". "The Velvet Rope" had its moment, most notably the title track, but I agree the rot set in then. The single, "All For You, is good fun. But I can't recall a single other track from that album. As a personality, she always came across as so, so insipid, though. Perhaps that's why, even in her "lean" period, Madonna still had a big following and press interest. |
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| Liam | Sep 21 2014, 08:51 PM Post #1914 |
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Kid
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Well, "All For You" was definitely the biggest track off that album. A top ten global hit, and number #1 in various countries. She did have a decent hit with "Someone to Call My Lover" which also became a top ten hit. I remember MTV played the hell out of those two videos. She also included the hit single "Doesn't Really Matter" from the NUTTY PROFESSOR soundtrack from the year before on that album. I still feel it is a solid album as it included another popular song (on MTV) Son of A Gun. I also thought "Trust A Try" was reminiscent of an earlier track "This Time" from "Janet". Even Damito Jo wasn't that bad. I did like the lead single "Just A Little While". It probably would have done decently if she didn't have the Superbowl fiasco. I also remember VH1 when they were still playing videos, played "I Want You" a lot. |
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| FuckBuddy | Sep 21 2014, 09:33 PM Post #1915 |
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i want you is the best song she's recorded in the last 15 years. while far from a great album, damita jo was sort of decent, especially compared to the utter horror of an album she followed it with. |
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| Riverwide | Nov 3 2014, 02:14 PM Post #1916 |
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Looking a bit weird... |
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| quoideneuf | Nov 3 2014, 07:44 PM Post #1917 |
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Teenager
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Face lift ? |
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| FuckBuddy | Nov 3 2014, 11:07 PM Post #1918 |
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it definitely looks like she's had some work done. that's hardly surprising news, though. |
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| FuckBuddy | Nov 9 2014, 01:39 AM Post #1919 |
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this rumor has been making the rounds in the past few days. the actual horror if it turns out to be true It has been a long time since this space was filled with this person. I think she has only been in the space one previous time and it was for something that was really bad, but not evil. This is evil. She finally has found her perfect situation. She is a permanent A list celebrity. She will always be one. There is no changing that. The family, her career, she will always be A list. She has always had her secrets and her kinks. She finally found a person though who can deliver what she needs and when and matches her level of secrecy. The maids and domestic help they hire as a couple never see their home country again. They are selected by photos and videos taken by recruiters. They are then forced to work as domestic help 12 hours a day and available to be used as sexual playthings the other 12 hours a day. Our celebrity is the most frequent user of them. She has fetishes and needs that match others close to her and she has the resources now to make all of it happen. Families of help who have been hired by our celebrity say that some have gone missing and never returned home. An investigation was cut off almost immediately and the families given a small sum to be quiet. They disappear because our celebrity sometimes goes too far. Everyone always thinks of our celebrity as this nice person they remember as an innocent tweener. That was a long time ago and you should know that everyone close to her is just as sick and twisted as our celebrity. Edited by FuckBuddy, Nov 9 2014, 01:40 AM.
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| Vancho | Mar 1 2015, 04:29 PM Post #1920 |
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Mature
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