#JCsMusicology - Janet Jackson (1988 - 1991)

#JCsMusicology Episode X: Janet Jackson (88 � 91) The Skin Game (Introduction), Work Miss You Much, Love Will Never Do (Without You), Escapade Livin� In A World, State of The World, The Knowledge Someday Is Tonight, Lonely, Come Back To Me Alright, Black Cat, Escapade, Rhythm Nation The Skin Game (Introduction) Janet Jackson had finally taken "Control�. She had an album to her name, that was actually representative of her as an artist and a person. She had established herself as something more than �Michael�s little sister�. And she had found love. Jimmy Jam & Terry Lewis were in their prime. A prime that would span quite a significant period in pop music. Their work from the mid-80s to the end of the 90s is, to this day, unparalleled. But the three of them together are an unstoppable force. Despite having generated six number one singles off of one album, Janet didn�t tour the �Control� project. She did however film a series of iconic music videos to accompany the single releases and number of incredible live performances. Her natural, probably-genetic ability as a dancer, would drastically steer the direction of her music. The sessions for Janet�s next project, �Rhythm Nation 1814� would primarily take place during a more-than-typical freezing Minneapolis winter in 1988. Although the title and concept for the album hadn�t been conceived at that initial point, the creative efforts of everyone involved would ensure something special. Work Despite the success with Jam & Lewis a couple of years earlier, Jackson would experiment with other producers, seemingly for a similar sound. Bryan Loren had just completed some projects with the likes of Barry White and Marlon Jackson. Not much is known about the sessions between him and Janet, except that they co-wrote this song, titled �Work� and were aiming for a �construction site-like" sound. These sessions would not produce any material for the upcoming album, as was the case when he would work on Michael Jackson�s �Dangerous� album just a year later. When Michael and Bryan discussed the short-lived collaboration with Janet, Michael would claim that he was the one who actually wrote �Work�. This claim for credit seems unlikely, given Janet�s resistance to collaborate with her brother at this time, as well as her own songwriting skills having developed enough to accommodate her own visions. Obviously, the quality Janet was looking for had already been established with Jam & Lewis, which has led many to question why she appealed to other producers in the first place. Miss You Much On a cold Minneapolis evening, Miss Janet enters the Flyte Tyme studio to hear Jimmy Jam mixing a rhythm track. Still faced towards the mixing desk, Jam indicates a note on a keyboard close by for her to press. Although hesitant, she does so. This marks the beginning of �Rhythm Nation 1814�. Most of these early sessions would begin with songs penned primarily by Jam & Lewis. They would have Jackson just record the back-up vocals as warm ups, as she hadn't sung in a couple of years. The lyrics were inspired by a break-up letter written to Jimmy from a former girlfriend, in which the title phrase was used. The rest of the song is the antithesis, more so a letter of love and attachment, suiting is poppy instrumental. As a result of this song, Janet would receive a credit on the album as a keyboardist, although her other production and writing credits would be attained as recording continued. A significant change in the recording process for �Rhythm Nation�, compared to the "Control� album was the rapidly evolving technology in music, which would be enthusiastically utilized by Jam and Lewis. The E-mu SP-1200 drum machine would be a dominant feature on the album and throughout hip-hop of the 80s and 90s. Jimmy Jam would create his signature sounds during this period on a several keyboards. For the creation of the bass alone, we have two different synthesizers. Here�s the Yamaha DX 7. And now overdubbed, and Oberheim OB8. Other instruments on the track would be created using these keyboards as well, such as synthesized guitars and string lines to fill out the mix. Although while the drums are spread across thirteen tracks and the vocals across eleven, these instruments only take up seven stems on the multitrack. This song and many others on the album sound more melodic than their make-up suggest, as a result of Steve Hodge�s masterful mixing. Now that Flyte Tyme Studios had a 48-Track multitrack machine, it was more convenient to record not only more instruments, but more vocals. On many of the multitracks for the �Rhythm Nation 1814� album, a significant portion would be occupied with vocal tracks. Miss You Much is a perfect example. On the verses, Janet�s lead vocal is accompanied by two hard-panned, lower vocals, creating a multi-layered effect on the final track. It may have just been a warm-up, but "Miss You Much� was first song recorded for the project and would become the first single release generated from �Rhythm Nation 1814�. It would go to number one on several charts around the world and become a staple in Jackson�s discography. Love Will Never Do (Without You) Next on the roster of vocal strengthening exercises, would be the similar-themed �Love Will Never Do Without You�. The song was initially intended as a duet, with Jam postulating Prince as a potential singing partner. The unlikelihood of this idea coming to fruition proved itself, but the concept did give birth to the track�s distinctive vocal performance. Verse one is sung in a lower key, representing that of a male. The vocal performance on verse two returns Janet to a more comfortable range. Much like �Miss You Much� the background vocals would be recorded first to strengthen her voice. Like many tracks on the album, �Love Will Never Do� often features two sets of background vocals running at the same time. Missing from the released version, is Terry Lewis� incredible bass performance. Perhaps having a real bass on the song would have made it incongruous with the other dance tracks in the albums sequence, but hearing it is a reminder that non-synthesized instruments wouldn�t have been out of place. Had the arrangement of the song been different, perhaps it would have been more appropriate. One of the most rousing moments on the track is towards the end � where Janet�s vocal seamlessly transitions into what has been credited as a short horn solo by Herb Alpert. That horn is actually a synthesizer. And her vocal, is more is far more impressive and lasts much longer than the album version would have you believe. Despite it being just as worthy of an individual release as its predecessor, it would end up being the seventh single from the album, continuing the consistent stream of number ones up to that point. Livin� In A World On January 17th 1989, a gunman entered Cleveland Elementary School and fired his gun. He killed six children and wounded 31 others, before turning the gun on himself. This would be a pivotal point in the album�s production, moving from the more light-hearted material, to what it became defined as � a social commentary presented through dance music. A strange combination, but an effective one. In the 30 years since the song was conceived, there has been over three hundred other school shootings carried out in the United States. �Livin� In A World (They Didn�t Make)� is an analysis of the social heredity of violence, saddened by the fact that the song was written thirty years ago and its inspiration, its content and its lack of action is still a significant problem. Unlike many songs that address such issues, the lyrics don�t call for gun control or environmental change, they just acknowledge the sad �State of World�. State of The World With this new inspiration for content, Janet, Jam & Lewis began a run of songs that addressed their concerns of racism, poverty and education. Although arguably the least well-received of the collection, �State of The World� narrates two stories of hardship, driven by homelessness. It�s instrumental is a compliment to the rest of the album. The peak for the genre �New Jack Swing� was on the horizon and Jam & Lewis are often not credited enough for its innovation. Tracks like this are examples of what producers would later draw inspiration from. In April 1991, �State of The World� would be the final single released from �Rhythm Nation 1814�. The Japanese single would exclusively contain a plethora of remixes by Shep Pettibone, who also provided remixes for most other singles by Janet at this time, as well as a hot new producer, Junior Vasquez. Pettibone�s mix is arguably in line with what he was producing for Madonna�s next album, �Erotica�. A prominent synth bass, airy organ synth and an irresistible house beat. The Vasquez mix isn�t too dissimilar, amping up the funk and even incorporating vocal samples from the album�s title track. As much quality as is contained in these mixes, the single would make little impact. Less so, compared to a non-single track that would follow on the album. The Knowledge In a stretch of socially conscious tracks that would be tied together on the final configuration, �The Knowledge� wouldn�t be one where its sourced title matched its content. While Jam & Lewis were travelling in London a couple of years earlier, they were amazed by a cab driver�s sense of direction. Asking how he could retain such information, he simply responded with �The Knowledge�. Jimmy and Terry wrote that phrase down. The team would build around that inconsequentially discovered idiom to form a profound concept, fitting in with the many philanthropic adjurations on the album. �The Knowledge� is undoubtedly the most percussion-driven track on the album, with drum machine and effects sounds making up the vast majority of the composition. It�s also important to note that this version features a scratch bassline that is not present on the album. It also has some presumably scrapped ideas, like James Brown vocal samples peppered throughout. Everything to know about the album or at least its primary message is articulated through the call and response on the bridge. Remarkably, it wasn�t released as a single. But it had a feature in the Rhythm Nation short film, performed on several tours and even receive a remix with the binaural audio fad Q-Sound, in the mid-90s. It�s heavy use of samples lends itself to an immersive mix, whatever the version. Someday Is Tonight Janet Jackson arguably has one of the sexiest discographies held by a single artist. So many of her ballads are a perfect blend of sexuality, sensuality and often uncomfortable honesty. But at this point, they were still a fairly new course for her to take. The previous album �Control�, concluded with two ballads. The first being �Let�s Wait Awhile�, a song about abstinence and waiting for the right moment to consummate a relationship. The final, �Funny How Time Flies (When You�re Having Fun)� is a sparse, click-track driven sensual number, ending with a montage of lyrical reaffirmations in French and less-than-ambiguous moans. A slight turn from the track that preceded it. The final track on what would become the �Rhythm Nation 1814� album, �Someday Is Tonight� is a lyrical continuation of �Let�s Wait Awhile� and a styled instrumental progression of �Funny How Time Flies�. �Someday Is Tonight� would be intended as the eighth single from �Rhythm Nation 1814�. That proposition would later favor �State of The World� as the final single release. Although some later-printed copies of the album do feature a sticker listing all of the singles up to that point, including �Someday Is Tonight�. Herb Alpert closes out the songs with a searing trumpet solo, accompanies by Janet�s incredible multi-layered, choir-like vocals. Lonely The �Rhythm Nation� album would close out with three ballads � all revolving around various expressions of love. Opening the string of slower numbers, �Lonely� is a reaffirmation of our social needs. Terry Lewis, who penned the lyrics would later reflect on the track, remarking �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. Everybody on earth has the same basic needs, and the biggest of these is to be loved and appreciated.� Terry�s remark about individual loneliness being a root cause to many societal issues, is quite a profound assessment, even by today�s standards. Ideology is a problem. Radicalization is a problem. But so is not feeling valued. Perhaps �Lonely� isn�t that far removed from the socially-conscious-themed songs of the album. And perhaps there�s more to discover. �Lonely� opens with Janet speaking in Spanish, exclaiming �We all need A friend in solitude�. The track finishes with �A lonely person is a very sad person I love you so�. Come Back To Me Nestled between the two spectacular ballads of the album, is yet another highlight. While Jam & Lewis would famously utilize modern instruments like the LM Linn Drum and a series of keyboards, they still found it necessary to incorporate acoustic elements in the mix. For �Come Back To Me� they called upon O Nicholas Raths to contribute what he later described as �classy nuance� to the instrumental. At a point when the track was nearing completion, Janet suggested adding real string to accompany the track. Jimmy didn�t think they would be suited, but she instead further. The result was Lee Blaske, nicknamed �Blaskey� by Jam & Lewis, who was given no specific instruction aside from �add strings�. At a time when powerhouse vocals were dominating the charts, those with less of a range had to compete with their emotive abilities. Soft vocals, a cause of self-dissatisfaction, despite their inherent beauty. Listening to all three vocal takes, it�s hard to imagine how anyone who is capable of conveying such emotion through their voice could be insecure about it. Her abilities we�re perfect to lay in the bed Jam & Lewis had made. Even when singing in a foreign language. The song would become a staple in the Janet Jackson discography. It�s sincerity and slight naivety would more than make up for the overwhelming sensuality or borderline pornography that would dominate her later ballads. It takes some special chemistry between a group of collaborators for a Quiet Storm track to stand out on an album dominated by political messages and early New Jack Swing. Alright Opening side B, �Alright� resets the tone of the album to a more joyous vibe, building around a now well-used sample of Lynn Collins� James Brown-produced song, �Think About It�. From there, various overdubs of different drum tracks were added to accentuate the rhythm further. Several tracks of keyboards would fill-in the instrumental, removing the song further away from something reliant on its sample. The swells throughout are half the OB8 and half a Korg M1, which would also be used as the guitar later in the song. This could suggest that �Alright� was done late in the sessions, as the M1 was still a very new instrument at the time. Synth stabs would be present throughout, giving it a more distinct sound. These are affectionately labeled on the multitrack as �OB8 Farts�. A synthesized bassline is also a prominent feature, although not played by Terry. His contributions would be in the background vocals. Together with Janet�s vocals, the fusion creates a pleasurable sensory effect, to go along with her more repressed lead Rappers featuring in pop music was still a rather new concept. In that, it was yet to be over used or done as a way of cross-promotion. For �Alright�s� remixes, Heavy D, fresh off the release of his �Big Tyme� album was asked to feature. Buried in the mix on all released versions, is this incredible stem on the multitrack. The song�s main backbeat, with Jimmy Jam filling in a multitude of synth displays. This is a prime example of the funk subdued in their entire shared catalogue. Janet is a Jackson. And Jimmy & Terry are members of The Time. Funk isn�t just an added flavor, it�s an essential ingredient. Alright would be major success. It was the fourth consecutive number one single from the album on the �Billboard Dance Club Songs Chart� and earn two Grammy nominations for best �RnB Song� and �Best Female R&B Vocal Performance�, the latter of which she was also nominated for �Miss You Much� a year earlier. Black Cat Janet wasn�t just bringing lyrics. Jimmy wasn�t just brining sounds. And Terry wasn�t just recording vocals. One morning as Jackson was preparing to go to the studio, she began fortuitously humming a melody, that she would later present to Jam & Lewis. They saw potential in the idea, but with the album�s deadline nearing, the appealed to the assistance of fellow The Time member Jellybean Johnson. �Black Cat� wouldn�t just be resigned to its epic album version. For the music video, it would receive a remix � reducing the reverberation and using different drums, giving it a harder sound. This version would also include additional guitar recorded by Nono Bettencourt, lead guitarist of �Boston�. Jam & Lewis� contributions weren�t completely absent � with Terry playing bass and some keyboards on the song. Production wasn�t the only new step taken in Janet�s career, her vocal on �Black Cat� is unlike anything she�s performed before and after. Jellybean would also invite Vernon Reid of �Living Colour� to make another mix. If there was any doubt of Janet�s potential as a rock goddess with the original, Reid�s remix is certainly a reaffirmation of her talents. Vernon rerecorded the guitars and provides a blistering solo � which like Janet�s vocal, was accomplished in just two takes. If neither of the three rock mixes were enough, fellow The Time member Jesse Johnson would also contribute. Bringing out the MPLS funk, this version, despite being vastly different from the others, probably wouldn�t have been out of place on the album itself. Like most garnered from �Rhythm Nation 1814�, the single release would contain a plethora of offerings, like the aforementioned mixes. The critical reception was highly favorable, earning her a Grammy nomination for �Best Female Rock Vocal Performance�. Janet Jackson would finally be inducted into the Rock and Roll Hall of Fame in 2019. By that point, she had engaged rock as a sub-genre on more than this occasion, but never to this track�s extent. Escapade Continuing the successful string of light-hearted pop classics, with Jimmy working on an instrumental in one room and Janet working on lyrics in another, �Escapade� is the aural personification of fun. �Escapade� would be the third single to reach number one. It is undoubtedly one of the most recognizable and influential songs in Jackson�s catalogue and its themes of carefree fun remain universally and unaffected by time. Rhythm Nation The title track, �Rhythm Nation� is a dense layering of samples, percussion and vocals, with minimum melody added beyond its sample of Sly & The Family Stone�s �Thank You (Falettinme Be Mice Elf Agin)�. The idea for this came about when Jam was in a restaurant, noticing some of his favorite's being played on the radio. The Lyn Collin�s �Think About It� sample would be sliced and utilized yet again, as part of the percussion. Everything else, is better described as noise, adding to the mechanical ambience of the instrumental. The vocals are powerful. Clearly articulated in their message and delivery. As an opener, the themes of the album shouldn�t come as a surprise to the listener. �Janet Jackson�s Rhythm Nation 1814� would be released on the 19th of September 1989. It would top the charts in a multitude of countries around the world, along with seven of its eight singles � across three-years. It would provide the soundtrack to a series of revolutionary music videos, including a 30-minute short film. Janet would tour behind the album, achieving the most successful debut tour by any artist at the time. The albums mix of socially conscious themes, ballads and more contemporary dance songs meant that the messages Janet, Jam & Lewis were trying to convey were more accessible. Messages that got across to a generation of people, yearning for someone to articulate what they were feeling. Thirty years later, that nation, despite many attempts at bringing it down, is still under construction. And this, is the anthem.