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Janet - Control

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  • #51
    Originally posted by BlueScorpion
    Originally posted by CandyShop
    Her look... the sound.... I always finded everything so tacky!!
    So I can only imagine your feelings on Hard Candy.

    I'm sure he thinks its art.


    • #52
      Originally posted by Pawlu84
      Originally posted by BlueScorpion
      Originally posted by CandyShop
      Her look... the sound.... I always finded everything so tacky!!
      So I can only imagine your feelings on Hard Candy.

      I'm sure he thinks its art.
      HC is for me among M worst album.

      But seriously, what this have to do with this thread?
      “Madonna fans are the worst !!”


      • #53
        Originally posted by Westen
        OMG Yoshie i LOVE your review on the first page. Wonderful job!
        Thank you kindly. I enjoyed writing it very much.


        • #54
          Yes, Yoshie! Great review.

          I first heard WHYDFML as a senior at my high school drama club meeting in the spring of 1986. It was so different. I was a big MTV watcher and feel in love with the video as soon as I saw it on MTV. I liked videos with dance routines.

          I went to Toronto on my high school senior trip and I bought the Control cassette at the Eaton Centre(?). I still have that cassette.

          I loved Nasty as well. MTV had a daily countdown show back then. Motley Crue's Home Sweet Home was always #1. MTV finally "retired" it and the 1st new #1 on that show was Nasty!

          I was not a fan of WITOY back in 1986. But, I appreciate it today.

          I liked Control and LWA.

          I love, love, love TPP and the video!!!


          • #55
            Originally posted by Yoshie
            Track-By-Track Commentary & Overview

            On 4 February 1986, a then almost unknown Janet Jackson released her breakthrough studio album CONTROL. It followed up her two lesser known albums, the self-titled debut JANET JACKSON (1982), which produced the number six-peaking R&B chart hit Young Love. After this, DREAM STREET (1984) was released to no success, producting no hits and peaking at a lowly number one-hundred and fourty-seven on the US Billboard 200. Her debut had faired better in the years prior to DREAM STREET, with JANET JACKSON peaking at sixty-three on the same chart; whilst Janet's brothers as Jackson 5 had experienced hits from the age of five, with American and International superstar Michael having launched a successful solo career that gave birth to his commercial and critical successes OFF THE WALL (1979) and; the world's largest selling album of all-time: THRILLER (1982), which spanned seven top ten singles and spent a mammoth thirty-seven weeks at #1 on the Billboard 200.

            By 1986, Michael had began working on his BAD (1987) record, which would achieve similar success to THRILLER, achieving a record-breaking five number ones consecutively -- a record not broken until late January 2012 when newcomer Katy Perry released her own breakthrough record TEENAGE DREAM (2010). Michael had big plans for the world, but little did that same world know that 'MJ's little sister' would do one better than Michael with CONTROL: she enlisted producers Jimmy Jammy and Terry Lewis to co-produce her breakthrough album, also hiring two other sets of producers to rework two of the demo recordings. Disregarding the Billboard Hot 100 chart, where CONTROL produced five top five singles, including a number one (and another top fifteen), CONTROL produced six number one hits -- a chart success accounting for all of its American single releases. (Had the duet with Herb Alpert Diamonds -- also a Jimmy-Terry production -- been included on the record (and it certainly had a home on the album), it would've produced seven number ones, the most chart toppers that the chart world ever saw until the release of its follow-up JANET JACKSON'S RHYTHM NATION 1814 (1989). Janet Damita Jo Jackson was ready to stick her snarling, savvy writing in the world's face, but charts were not her main ambition: her primary desire was to show the world her feminist, sexual abstinence. And the world had no clue.

            Believe it or not, this favoured, huge number five US Billboard Hot 100 hit, which peaked at number one on other American charts, isn't one of my favourite songs from the record; as great as it is. I love the Prince-influenced production and, most of all, that classic spoken introduction. However, I think that the album's title track tends to repeat certain musical effects in the song, which creates a pattern of repetition that could be taken out or, rather, shortened so that the song wasn't six minutes long. The Video Mix on CONTROL: THE REMIXES (1987) and MORE CONTROL (1987), however, is the BARNSTOMER that the album version isn't...quite. It contains a much more layered and energetic musical arrangement in comparison to the somewhat stripped back album recording. It loses Control's most exciting feature, and would be the best song out of all these songs with a score of 11 (!) if the iconic spoken foundation which, already in the first thirty seconds of the record establishes Janet's plea for acceptance, had been kept in the soundtrack to the video reworking. The much quieter A Capella version on the spin-off albums is interesting and, at a more appealing shorter length, gives a sometimes surprising outlook on one of our generation's legacy artist's underrated vocals. [Original -- 8; Video Mix & A Capella -- 10]

            A really fantastic song. One of my favourite Janet singles, and has been ever since I was a baby and bought (the terrible, wasted opportunity) DESIGN OF A DECADE (1995). Nasty peaked at number three on America's Hot 100, with number one peaks on other charts, and it's easy to understand why: the harmonising and sharp, snappy vocals and lyrics are fabulous, and it has an amazing dance break and outro. I love the effect of the hooligan men shouting in the background and the background vocals by the women (and is that Paula Abdul singing -- who, of course, directed the video and won a VMA for her chereography for the video?) -- really nice touch. In many, many ways, a delicious, perfect pop-R&B song. The extended remix is great; despite being six minutes long, it's not too lengthy like the album version of its preceding track, and the Cool Summer remixes are fantastic, albeit a little long and repetitive; in comparison to the rest of CONTROL: THE REMIXES and MORE CONTROL, they offer an entirely different version of Nasty. Surely they are some of the first remixes, like its parent album which, I think was the first remix album in the pop-R&B sector to be released, to use an entirely opposing production in a remix in comparison to the original rendition. [Original & Extended -- 10; Cool Summer Mixes -- 9]

            What Have You Done For Me Lately?
            Another one of the best songs here, but then again this is an album with zero filler (except for the still-good Japanese bonus Start Anew). Lately peaked at four on the Hot 100, and at number one on a selection of other US-compiled charts. The instrumental dance break in the song's outro is truly outstanding, one of the record's highlights, not lengthy at all; and obviously meant for one of the greatest dance breaks that the music video world has seen. This song introduced the universe to 'It's Janet! Miss Jackson if ya nastEH!', and is a stunning template of exempalry 80s pop. Both the Extended Dance Mix on CONTROL: THE REMIXES as well as the Dub Version on MORE CONTROL -- which, being a dub reworking, contains only an effect on Janet's vocals from the original version (and can also sometimes, but not regularly, relate to an instrumental recomposition), are as good as the original. [All -- 10]

            You Can Be Mine
            This song begins the bubblegum pop section of the record: it contains a six-note opening that is similar to CONTROL's lead single. Jimmy and Terry lose a bit of credit on this song for this but, on the other hand, it positions You Can Be Mine in the perfect place. The song's instrumental outro is also similar to Lately though, except for this, I can't criticise Janet's late-teens songwriting or Jimmy's and Terry's production. It was never going to be a commercial release amongst other greater, more appealing songs, but it's still a perfectly good pop track that was innovative for its time. [8]

            Start Anew
            I believe that the extended/full length version of Start Anew should've been included on CONTROL: THE REMIXES and MORE CONTROL, but it's an underrated track that doesn't seem to receive much attention from fans. It was originally recorded for Janet's DREAM STREET (1984) record, and was edited for inclusion of the original Japanese pressing of CONTROL. The six-plus minute rendition improves on the edited and skimpy version that Japanese fans -- as well as those who bought the 12" rendition on import -- heard, but I'm sure it is agreed that Janet was right to take this off the record. (Start Anew was released as a stand-off single in Japan, 1985.) Still good, though, particularly in its full length/extended rendition. It is worth noting that this is one of two tracks from CONTROL that wasn't produced by Jimmy and Terry, so perhaps this explains why it was left off the main record. [Original -- 6; Extended/Full length -- 7]

            The Pleasure Principle
            A track that was released as the last official worldwide single, Principle was not as successful as the previous five singles, peaking at fourteen on the Hot 100 -- although it did peak at one on other US charts -- and I do understand why it didn't receive as much attention as the other hits. See my analysis of Control for the same opinion of The Pleasure Principle; the edit recorded specifically for DESIGN OF A DECADE is better, and one of the only great things about that hot mess compilation! In comparison to other singles, as well as other album tracks on CONTROL, Principle's music is light and fluffy, making a great pop song; albeit one that we were not used to hearing from Janet after the album's first two hard-hitting singles. Ultimately, it was, however, a good follow-up to the similarly bubbly When I Think Of You and Let's Wait Awhile duo, which were released as CONTROL's third and fourth singles. The Shep remixes are great and an improvement on the original. This is the other track that, surprisingly, wasn't produced by Jimmy and Terry, which is strange because the song itself has exactly the same vibe as the rest of the album production-wise. [Original -- 8; Shep Pettibone Remixes -- 10]

            [Diamonds [Herb Alpert & Janet Jackson]
            An underrated duet that should've been included on the record and in exactly this place. This is a great track and every remix is fantastic. A Jimmy and Terry production which is true to all their work, Diamonds is an excellent R&B-disco bop which is only forgotten by Janet's fans. Herb Alpert's record that Diamonds was eventually a hit single from, hitting number one on the R&B chart, the Dance/Club chart, maxi singles chart and at five on the Hot 100, was released on 13 February, according to Wikipedia, just nine days after CONTROL's initial release. Maybe the fact that it wasn't included was due to a copyright contract; maybe it was because Janet was only a feature. Either way, the song is excellent, definitely good enough to be on the album, and it works very well in between The Pleasure Principle and When I Think Of You. It wasn't as successful worldwide as it was in the US, but Diamonds was included on her NUMBER ONES (2009) two-disc set -- rather than CONTROL (which is why I have put the song in brackets) -- a far superior companion to DESIGN OF A DECADE. The remixes on the maxi single are excellent and also should've been on the spin-offs. [All -- 10]]

            When I Think Of You
            My favourite song here. I have seen comments, mostly on other forums, that state this is overrated, which perhaps partially comes from the fact that it was her first number one Hot 100 hit, whereas songs that they perhaps consider to be superior charted lower and received less attention at the time of the release of the singles. It's, like Nasty, another perfect song here. The Extended Mix is interesting because it shows the the composition of the song more eagerly than the album version: the piano solo and notes at the end are particular examples of this, however the track seems to fade to an end abruptly; whereas the Bonus Beats is an inspired choice for CONTROL's spin-off records, but, again this short track shows how important remix composition was, in that producers were making a different version of the track in comparison to how the original track sounded. The instrumental is brilliantly fantastic -- a really inspired piece of 80s pop. In 1995, well-respected house DJ David Morales remixed Think for Janet's 1995 number one hit Runaway (number three on the Billboard Hot 100). [All -- 10]

            He Doesn't Even Know I'm Alive
            A short and sweet track which closes out the bubblegum R&B-pop section of the record, Alive is the perfect follow-up to Think, featuring a lovely sax note which should play a larger part in the track. That's all I can criticise here. Good teen-pop track, the sort that I could've seen Kylie, Madonna or even Britney recording during their album recording sessions. Underrated. [9]

            Let's Wait Awhile
            A gorgeous ballad that shows us that the album is winding down, While is another of my favourite Janet singles that could potentially be in my top ten favourites of Janet's commercial releases, alongside Think and Lately, and possibly even Diamonds too. It peaked at number two on the Hot 100, as well as number one on other US charts. Musically, it is a perhaps typical -- classic, rather -- soggy ballad, although lyrically it is interesting: it is a song about abstaining from sex, a viewpoint that Janet would strongly juxtapose with her image of sexual freedom in her later career, provocative photoshoots and tight, saucy music videos. The remix is beautiful; I have read and heard that radio stations chose to sometimes play this version over the original. The reworking can sound dated, but that doesn't stop it from being a great remix of a fantastic, classic song. [Both -- 10]

            Funny How Times Flies (When You're Having Fun)
            The perfect closure for the album, this was released as a promotional-only single in the United Kingdom and in Ireland; although it didn't chart well (peaking inside the top sixty in the UK), it is not underrated by fans, with Janet's supporters recognising it as a great composition. Janet's mum said that she didn't appreciate the moaning at the end of the record (hahaha), but it gives an interesting twist to an album that quietly but confidently comments on sexual feminism. Other than a possible radio edit (I was born in 1992, so I wouldn't know if there is one), I don't think that any remixes of this were commissioned. [10]

            Funny is a great song that would prove to be a benchmark for how Janet would close out her following Virgin albums: she gave her audience a reply to While and Funny with the closure of her socially conscious JANET JACKSON'S RHYTHM NATION (1989) album (released on A&M Records before the star moved to Virgin) Someday Is Tonight; she would reveal her full sexuality on her opus JANET (1993) (stylised janet., an expression of Janet, period, in which the star of CONTROL began to drop her surname from future records); and would depressively go on to explore her sexual tendencies in what I, and many of the public and critics consider to be her greatest musical achievement, THE VELVET ROPE (1997). Janet relished in her sexualities in different ways on many of her albums that followed CONTROL: 2001's magnificent ALL FOR YOU; 2004's underrated DAMITA JO; 2006's 20 Y.O. and 2008's DISCIPLINE, the latter two albums which have hindered Janet's image just as much as her era-threatening Superbowl Wardrobe Malfunction. Did it ruin her actual career, or the legacy that CONTROL helped mould Janet into the artist that we know her as? I don't know if it did. I could make an argument that the interest in Janet wasn't there publicly around the time of DAMITA JO's release, which began in Janet's career with the mispromotion of ALL FOR YOU and even with the low sales debuts of THE VELVET ROPE around the world -- a swift movement that could have spoiled Janet's career; and just as much as CONTROL's following record, the masterpiece JANET JACKSON'S RHYTHM NATION 1814, furthered her legacy as an artist.

            The dated production on the RIAA-certified five-times-platinum CONTROL does the album no favours in the 2010s decade, when we are granted with a huge technological evolution that have given birth to the hi-fi and louder-than-ever speakers. On the whole, though, it is a musically and lyrically coherent record with a strong theme of female independence and underlying sexuality, that is both lyrically and musically coherent. Its composition no doubt makes for one of the best, most iconic 80s pop records that the world has witnessed. The remixes and reworkings presented on both the initial CONTROL: THE REMIXES album, which was available to purchase in various formats including compact disc, cassette and the much rarer vinyl, and special Japanese pressing MORE CONTROL -- which treat fans to more revampings -- are a constant reminder of how ever-changing the remix format has been through the many decades that have followed CONTROL's release: like the excellent Cool Summer versions of Nasty, the remix format in the 2010s now utilises a much more complex reworking of an original composition, and the magic of these extended and dub versions, as well as the wonder of the instrumental and bonus beats of CONTROL's biggest positional hit, When I Think Of You, seem as rare as the pressings of these products. These remixes demonstrate why the American and worldwide public bought these singles, helping them chart so highly when they were first released. Here, there are three brilliant products -- each of them not without their minor flaws -- that explain and describe so vividly why Janet Damita Jo Jackson went on to become a worldwide superstar, and why the American public remain fascinated with her life, and a groundbreaking career that has spanned four decades worth of hits; even after many personal and very public struggles, Miss Janet, having just released her eleventh studio record UNBREAKABLE (2015), is still in CONTROL. [CONTROL; CONTROL: THE REMIXES; and MORE CONTROL -- 9]

            I am a huge perfectionist when it comes to producing essays and creative writing. In any case, I hope that you enjoyed my review -- if you were patient enough to read through it all!

            I love the whole review but this one is just distracting since she was a household name as a TV star.


            • #56
              When I Think of You was one of the first ever hood love songs.
              Originally posted by Kaloki
              I don't understand why WBT still isn't at #1 tbh.


              • #57
                Originally posted by Goldmoney View Post
                When I Think of You was one of the first ever hood love songs.
                It was the song that won me over. Love her ever since.
                My Instagram... - Click here


                • #58
                  ALBUMISM PRESENTS: 20 New Jack Swing Era Albums That Still Sound Great Today

                  JANET JACKSON | Control
                  A&M (1986)
                  Selected by Quentin Harrison

                  Janet Jackson’s third solo record arrived on the heels of a pair of precocious teen soul albums (1982’s Janet Jackson and 1984’s Dream Street). Nothing was particularly wrong with them, but the albums weren’t totally in her own voice. Jackson needed a sound to properly stage her emotional growth into a young woman. Enter the Minneapolis production magi James Harris III and Terry Lewis. Working with Jackson, they crafted an album that secured her musical (and personal) independence.

                  Control was one of the defining “black blockbuster records” of the 1980s. Unlike her brother’s Thriller LP (1982), Tina Turner’s Private Dancer (1984), Prince’s Purple Rain (1984) or Whitney Houston’s 1985 eponymous debut, Control didn’t dilute its modern R&B aesthetic for a crossover (read: white) audience. Said crossover audience's whitelash toward disco’s “thumpa, thumpa” at the end of the 1970s dictated the response within black music culture of the early 1980s. Jackson’s Control signposted the cultural shift of R&B re-entering the public consciousness without guilt about its blackness and kept the attention of listeners on both sides of the racial spectrum.

                  With its usage of hip-hop flavored funk (“Nasty”) coupled with black pop (“You Can be Mine,” “When I Think of You”), Control bridged the gap into the unapologetically urban “New Jack Swing era.” While not a New Jack record in the purest sense, that honor went to Janet Jackson's Rhythm Nation 1814 (1989), Control predicted the bold new sound due to take shape for the remainder of the decade and beyond.
                  Britney Spears • Janet Jackson • Christina Aguilera • Michael Jackson • Selena Gomez • Hilary Duff • Taylor Swift • Justin Timberlake