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Thread: Janet Jackson - Damita Jo

  1. #301

    by » Fri April 12th, 2019, 14:39

    allnite was recieved songwriting award in that year

  2. #302
    GetBack's Avatar
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    by » Sat April 13th, 2019, 01:36

    "All Nite" is so underrated. It would have smashed in a regular Janet era.

  3. #303
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    by » Fri June 21st, 2019, 00:34

    I feel like I must join the choir that is singing the praises of Damita Jo. As a longtime Janet fan who was initially disappointed with the album, it has grown to become one of my very favorites from her catalogue. It is an excellent example of a veteran artist successfully updating their sound, while making sure core tenets of their sonic signature remain in place. It is most definitely deserving of more credit in that regard and as fine early-2000s R&B-pop disc in its own right. It has held up rather well over the years and a good example of Janet working with other producers besides Jam and Lewis.

    So harsh was the backlash to You Know What, that it was assumed all of the reviews for the album were bad. In truth, critics who actually commented on the MUSIC had good things to say: "[M]ight be the most sonically sumptuous Jackson has made...an eiderdown explosion of finely finessed sound," said Mikael Wood of Baltimore Citypaper. Four-star reviews abounded from Maxim, The Times and The Gaurdian. Even People Magazine said it "continues the streak of first-rate R&B-pop discs she has released since her 1986 breakthrough Control" and the album should "return the attention to Jackson’s music, where it belongs." Too bad these voices got drowned out in all the ridiculousness.

    Janet's breakthrough sound was comprised of spikey beats, dense layers of synth, samples and piles of harmonies, both organic and computerized. This album is an outlier, in that many of its arrangements opt for a more stripped-down approach: "My Baby" is built on a hefty hip-hop beat, acoustic guitars and cooing backing vocals. ""Strawberry Bounce" doesn't even have a bassline, just a handclap-laced beat, a Jay-Z sample, computerized harmonies, a sprinkle of glockenspiel and Janet's horny whispers. The lovely ballad "Truly"? Little more than Fender Rhodes, guitar, fingersnaps and, of course, fluffy clouds of backing vocals. Such spare settings might be a letdown to fans used to the immaculately decorated walls of sound Jackson, Jam and Lewis were celebrated for on earlier albums. But the minimalist production might very well be the reason Damita Jo holds up as well as it does and it certainly lets Janet's sweet, loved-up vocals shine.

    TLDR: The underrated Damita Jo explored the more sparse side of Janet's sound, updated her sonic template, and is one of her finest works
    Last edited by NormiMalone; Fri June 21st, 2019 at 04:03.

  4. #304
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    by » Sat July 13th, 2019, 22:50

    It occurs to me that Janet might have been better of framing this album as a place, rather than an exploration of different personalities. The concept could have been her with a new love taking off to a Pleasure Palace/Love Hotel on a remote island getaway, it makes a little more sense with the album's content. Of course, the whole alternate personae angle proved quietly influential, so perhaps it's just as well. No matter, it's just a thought.... I absolutely LOVE this album

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