JOHN CAMERON'S MUSICOLOGY
EPISODE X: JANET JACKSON (93 Ð 95)
by John Cameron


Introduction
The Best Things In Life Are Free
Again, New Agenda, The Body That Loves You, If, One More Chance,
This Time, Any Time, Any Place, You Want This
What'll I Do, On And On/ 70s Love Groove, Funky Big Band,
Because Of Love, Throb, Whoops Now, Where Are You Now
That's The Way Love Goes
Surmise


Introduction
After emancipating herself in 1986 with the ÒControlÓ album and establishing as one of the most important artists of her time with ÒRhythm Nation 1814Ó, Janet Jackson was finally seen as something far beyond ÒMichaelÕs little sisterÓ.
If not just for the impact she was making with her music and videos, the contracts being offered to her Ð worth in excess of $50 million Ð certainly solidified that. Eventually, she signed a record-breaking deal with Virgin Records.
Staying with the primary producers from her last two albums, Jimmy Jam and Terry Lewis, it was business as usual in the studio. Outside though, Janet was changing her look from the dressed head-to-toe military style she had employed on ÒRhythm NationÓ to something more... desirable.
Appearing topless on the cover of Rolling Stone, with her breast cupped by her then-secret husband, she shocked, surprised and aroused the world with her new image, which would also be the front cover for her first new album with Virgin Records. And an appropriate on for its content.
The Best Things In Life Are Free
Beginning the dawn of a new era, in early 1992 Jam & Lewis were tasked to create a soundtrack for the movie ÒMo MoneyÓ. Featuring a track list filled with their frequent collaborators, Janet included, they paired her up with Luter Vandross to create yet another number one.
The song itself is by no mean an indicator of the forthcoming material from the team. Falling much more in line with the New Jack Swing that was dominating the charts at the time.
Again
That year, Janet would star in the John Singleton film, ÒPoetic JusticeÓ along with Tupac Shakur. The films production would have a lasting effect on her, enabling a level of openness she had not previously surrendered herself to.
When the filming for ÒPoetic JusticeÓ would finally wrap up in late 1992 and production on the janet. album began, Jackson decided to write a song which would feature in both the movie and on the album.
ÒAgainÓ would be that song, marking the beginnings of a new period in her career.
The song is a narrative, reflecting on the past while being set in the present. The lyrics toe the line of being specific, yet relatable Ð which is perhaps the reason for its classicality. 
ItÕs presence in the ÒPoetic JusticeÓ film would make it eligible for an Academy Award nomination. It didnÕt win, but the song was performed live with Jimmy Jam on piano, along with a 60-piece orchestra on the show.
New Agenda
Even after proclaiming her political visions of unity on her ÒRhythm Nation 1814Ó album, Janet still had more to express.
ÒNew AgendaÓ is the socially conscious statement on the album, articulating the repression of minorities she feels represented by and perhaps, for. This made sense, given the collaboration with Public EnemyÕs Chuck D.
The Body That Loves You
Janet, Jam & Lewis are a team and had been since the previous two albums. TheyÕve all had their input, but Janet was becoming more confident in the directions she wanted to steer the music, as it apparent with the influence on ÒThe Body That Loves YouÓ.
The song is also very representative of what would become a focused theme of the album, love and sex. At times these themes may have come across as confronting, but they were never obscene or explicit. They always had an element subjective of class.
If
The work on the preliminary tracks for the album would continue, with one being the perfect bridge between the hard drums of ÒRhythm NationÓ and the bold sexuality of what would follow.
One More Chance
As well as the many Motown samples peppered throughout the album sessions, Janet would also record a cover of her brother RandyÕs 1984 contribution to The JacksonÕs ÒVictoryÓ album, ÒOne More ChanceÓ. The original composition is a rhythmically driven 80s production, translated into a smooth synth-y ballad, with a more subtle and relaxed rhythm.
With such a big statement of independence, itÕs often not acknowledged how much of JacksonÕs family and upbringing influenced the songs at this time.
While it would be regulated to a b-side, with the major hit ÒIfÓ being the subject in the limelight, on its own, it shows that Janet doesnÕt require music to be catered to her to make it her own. Janet was developing as an artist and her ability to emote with words that werenÕt her own was a pretty telling display of that.
This Time
For socially conscious themes of writing, the janet. album was transitional for its artist. There was a revisitation of politics with ÒNew AgendaÓ, but in terms what she would later achieve with ÒThe Velvet RopeÓ album, ÒThis TimeÓ is an indicator of JacksonÕs thinking about more domestic issues.
The base of the track is contemporary RnB, with a heavy string arrangement conducted by Lee Blaske and intense opera vocals from Kathleen Battle, wedged between the powerhouse ÒIfÓ and a jarring acid-pop track. They lyrics are a self-reaffirmation by the songs subject of finally being pushed to the edge by the deceitful actions of their lover.
Tracking a total of seven minutes, the listener forcibly tied into the emotional exertions, somewhere between the gaps of the, at times, piercing operatic vocals. The whole thing seems to go by in a flash, but for those whose stories the song represents, are left affected long after Janet makes the final declaration.
Any Time, Any Place
In her iconic cover story, Rolling Stone asked Janet what the theme of the album is. She responded with, ÒA woman who finally feels good enough about her sexualityÓ.
The most glaring example of that is the albumÕs second to last song, ÒAnytime, AnyplaceÓ. It consists of a narrative of sexual conquest. Public fornication between two subjects, so overcome by their lust for one another, resulting in a total disregard for the judgements of others.
An exercise any man would take up with Janet.
You Want This
ÒYou Want ThisÓ is another excellent usage of classics. Interestingly, Jam & Lewis applies a sampled overdub over a loop of the same song.
The Supremes ÒLove ChildÓ (which runs all throughout), primarily utilises a section with the guitar riffs. Then, separating the chorus from the crescendo of drum hits, they take a clip of the glockenspiel, bringing the excitement of the rest of the composition to a more relaxed state and then bringing it back in.
Acting as guitars, in the right channel thereÕs Kool and The GangÕs ÒJungle BoogieÓ another clip of which, containing the horns is raised in the mix at several points throughout. Then in the left, thereÕs a very discreet, pitched-up loop of Sly & The Family StoneÕs ÒThank You Falettinme Be Mice Elf AginÓ, which was the basis for ÒRhythm NationÓ and again in Michael JacksonÕs ÒScreamÓ.
Throw in the drum overdubs and some loops, all thatÕs left to add are a couple of keyboard tracks with strings and a vibraphone.
The rest of the song, is reliant on its vocals.
In addition to the Janet-only version on the album, the single, while mixed the same, features an added rap from MC Lyte, who would also be a support act for the tour promoting the janet. album.
What'll I Do
ÒOne More ChanceÓ wouldnÕt be the only cover recorded during the albumÕs sessions. Jam & Lewis were the primary producers for JanetÕs albums, but there would be space for others to contribute, such as fellow former The Time member, Jellybean Johnson.
Janet and Jellybean had collaborated on ÒBlack CatÓ for the Rhythm Nation album, showcasing the hard rock performance Janet was capable of. She obtained a new box set that had just been released, ÒThe Complete Stax-Volt Singles 1959-1968', which featured, ÒWhatÕll I Do For SatisfactionÓ by Johnny Daye, an almost-Otis Redding protŽgŽ.
The composition is the same, but the instrumentation hits harder, as would be required to stand out on such an album. It does however bring the album out of the 60s, but not too far...
The song would receive a more original composition, when remixed by Red Hot Chilli Peppers member, Dave Navarro. The remix would be released on the single and Òjanet. RemixedÓ album in 1995.
And On And On/ 70s Love Groove
Òjanet. RemixedÓ would be a collection of remixed album tracks and b-sides from the Òjanet.Ó singles.
ÒAnd On and OnÓ is a classic example of Jam & LewisÕ amazing production techniques, utilising another Sly and The Family StoneÕs classic ÒFamily AffairÓ rhythm as the foundation for the song.
It became a fan favourite and quite a success, charting highly along with its A-Side ÒAnytime, AnyplaceÓ.
Ò70s Love GrooveÓ is best described by its title. The songwriting is a closer reflection of the content that appears on janet., but with arguably a more obscene visual painted. This is helped along by the lyrical references to ÒIfÓ.
Also containing reminiscent elements from other songs, Ò70Õs Love GrooveÓ is almost the perfect surmise of the janet. Album and era, a smooth blend of musical genres and lyrical structures, balancing on the line between sensual love-making and auditory pornography.
Funky Big Band
The janet. album was an opportunity to explore. After the success of her first two albums, both of which broke records with their hits, Jackson herself had nothing to prove. As happens with most entertainers in a such a position, they feel permitted do something very different - way out of the box of the publicÕs expectations.
Because Of Love
Jimmy Jam and Terry Lewis are the instigators of New Jack Swing. A perfect blend of pop and hip-hop rhythms with RnB and Quiet Storm melodies. The genre would change and adapt to more current production trends since they first started, which is most apparent on the fourth single ÒBecause of LoveÓ.
The track didnÕt attain the success of its sister single, perhaps an indicator that its associated genre was no longer the trend. With that said, in the context of the album as a sequential exposition, itÕs definitely where it should be, bridging the gap between the more danceable material and the ballads.
Throb
As Janet was prepping the upcoming tour, she decided to have some of her dancers contribute to the album.
ÒThrobÓ became a classic for fans, a live showcase during most of the tours that followed for her dancers to shine, as they did on the song itself.
Whoops Now
Originally a hidden track, closing out the album, ÒWhoops NowÓ is probably the least impactful track on the album. Reiterating the basic themes of ÒEscapadeÓ from ÒRhythm Nation 1814Ó, it serves as a fun encore for the album.
Where Are You Now
ÒWhere Are You NowÓ. It could be argued that being sequenced after a blockbuster like ÒAgainÓ rendered this an unspoken gem. Perhaps itÕs a fan favourite for a reason, but for any observant listener, itÕs a perfect accumulation of efforts. The production of Janet, Jam & Lewis at their best, even when not necessarily pushing any innovative boundry.
The lyrics articulate a typical ballad of regret; however, JanetÕs vocal sells it with a powerful, emotive conviction that doesnÕt make it Òjust another love songÓ. Perhaps stretching the interpretation a little, one could perceive it to be a sequel to ÒAgainÓ.
The music is a delicate mix of quiet storm and modern RnB. A chord progression that induces feelings of sentimentality, reinforced by its remorseful lyrics. 
That's The Way Love Goes
The new Janet would be revealed to the world on April 20th 1993, with the release of ÒThatÕs The Way Love GoesÓ. Yet another unexpected sound from an album to be full of diverse and for some, challenging music.
As the opening track on the album, for some it might set a deceptive mood, considering all the diversity that follows. Sampling James BrownÕs ÒPappa DonÕt Take No MessÓ and featuring prominent duelling pitched vocal clips in their opposing channels, itÕs a soundscape of quality that exceeds just about anything else in its associated genres.
LetÕs break it down.
As stated, it relies on its sample-driven structure. Of course, there are additional drum machine overdubs and a bass to give it dynamic sound. More would be oberdubbed - with bells, vibraphones and chimes to add a more atmospheric flow. This flow is also helped along by the synthesizers.
Also synthesised, are the guitars. Taking the instrumental to a perfect setting for the main focus Ð the vocals.
Surmise
The janet. Album is a product of its time. The perfect product of its time. ItÕs driven by artist with nothing to prove but a lot to live up to. Consistent quality, broad diversity and bold sensuality make it what it is - something for everyone. ThatÕs why the album hold up today. Sure, the interludes donÕt really work in the context of a shuffled playlist, but the songs themselves maintain a timeless quality that can only be achieved with its class.