#JCsMusicology
Episode X: Janet Jackson (88 Ð 91)


The Skin Game (Introduction), Work
Miss You Much, Love Will Never Do (Without You), Escapade
LivinÕ 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 "ControlÓ. 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 ÒMichaelÕs little sisterÓ. 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 didnÕt tour the ÒControlÓ 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 JanetÕs next project, ÒRhythm Nation 1814Ó would primarily take place during a more-than-typical freezing Minneapolis winter in 1988. Although the title and concept for the album hadnÕt 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 ÒWorkÓ and were aiming for a Òconstruction site-like" sound.
These sessions would not produce any material for the upcoming album, as was the case when he would work on Michael JacksonÕs ÒDangerousÓ 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 ÒWorkÓ.
This claim for credit seems unlikely, given JanetÕs 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 ÒRhythm Nation 1814Ó.
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 ÒRhythm NationÓ, compared to the "ControlÓ 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. HereÕs 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 HodgeÕs 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 ÒRhythm Nation 1814Ó album, a significant portion would be occupied with vocal tracks. Miss You Much is a perfect example.
On the verses, JanetÕs 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 MuchÓ was first song recorded for the project and would become the first single release generated from ÒRhythm Nation 1814Ó. It would go to number one on several charts around the world and become a staple in JacksonÕs discography.

Love Will Never Do (Without You)
Next on the roster of vocal strengthening exercises, would be the similar-themed ÒLove Will Never Do Without YouÓ.
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 trackÕs 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 ÒMiss You MuchÓ the background vocals would be recorded first to strengthen her voice. Like many tracks on the album, ÒLove Will Never DoÓ often features two sets of background vocals running at the same time. 
Missing from the released version, is Terry LewisÕ 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 wouldnÕt 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 Ð where JanetÕs 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.

LivinÕ 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 albumÕs production, moving from the more light-hearted material, to what it became defined as Ð 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.
ÒLivinÕ In A World (They DidnÕt Make)Ó 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 donÕt call for gun control or environmental change, they just acknowledge the sad ÒState of WorldÓ.

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, ÒState of The WorldÓ narrates two stories of hardship, driven by homelessness.
ItÕs instrumental is a compliment to the rest of the album. The peak for the genre ÒNew Jack SwingÓ 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, ÒState of The WorldÓ would be the final single released from ÒRhythm Nation 1814Ó. 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.
PettiboneÕs mix is arguably in line with what he was producing for MadonnaÕs next album, ÒEroticaÓ. A prominent synth bass, airy organ synth and an irresistible house beat.
The Vasquez mix isnÕt too dissimilar, amping up the funk and even incorporating vocal samples from the albumÕs 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, ÒThe KnowledgeÓ wouldnÕt 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 driverÕs sense of direction. Asking how he could retain such information, he simply responded with ÒThe KnowledgeÓ. 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.
ÒThe KnowledgeÓ is undoubtedly the most percussion-driven track on the album, with drum machine and effects sounds making up the vast majority of the composition.
ItÕs 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 wasnÕt 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. ItÕs 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 ÓControlÓ, concluded with two ballads. The first being ÒLetÕs Wait AwhileÓ, a song about abstinence and waiting for the right moment to consummate a relationship.
The final, ÒFunny How Time Flies (When YouÕre Having Fun)Ó 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 ÒRhythm Nation 1814Ó album, ÒSomeday Is TonightÓ is a lyrical continuation of ÒLetÕs Wait AwhileÓ and a styled instrumental progression of ÒFunny How Time FliesÓ.
ÒSomeday Is TonightÓ would be intended as the eighth single from ÒRhythm Nation 1814Ó. That proposition would later favor ÒState of The WorldÓ 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 ÒSomeday Is TonightÓ.
Herb Alpert closes out the songs with a searing trumpet solo, accompanies by JanetÕs incredible multi-layered, choir-like vocals.

Lonely
The ÒRhythm NationÓ album would close out with three ballads Ð all revolving around various expressions of love. Opening the string of slower numbers, ÒLonelyÓ is a reaffirmation of our social needs.
Terry Lewis, who penned the lyrics would later reflect on the track, remarking ÒNobody 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.Ó
TerryÕs remark about individual loneliness being a root cause to many societal issues, is quite a profound assessment, even by todayÕs standards. Ideology is a problem. Radicalization is a problem. But so is not feeling valued. Perhaps ÒLonelyÓ isnÕt that far removed from the socially-conscious-themed songs of the album. And perhaps thereÕs more to discover.
ÒLonelyÓ opens with Janet speaking in Spanish, exclaiming ÒWe all need A friend in solitudeÓ. The track finishes with ÒA lonely person is a very sad person I love you soÓ.

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 ÒCome Back To MeÓ they called upon O Nicholas Raths to contribute what he later described as Òclassy nuanceÓ to the instrumental.
At a point when the track was nearing completion, Janet suggested adding real string to accompany the track. Jimmy didnÕt think they would be suited, but she instead further. The result was Lee Blaske, nicknamed ÒBlaskeyÓ by Jam & Lewis, who was given no specific instruction aside from Òadd stringsÓ.
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, itÕs hard to imagine how anyone who is capable of conveying such emotion through their voice could be insecure about it. Her abilities weÕre 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. ItÕs 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, ÒAlrightÓ resets the tone of the album to a more joyous vibe, building around a now well-used sample of Lynn CollinsÕ James Brown-produced song, ÒThink About ItÓ.
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 ÒAlrightÓ 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 ÒOB8 FartsÓ.
A synthesized bassline is also a prominent feature, although not played by Terry. His contributions would be in the background vocals. Together with JanetÕs 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 ÒAlrightÕsÓ remixes, Heavy D, fresh off the release of his ÒBig TymeÓ album was asked to feature.
Buried in the mix on all released versions, is this incredible stem on the multitrack. The songÕs 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 isnÕt just an added flavor, itÕs an essential ingredient.
Alright would be major success. It was the fourth consecutive number one single from the album on the ÒBillboard Dance Club Songs ChartÓ and earn two Grammy nominations for best ÒRnB SongÓ and ÒBest Female R&B Vocal PerformanceÓ, the latter of which she was also nominated for ÒMiss You MuchÓ a year earlier.

Black Cat
Janet wasnÕt just bringing lyrics. Jimmy wasnÕt just brining sounds. And Terry wasnÕt 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 albumÕs deadline nearing, the appealed to the assistance of fellow The Time member Jellybean Johnson.
ÒBlack CatÓ wouldnÕt just be resigned to its epic album version. For the music video, it would receive a remix Ð 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 ÒBostonÓ.
Jam & LewisÕ contributions werenÕt completely absent Ð with Terry playing bass and some keyboards on the song.
Production wasnÕt the only new step taken in JanetÕs career, her vocal on ÒBlack CatÓ is unlike anything sheÕs performed before and after. 
Jellybean would also invite Vernon Reid of ÒLiving ColourÓ to make another mix. If there was any doubt of JanetÕs potential as a rock goddess with the original, ReidÕs remix is certainly a reaffirmation of her talents. Vernon rerecorded the guitars and provides a blistering solo Ð which like JanetÕs 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 wouldnÕt have been out of place on the album itself.
Like most garnered from ÒRhythm Nation 1814Ó, 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 ÒBest Female Rock Vocal PerformanceÓ.
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 trackÕs 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, ÒEscapadeÓ is the aural personification of fun.
ÒEscapadeÓ would be the third single to reach number one. It is undoubtedly one of the most recognizable and influential songs in JacksonÕs catalogue and its themes of carefree fun remain universally and unaffected by time.
Rhythm Nation
The title track, ÒRhythm NationÓ is a dense layering of samples, percussion and vocals, with minimum melody added beyond its sample of Sly & The Family StoneÕs ÒThank You (Falettinme Be Mice Elf Agin)Ó. 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 CollinÕs ÒThink About ItÓ 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 shouldnÕt come as a surprise to the listener.
ÒJanet JacksonÕs Rhythm Nation 1814Ó 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 Ð 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.