Janet | ||||
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Studio album by Janet Jackson | ||||
Released | May 18, 1993 | |||
Recorded | September 1992 - February 1993 at Flyte Tyme Studios, Edina, Minnesota | |||
Genre | R&B,[1] Pop[2] | |||
Length | 69:39 | |||
Label | Virgin | |||
Producer | Jimmy Jam and Terry Lewis, Janet Jackson, Jellybean Johnson | |||
Janet Jackson chronology | ||||
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Alternative Cover | ||||
![]() 2-Disc Limited Edition
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Singles from Janet | ||||
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Janet (styled as janet. and pronounced as "Janet, period.") is the fifth studio album by American recording artist Janet Jackson, released on May 18, 1993 by Virgin Records. Jackson shares co-writing and production credits with long-term collaborators Jimmy Jam and Terry Lewis, as well as Jellybean Johnson. The album was the first to be released under Jackson's new label, as she had departed from A&M Records for a then-unprecedented multi-million dollar contract with Virgin in 1991.
The album's title, "Janet, period.", is meant to disassociate the singer's public image from that of her family, essentially dropping the Jackson surname. While the artist had once garnered a reputation as an advocate for sexual abstinence with her 1986 single "Let's Wait Awhile", the theme of Janet is sexual intimacy. Though the album was considered to be less innovative than her previous efforts—Janet Jackson's Rhythm Nation 1814 (1989) and Control (1986)—critical reception was predominately positive. The album's music contains a softer, sensual tone compared to that of her previous albums, and because she took a greater role as producer, Janet has been credited as a truer testament of independence than Control.
It debuted at number one on the Billboard 200 with the largest first week sales in history for a female artist at the time, becoming her third consecutive album to top the chart and produced six top ten hits on the Billboard Hot 100 singles chart. "That's the Way Love Goes" won the 1994 Grammy Award for Best R&B Song and "Again"—featured in Jackson's debut feature film Poetic Justice—garnered nominations for the Golden Globe and Academy Award for Best Original Song.[3][4] The supporting Janet World Tour received critical acclaim for Jackson's elaborate stage performances. It was Certified sixfold platinum by the Recording Industry Association of America (RIAA) and has sold over 20 million units worldwide. It is listed by the National Association of Recording Merchandisers and the Rock and Roll Hall of Fame as one of the 200 Definitive Albums of All Time.
Contents |
Jackson's previous album, Rhythm Nation 1814 was a musically groundbreaking production in the development of rhythm and blues, and its supporting tour the most successful debut tour by any recording artist.[5][6] However, the production, arrangement and overall sound was heavily directed by producers Jimmy Jam and Terry Lewis, similar to her breakthrough album Control. Since childhood, Jackson had always considered herself a sheltered and prudent individual, a character trait she retained throughout her artistic development on Control and Rhythm Nation 1814.[7]
It began with Control...But it wasn't easy. I come from a sheltered background. And then suddenly I'm off to Minneapolis, and these guys, Jimmy Jam and Terry Lewis, are running around cursing like crazy. That made me so uncomfortable I wanted to go home—until I saw that they meant no harm or offense... I was this little prude. I was uptight. I knew I wanted control—I still believe in creative control—but I soon saw that I'd have to give in order to get: give myself over to a creative environment that was different and even a little dangerous from anything I'd ever known.[7]—Janet Jackson, Rolling Stone
Following the critical and commercial success of Rhythm Nation 1814, Jackson desired to reinvent her image yet again. Jackson's four album contract with A&M Records had expired and she signed a highly publicized multi-million dollar contract with Virgin Records—estimated between $32–50 million—becoming the highest paid female recording artist in contemporary music.[8][9][10][11] The contract was arranged between Jackson and Virgin Records owner Richard Branson.[12] Her new contract guaranteed a twenty-two percent royalty payment, in addition to her then-historic signing bonus.[12] Cliff Burnstein of Q-Prime management commented that recording artists demands for advances upon signing would begin to escalate from that point forward.[12] With a new recording label and a new album, Jackson made an effort to take greater creative control.[7] She considered it crucial to write all the lyrics for the album and coauthor all of the musical arrangements.[7] Following the production of Jackson's debut feature film Poetic Justice, Jackson expressed the experience changed her perception of sexuality.[7] The album's theme became the topic of Jackson's newfound sexual persona.
Sex isn't just fire and heat, its natural beauty. Doing what comes naturally. It's letting go, giving and getting what you need. In the age of AIDS, it certainly requires being responsible. On a psychological level, though, good sex, satisfying sex, is also linked with losing yourself, releasing, using your body to get out of your body. Well, for the first time, I'm feeling free. I love feeling deeply sexual—and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process.[7]—Janet Jackson, Rolling Stone
Virgin Records expressed the album title "punctuates the declaration of strength the singer, songwriter and producer boldly expresses on this moving collection of songs which explore love, sensuality, the power of sisterhood and her own evolving self-identity".[13] Jackson stated in an interview with USA Today's Edna Gundersen, "[c]ertain people feel I'm just riding on my last name...That's why I just put my first name on Janet and why I never asked my brothers to write or produce music for me".[14] Sal Cinquemani of Slant magazine recounted the title of the album, read "Janet, period.", "announced the singer as completely independent of her male-dominated family [and] it positioned her as the person in charge of her sound".[8][15]
"That's The Way Love Goes" contains a sample loop of "Papa Don't Take No Mess" written by James Brown, Fred Wesley, Charles Bobbit, and John Starks.[16] The song "Again", was originally just an experimental sound the production duo was considering.[17] While Jackson found its melody compelling, the trio did not give the song serious contemplation until the film producers from Poetic Justice requested a ballad for the films soundtrack.[17] Jackson subsequently wrote the lyrics for "Again" and shaped them around Jam's melody.[17] The song was arranged by Lee Blaskey and accompanied by members of the Minnesota Orchestra and the St. Paul Chamber Orchestra.[17]
In September 1993, Jackson appeared topless on the cover of Rolling Stone magazine with the hands of her then-husband René Elizondo, Jr. covering her breasts. The photograph is the original full-length version of the cropped image used on the cover of the Janet album, shot by Patrick Demarchelier.[18] In the cover story, "Sexual Healing" by David Ritz, Jackson explained, "sex has been an important part of me for several years. But it just hasn't blossomed publicly until now. I've had to go through some changes and shed some old attitudes before feeling completely comfortable with my body. Listening to my new record, people intuitively understand the change in me".[7] Ritz likened Jackson's transformation to Marvin Gaye as he stated, "[j]ust as Gaye moved from What's Going On to Let's Get It On, from the austere to the ecstatic, Janet, every bit as serious-minded as Marvin, moved from Rhythm Nation to Janet, her statement of sexual liberation".[7]
The image was cropped to show only Jackson's face on the album cover, and midriff in the interior booklet. The full version appears as the cover of the limited edition double disc edition of the album, as well as the video compilation Janet released later that year. Sonia Murray of The Vancouver Sun later reported, "Jackson, 27, remains clearly established as both role model and sex symbol; the Rolling Stone photo of Jackson...became one of the most recognizable, and most lampooned, magazine covers of the year".[19]
"That's the Way Love Goes", the album's lead single entered the Billboard Hot 100 at number fourteen and peaked at number one.[20][21] The single was certified gold by the RIAA on November 12, 1993.[22] Virgin records intended for "If" to be the lead single for the album, but Jackson, Jam and Lewis disagreed.[16] "That's the Way Love Goes" remained at number one for eight weeks—the most successful chart performance of any member of the Jackson family.[16] The single earned a Grammy Award for Best R&B Song.[23] "If" was released as the album's second single and peaked at number four on the Hot 100, receiving gold certification on September 28, 1993.[21][24] "Again", peaked at number one on the Hot 100 on December 11, 1993 and topped the chart for two weeks.[17][21] The single was certified gold and then doubled to platinum by the RIAA on December 17, 1993.[25] The single earned a nomination for the Academy Award for Best Original Song.[26] "Because of Love" reached number ten, but was not certified by the RIAA.[21] "Any Time, Any Place" peaked at number two on the Hot 100 and was certified gold on July 11, 1994.[21][27] "You Want This", the album's final commercial single for the United States, peaked at number eight on the Hot 100 and was awarded gold certification on December 6, 1994.[21][28] The album has a hidden track, "Whoops Now", which was released as a single in selected territories in 1995.
Jackson's music video for "If" was staged as a futuristic Asian nightclub, with spy cameras monitoring the intimate interactions of patrons within their private boudoirs.[11] The video is an elaborate metaphor for the single's message of sexual fantasy, desire and voyeurism.[11] The video was directed by Dominic Sena, who previously worked with Jackson on music videos for Rhythm Nation 1814. René Elizondo, Jr. directed the videos for "That's The Way Love Goes", and "Again". Videos for "Any Time, Any Place" and "You Want This" were directed by Keir McFarlane.
Jackson embarked on her second world tour in support of her debut album with the Virgin Records label. Costumes and wardrobe for the tour were designed by stylist Tanya Gill, with outfits "rang[ing] from pipebone vests with high-heeled moccasin boots to zoot suits top-hats to circus-ringmaster bustiers."[29] With a show encompassing over 100 costumes, a team of over 50 costume makers was led by wardrobe supervisor, Helen Hiatt.[29] The tour's debut concert was held on November 24, 1993 in Cincinnati, Ohio.[30] Jackson held a four show engagement at Madison Square Garden which began on December 17, 1993, with the final performance held on New Year's Eve.[31] Michael Snyder of the San Francisco Chronicle described Jackson's stage performance at the San Jose Arena in February, 1994, as what erased the line between "stadium-size pop music concerts and full-scale theatrical extravaganzas".[32]
The one-hour-and-45-minute performance was so tightly choreographed—down to two built-in pauses for "tears" at overwhelming waves of crowd adoration and a contrived bit of seductive repartee with a handsome, buffed hunk plucked from the front row for the ode to lust, "Any Time, Any Place"—that it breezed by like a glitzy Vegas revue or a television variety show.[32]—Michael Snyder, San Francisco Chronicle
Her performances also garnered criticism. Renee Graham of The Boston Globe commented that her stage show at Great Woods Center for the Performing Arts on June 20, 1994, proved her limited vocal range as "[t]he numerous costume changes, pyrotechnics and the dancing all but overshadowed her razor-sharp seven-piece band and three back-up singers", asserting Jackson was a better performer and entertainer than she was a vocalist.[33] However, the St. Louis Post-Dispatch's Steve Pick observed Jackson's stage show at the Riverport Amphitheatre on July 12, 1994, made the Janet album's numerous hit singles more effective with her "larger-than-life stage persona".[34]
Janet debuted at number one on the Billboard 200 and on the Top R&B/Hip-Hop Albums charts, it was the first time in history a female artist debuted at number one of the SoundScan era; with the largest first week sales in history for a female artist at the time with 350,000 units sold in its first week.[35][36] The album also gained much success worldwide, debuting at number one in the United Kingdom,[37] New Zealand,[38] and Australia.[39] It also debuted in the top 10 in Sweden,[40] The Netherlands,[41], Canada (with 65,000 copies sold at the first week[42])[43] and Switzerland.[44]
Janet was first certified gold by the RIAA on August 8, 1993 denoting 500,000 units shipped within the United States.[45] The same day, the album's certification was raised to 3× platinum, denoting 3,000,000 units shipped.[45] On November 17, 1993, Janet received 4× platinum certification and was later awarded 5× platinum on December 17, 1993.[45] The following year on April 12, 1994, the album was certified 6× platinum.[45] Other certifications include a Double Gold certification in Finland,[46], a 2x Platinum certification in the UK,[47] and a Gold certification in Norway[48]
Since its release Janet has sold 7,010,000 million copies in the United States 7,010,000 according to Nielsen SoundScan,[49] and has achieved worldwide sales of 20 million copies,[50] thus becoming one of the best selling albums worldwide and being Jackon's best selling album of her career.
Professional ratings | |
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Review scores | |
Source | Rating |
Allmusic | ![]() ![]() ![]() ![]() ![]() |
Entertainment Weekly | (C+)[2] |
Los Angeles Times | ![]() ![]() ![]() ![]() ![]() |
The New York Times | (positive)[52] |
Rolling Stone | ![]() ![]() ![]() ![]() ![]() |
San Antonio Express-News | (positive)[54] |
Slant Magazine | ![]() ![]() ![]() ![]() ![]() |
Time | (mixed)[56] |
The Vancouver Sun | (positive)[57] |
The Village Voice | (A-)[58] |
Upon its' release, Janet received generally favorable reviews, with many critics citing its highly sexual content.[2][52][58][53][55]
Alex Henderson with Allmusic gave Janet 3 stars, calling it a "respectable offering".[1] He noted that it "many strong points", but falls short when compared to Control and Rhythm Nation.[1] Robert Johnson of San Antonio Express-News praised Jackson and her producers for taking a chance on a new sound, stating the album ranges from "dreamy and sensual" with "That's the Way Love Goes", and "The Body That Loves You", to "downright erotic" with "Throb".[54] He concluded his review saying, "[Janet] isn't perfect, but it should be enough to make her the Queen of Pop".[54] Chris Willman with the Los Angeles Times gave an unfavorable review, criticizing her "heavy breathing", stating "Jackson's first album in four years is destined for a long ride at No. 1, not because it's any great piece of work, but largely for its aphrodisiacal aspirations".[51] Steve Pick of St. Louis Post-Dispatch stated that although Janet "is not quite as consistent as Control, when Jackson, Jam and Lewis are on, they prove to be as potent as popmeisters can be these days".[59] Picks adds that Jackson may not be the greatest singer or songwriter, but she has nonetheless "created and projected a persona that is irresistible. Part of it is a sexual allure, but more of it is the way she demands and receives attention".[59]
John Mackie with The Vancouver Sun reported the album gives Jackson an "incredible style", proclaiming Janet as "the best commercial album so far this year, an album that could well vault her past the stumbling Madonna as Queen of the charts. Heck, she might even outsell Michael with this one".[57] Jon Pareles of The New York Times claim's Jackson's strength is her ability to top "dance-club rhythms with pop melodies" and suggests "[t]he album's not about being real; it's about seamlessness and ingenuity, about giving the public something it can use".[52] He also noted that "The job on Janet is to present the singer as a trouble-free sex object".[52] Rolling Stone magazine gave it 4 stars out of 5, calling it a "cultural moment".[53] They noted the wide variety of genres covered on the release, saying it left a "bold impression" but it "lack[ed] purity" and the lack of production seen in her previous albums, saying "Jackson's collaborators, producers Jimmy Jam and Terry Lewis, were hotter than a flame's bright yellow center, but the Jam and Lewis fire no longer cracks and roars as it once did. Predictably, Janet shares the bill this time as coproducer, resulting in a less groundbreaking sound but a wider-ranging album".[53]
With an "A-" rating, Robert Christgau with The Village Voice praised the sexual content on Janet.[58] Calling it a "physical luxury", he named it her achievement, saying "This achievement is Janet's, period—those who disagree should send me the name of that hot number in the S.O.S. Band they couldn't wait to boff. Better nose than Michael, better navel than Madonna, better sex than either."[58] Time magazine's Jay Cocks said although the album came off strong, it was tame under his observation, "as if Jackson, aware that this was her premier effort under a new, $40 million record deal, felt weighed down by the burden of proving herself".[56] However, he also commented that the 1960s-style "What'll I Do" validates that Jackson had nothing to prove.[56] Ultimately, Cocks critiqued the album as "only sporadically deliver[ing]...a good sexy time".[56] David Browne of Entertainment Weekly gave it a 'C+' rating, saying "Janet Jackson exudes both an unaffected grace and a cunning sense of calculation," and criticized the album for being over-produced as "her wispy voice is often smothered by her two male producers," and regarded the album as a "blatant rip-off of the club-beat style of Madonna's Erotica.[2] Sal Cinquemani with Slant Magazine gave it 3½ stars.[55] He called the song "Any Time, Any Place" the best song on the album, saying it "provides a genuine climax: It's an oozing, slow-paced romp". He also criticized the song "Throb", calling it a "parody of Madonna's Erotica, right down to the hard, house-orgy beats".[55]
Standard/CD/Cassette/MP3 download | |||||||||
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No. | Title | Writer(s) | Producer(s) | Length | |||||
1. | "Interlude: Morning" | 0:31 | |||||||
2. | "That's the Way Love Goes" (Samples "Papa Don't Take No Mess" performed by James Brown) | Janet Jackson, James Harris III, Terry Lewis | Janet Jackson, James Harris III, Terry Lewis | 4:25 | |||||
3. | "Interlude: You Know" | 0:12 | |||||||
4. | "You Want This" (Samples Love Child performed by Diana Ross & the Supremes and Jungle Boogie performed by Kool & the Gang) | Jackson, Harris, Lewis | Jackson, Harris, Lewis | 5:06 | |||||
5. | "Interlude: Be A Good Boy" | 0:08 | |||||||
6. | "If" (Samples Someday We'll Be Together performed by Diana Ross & the Supremes) | Jackson, Harris, Lewis | Jackson, Harris, Lewis | 4:32 | |||||
7. | "Interlude: Back" | 0:08 | |||||||
8. | "This Time" (featuring soprano by Kathleen Battle) | Jackson, Harris, Lewis | Jackson, Harris, Lewis | 6:59 | |||||
9. | "Interlude: Go On Miss Janet" | 0:05 | |||||||
10. | "Throb" | Jackson, Harris, Lewis | Jackson, Harris, Lewis | 4:35 | |||||
11. | "What'll I Do" | Jackson, Steve Cropper, Joe Shamwell | Jackson, Jellybean Johnson | 4:06 | |||||
12. | "Interlude: The Lounge" | 0:15 | |||||||
13. | "Funky Big Band" | Jackson, Harris, Lewis | Jackson, Harris, Lewis | 5:23 | |||||
14. | "Interlude: Racism" | 0:09 | |||||||
15. | "New Agenda" (featuring rap by Chuck D, Samples School Boy Crush performed by Average White Band, Kool It (Here Comes the Fuzz) performed by Kool & the Gang, and Superwoman (Where Were You When I Needed You) performed by Stevie Wonder) | Jackson, Harris, Lewis | Jackson, Harris, Lewis | 4:01 | |||||
16. | "Interlude: Love Pt. 2" | 0:12 | |||||||
17. | "Because of Love" | Jackson, Harris, Lewis | Jackson, Harris, Lewis | 4:21 | |||||
18. | "Interlude: Wind" | 0:11 | |||||||
19. | "Again" | Jackson, Harris, Lewis | Jackson, Harris, Lewis | 3:47 | |||||
20. | "Interlude: Another Lover" | 0:11 | |||||||
21. | "Where Are You Now" | Jackson, Harris, Lewis | Jackson, Harris, Lewis | 5:48 | |||||
22. | "Interlude: Hold On Baby" | 0:10 | |||||||
23. | "The Body That Loves You" | Jackson, Harris, Lewis | Jackson, Harris, Lewis | 5:33 | |||||
24. | "Interlude: Rain" | 0:19 | |||||||
25. | "Any Time, Any Place" | Jackson, Harris, Lewis | Jackson, Harris, Lewis | 7:08 | |||||
26. | "Interlude: Are You Still Up" | 1:37 | |||||||
27. | "Sweet Dreams" (Includes the hidden track Whoops Now, which starts at 1:03) | Jackson | Jackson, Harris, Lewis | 5:32 |
Australian "Oz Tour Limited Edition" Bonus Disc[60] | |||||||||
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No. | Title | Writer(s) | Producer(s) | Length | |||||
1. | "One More Chance" | Randy Jackson | Jackson, Harris, Lewis | 5:54 | |||||
2. | "Again" (Piano/Vocal) | Jackson, Harris, Lewis | Jackson, Harris, Lewis | 5:31 | |||||
3. | "And On And On" | Jackson, Harris, Lewis | Jackson, Harris, Lewis | 4:49 | |||||
4. | "70's Love Groove" | Jackson, Harris, Lewis | Harris, Lewis | 5:45 | |||||
5. | "Throb" (David Morales Legendary Club Mix) | Jackson, Harris, Lewis | Jackson, Harris, Lewis | 9:00 |
Limited edition bonus disc (included in the forty-page hardcover book edition)[61] | |||||||||
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No. | Title | Length | |||||||
1. | "That's The Way Love Goes/If" (Medley, Live at the 1993 MTV VMAs) | 5:48 | |||||||
2. | "That's The Way Love Goes" (We Aimsta Win Mix) | 5:41 | |||||||
3. | "Again" (French Version) | 3:53 | |||||||
4. | "If" (Brothers In Rhythm Swing Yo Pants Mix) | 6:21 | |||||||
5. | "One More Chance" | 5:55 | |||||||
6. | "That's The Way Love Goes" (CJ Mackintosh R&B Mix) | 6:19 | |||||||
7. | "If" (Todd Terry Janet's Jeep Mix) | 6:28 | |||||||
8. | "Again" (Piano/Vocal) | 3:48 |
B-sides | |||||||||
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No. | Title | Length | |||||||
1. | "One More Chance[62]" (B-side to If, cover of the song written by her brother Randy Jackson, originally sung by The Jacksons and featured on their album Victory) | 5:54 | |||||||
2. | "And on and On" (B-side to Any Time, Any Place) | 4:50 | |||||||
3. | "70's Love Groove" (B-side to You Want This) | 5:47 |
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Charts
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Certifications
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Chart (1990-1999) | Position |
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U.S. Billboard 200[73] | 31 |
Preceded by Pocket Full of Kryptonite by Spin Doctors Smash by The Offspring |
Australian ARIA Albums Chart number-one album June 20, 1993 – July 4, 1993 February 26, 1995 - March 5, 1995 |
Succeeded by Led Zeppelin Remasters by Led Zeppelin Hi Fi Way by You Am I |
Preceded by Pocket Full of Kryptonite by Spin Doctors |
New Zealand RIANZ Albums Chart number-one album July 4, 1993 - July 11, 1993 |
Succeeded by The Ultimate Experience by Jimi Hendrix |
Preceded by Automatic for the People by R.E.M. |
UK Albums Chart number-one album May 29, 1993 - June 5, 1993 |
Succeeded by No Limits by 2 Unlimited |
Preceded by The Bodyguard: Original Soundtrack Album by Various Artists |
U.S. Billboard 200 number-one album June 5, 1993 - July 10, 1993 |
Succeeded by Back to Broadway by Barbra Streisand |
Preceded by Fever for Da Flavor by H-Town |
U.S. Billboard R&B/Hip-Hop Albums number-one album June 5, 1993 - June 22, 1993 |
Succeeded by Menace II Society by Various Artists |
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