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Control is the third studio album by American singer-songwriter Janet Jackson. It was released on March 4, 1986 by A&M Records. The album was produced by first-time collaborators Jimmy Jam and Terry Lewis, as well as Jackson's newly hired manager and A&M executive, John McClain. Control was the first album on which Jackson shared co-writing credits in addition to participating in the overall production. After the poor critical and commercial reception of her self-titled debut album (1982) and its successor, Dream Street (1984), Jackson decided to separate her career from her father and manager Joseph Jackson, and the rest of the Jackson family. Control thus became a concept album based of her new-found sense of independence. The album also recounts the annulment of Jackson's brief marriage to fellow recording artist James DeBarge. Control is regarded as one of the most influential rhythm and blues albums of all time, for incorporating rap music with contemporary R&B, triple swing and a variety of other musical techniques, known as the sub-genre new jack swing. Control debuted at number one on the Billboard 200, becoming Jackson's first album to top the chart. Five of the album's commercial singles—"What Have You Done for Me Lately", "Nasty", "Control", "When I Think of You", and "Let's Wait Awhile"—peaked within the top five of the Billboard Hot 100. The album has been certified 5x platinum by the Recording Industry Association of America and has sold an estimated eight million records worldwide.
[edit] ConceptionAccording to the book Music USA: The Rough Guide and its three writers, prior to Jackson's third studio album, she was best known as the youngest sister of the Jackson family and as a television actress.[1] In 1985, Jackson rebelled against her family's wishes by marrying James DeBarge of the family recording group DeBarge. Their marriage was soon annulled because of his increasing drug problems, but, according to writer Dave Marsh, the impact left Jackson permanently independent of her family's affairs.[2][3] She desired to redefine her image into that of an independent young woman.[1] Jackson fired her father as her manager and employed John McClain, A&M Records senior vice president of artists and repertoire and general manager.[4]
McClain introduced her to the production duo, James "Jimmy Jam" Harris III and Terry Lewis.[2] Jam and Lewis were originally planning to record an album with tracks they wrote for Sharon Bryant, but Bryant found their lyrics and sound to be too "rambunctious".[2] The duo presented the same set of recordings to Janet Jackson, who gave her input and took co-writing and co-production credits on the album's content.[2] When Jam and Lewis agreed to produce Jackson's third studio album, they wanted to primarily appeal to the African-American community, in addition to achieving crossover success on the pop music charts. Jam commented in an interview with Rolling Stone magazine, "We wanted to do an album that would be in every black home in America ... we were going for the black album of all time".[6] Jam and Lewis tailored the dance-pop oriented album to suit Jackson's new persona.[7] [edit] Music[edit] ProductionControl was recorded at Flyte Tyme Studios, the production company founded by Jimmy Jam and Terry Lewis, in Minneapolis, Minnesota.[8][2] The album was co-produced by John McClain, Terry Lewis, Jimmy Jam and Janet Jackson.[9] Jam and Lewis either penned or co-wrote the album's content, including lyrics, percussion, piano, drums, and background vocals.[9][2] In addition to co-writing the album's lyrical content, Jackson accompanied Jam and Lewis on keyboard and arrangement.[9][2] [edit] ContentAudio samples:
According to Richard J. Ripani Ph.D., author of The New Blue Music: Changes in Rhythm & Blues, 1950-1999, Jackson's Control is considered to be crucial to the development of R&B music, as Jackson, Jam and Lewis "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects and a rap music sensibility".[10][11] For the song "What Have You Done for Me Lately", which was one of the songs originally intended for a different artist Jam and Lewis had previously considered working with, the lyrics were rewritten to convey Jackson's feelings about her recent annulment from James DeBarge.[12] The song was chosen as the lead single for Control, as Jam and Lewis felt it best represented Jackson's outlook on life.[12] "Nasty", which in Jackson's opinion was the most innovative song on the album, was inspired by one of her experiences in Minneapolis when a group of men made crude advances towards her outside of the hotel she resided at during the recording of Control.[12] Jimmy Jam wrote and played the keyboard arrangement, with Jackson playing the accompaniment. Background vocals were sung by Jackson, Jam and Lewis.[12] [edit] Release and promotion[edit] SinglesControl's lead single, "What Have You Done for Me Lately", peaked at number four on the Billboard Hot 100 singles chart.[13] The single was certified gold by the RIAA on November 12, 1990.[14] "Nasty", the album's second single, beat "What Have You Done for Me Lately" by one position, peaking at number three on the Hot 100.[13] It was certified gold on November 13, 1990.[15] "When I Think of You" reached number one on the Hot 100, becoming Jackson's first single to top the chart, and was certified gold on November 12, 1990.[13][16] The album's fourth single and title-track, "Control", reached its peak position at number five on the Hot 100, later certified gold by the RIAA on November 12, 1990.[13][17] "Let's Wait Awhile" reached the number two position, but did not receive certification from the RIAA.[13] Unlike its predecessors, "The Pleasure Principle" did not reach within the top five of the Hot 100, instead peaking at number fourteen.[13] The single also failed to receive certification. "Funny How Time Flies (When You're Having Fun)" was not released as a commercial single in the United States. [edit] VideographyEric Henderson of Slant magazine credits the release of Control as "the birth of Janet the music video star, as six of the nine tracks were turned into popular videos that all but announced her as queen of the production dance number".[18] Henderson commented that while Jackson was trained by a then-unknown Paula Abdul, her dancing ability only served to propel her into further stardom.[18] [edit] Reception[edit] CriticalAccording to Ricky Vincent, author of Funk: the music, the people, and the rhythm of the one (1996), Jam and Lewis's collaboration with Jackson is said to have been one of the high points of 1980s popular music, as they had redefined dance music by mixing a youthful sound with industrial-strength beats.[19] At the time of Control's debut, Newsweek stated "[i]n an era of big-voiced pop-soul divas...her current hit album, is taut, funky, hard as nails, an alternative to the sentimental balladry and opulent arrangements of Patti LaBelle and Whitney Houston.[20] Rolling Stone's Rob Hoerburger commented that the "sharp-tongued" Janet Jackson is "more concerned with identity than with playlists", as Control declares she is no longer the Jacksons' baby sister.[21] Hoerburger expressed that tracks such as "Nasty" and "What Have You Done for Me Lately" erased the former "pop-ingénue image" of Jackson's first two albums, and that "Control is a better album than Diana Ross has made in five years and puts Janet in a position similar to the young Donna Summer's – unwilling to accept novelty status and taking her own steps to rise above it."[21] Robert Christgau "scoffed at Janet's claims of autonomy", but gave the album a B rating based on "its entertainment value".[22] Contemporary reviews continue to find the album favorable. Eric Henderson of Slant magazine expressed that the misconception that Control is Jackson's debut album only confirmed the "quintessential statement on personal and artistic self-actualization" that it set out to accomplish.[18] Henderson claimed critics who judged Jackson harshly for her thin voice "somehow missed the explosive 'gimme a beat' vocal pyrotechnics she unleashes all over "Nasty"...Or that they completely dismissed how perfect her tremulous hesitance fits into the abstinence anthem "Let's Wait Awhile."[18] However, Henderson also commented that the "Jam-Lewis formula wasn't completely infallible" as "You Can Be Mine" and "Funny How Time Flies (When You're Having Fun)," were two of the album's least impressive misfires.[18] While William Ruhlmann of Allmusic commented Jackson "came across as an aggressive, independent woman", he asserts the album's true value is the production talents of Jimmy Jam and Terry Lewis.[23] [edit] CommercialControl debuted at number one on the Billboard 200 and on the Top R&B/Hip-Hop Albums chart.[24] The Recording Industry Association of America first certified Control gold on April 18, 1986, denoting 500,000 units shipped within the United States.[25] Two months later, on June 13, 1986, the album was certified platinum, denoting 1,000,000 units shipped.[25] Within another two months, Control was certified 2x platinum on August 7, 1986 and 3x platinum by year's end on December 8, 1986.[25] The following year, Control was certified 4x platinum on April 6, 1987 and 5x platinum on October 26, 1987.[25] Since its debut, Control has sold an estimated eight million records worldwide.[6] [edit] LegacyThe New York Times reported Janet Jackson's Control made popular music history in 1986, as it was one of three albums by African-American women to hold the top three positions of the Billboard 200; Control, Whitney Houston's eponymous debut album and Patti La Belle's Winner in You each exchanged the number one position on the chart.[26] Control, according to Billboard, was the fifth best-selling album of 1986 in the United States.[27] The magazine also named Jackson Top Black Artist, Top Pop Singles Artist, and Top Dance-disco artist.[28] Control was also the fifth best-selling album of 1987 according to Billboard.[29] The album was nominated for Album of the Year at the 1987 Grammy Awards, losing out to Paul Simon's Graceland.[30] Despite losing Album of the Year, Control earned Jimmy Jam and Terry Lewis the Grammy Award for best producer.[31] As documented by Richard J. Ripani, Control is regarded as one of the most influential albums in the history of rhythm and blues and one of the first albums to bridge the gap between R&B and rap music, as "[its] success ...in the R&B and greater popular music market led to the incorporation of many of the stylistic traits of rap over the next few years".[10] Eric Henderson comments the album impacted popular music with a "blockbuster momentum" and "was every bit the hit machine that her brother's Thriller was."[32][18] In 1989, Control was ranked number twenty-eight on Rolling Stone's list of The 100 Greatest Albums of the 80's. In 2007, The National Association of Recording Merchandisers and the Rock and Roll Hall of Fame named Control one of The Definitive 200 Albums of All Time, ranking the album at number eighty-six. [edit] Track listing
[edit] Credits
[edit] Charts positions
[edit] Footnotes
[edit] References
[edit] External links
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