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You'll probably recognize Morris as the lead singer of The Time and star of "Purple Rain". Believe it or not, Morris is still around and being just as funky today as he was back then. After The Time disbanded, Morris went on to launch a solo career. Like many former Prince associates from that time, he continued to release music based on the Minneapolis sound they'd become so famous for.
During this time in the 80's, there was glut of bands who were writing and trying to copy this sound. Morris may have had his roots in the movement, but on his own his music lacked a lot of the substance and soul of other artists working in this genre. His material can often sound somewhat generic and uninspired. That never stopped him from working though.
"Daydreaming" was his second solo effort and even though it was a vast improvement on his previous record, it didn't break any new ground for the singer. At least it didn't as far as I know. There is one significant difference between this record and "Color Of Success"... On this record, he enlisted the help of former Time members, Jimmy Jam and Terry Lewis. This duo had their own brand of Minneapolis funk and they'd used it to catapult artists like Janet Jackson and The Human League to superstar status. In all honesty, this is probably the best move he could've made. 'Fishnet', the Jam And Lewis track, was a huge hit for him and gave him his most popular single as a solo artist.
The two producers also worked on a second track on the disc, 'Love Is A Game'. If he'd been smart, Day would've hired the them to produce the entire record and worked with them while he was writing this material. They would've helped him put together a stronger, more solid piece of work.
I really like Morris and I want to see him do well. It's discouraging when an artist you like doesn't deliver the work you know they're capable of.
I'm not really into this disc beyond the two Jam & Lewis tracks. But I do have some memories of it. The first time I saw Morris and The Time live, he signed my copy of this CD. The second time I saw them, he pulled me up on stage to sing the hit single from this record, 'Fishnet' with him. I'll never forget that.
I wish I could recommend this disc but I don't think it has enough appeal. If you're a Morris Day fan, this is a must. If you're a Jam & Lewis fan, it's also a must. But for those of you who casually like to listen to some Minneapolis funk now and then, stream or download 'Fishnet' and be done with it.
My final words: A DISAPPOINTING FOLLOWUP FROM A DYNAMIC PERFORMER!
MORRIS DAY - DAYDREAMING
01. Daydreaming
02. Yo' Luv
03. Fishnet
04. A Man's Pride
05. Standing On The Line
06. Are You Ready
07. Love Is A Game
08. Moonlite (Passionlite)
09. Sally
This is a different pic for an album cover. And that's because my version of the "Janet." album is the limited edition double disc hardcover book. I bought this at Blockbuster when they sold music in addition to movies. In some ways, this was the album I jumped off the Janet Jackson bandwagon. The music was such a departure from her previous work and I didn't enjoy it as much as I did her earlier stuff. Which is sad because years later, it really is a great record.
My biggest complaint with Janet Jackson records are the interludes. They're often more confusing and ruin the narrative of the material. But they're used to bridge songs and try to pull the whole album together. I just don't think they end up doing that. Sometimes they're fun to hear. For the most part, I find them distracting.
This record starts with an interlude. This one is called, 'Morning'. It's actually fairly sweet all things considered and it flows rather nicely into the first actual song, 'That's The Way Love Goes'. For a slow jam, this song packs a punch. It's a beautiful ballad and Janet sings it in a sexy, seductive style. This song was released in advance of the actual album and based on this track, I was expecting something more similar to her previous work. Imagine my surprise. Next up, another interlude. 'You Know...' is basically a doorbell, knocking and background conversation. 'You Want This' includes music from Diana Ross And The Supremes and Kool & The Gang. The respective songs are 'Love Child' and 'Jungle Boogie'. They're very obvious throughout the track. Even with the song relying on musical ideas from these other two songs, the tune is pretty strong on its own. I quite like it. I believe this number was also released as a single, but I'm not entirely sure. It's followed by another interlude called, 'Be A Good Boy...' which segues into probably the strongest and also biggest departure from Janet's signature sound, 'If'. This song recalls the heavy beats featured on "Rhythm Nation", but it's also got an industrial sound built around guitar distortion. The video to this song was probably the most overtly sexual of Jackson's career to this point. It delved into some tame erotica themes like voyeurism and domination. Shocking to say the least.
After yet another interlude, we get 'This Time'. Featuring vocalizing from soprano Kathleen Battle, it's a song I slept on originally. I didn't care for it back then, but in the interim, I've developed quite a liking for it. Granted, it's a fairly basic, consistent tune with not a lot of variation. It's a steady beat throughout with most of the inflection happening in the vocal arrangement. Still, it's compelling and Battle's vocals enhance the feeling in a unique way. About 4 and a half minutes in, the song shifts into an orchestral breakdown with Battle's vocals louder and more prominent in the mix. This is where the song really shines and shows it strength. It lasts about 2.5 minutes and finishes the track out on a high note.
Interlude.
This is one of my favorite tracks and probably one of Janet's naughtiest. 'Throb' is a moaning, techno club pumping grind fest. This is one you could play loud over and over. It's a simple tune and yet, I love it!!!! Believe it or not, the next track comes up without an interlude. 'What'll I Do' starts out with a guitar intro and although it's not aggressively rocking, it's a groovy tune. I dig this one too.
Interlude.
'Funky Big Band' is next up and this is another one I really like. Back when I first bought the album, I wasn't ever sure about this one. Sometimes I'd listen to it and think it was great, other times, I'd skip it. All these years later, I've finally decided I like it. A lot.
Interlude.
Like the previous number, 'New Agenda' is one I wasn't sure about. I like the beat and the drum sounds, but I wasn't a huge fan of the Chuck D rap. There's some strange transitions throughout as well. I do like the number and it's held up over the years. I think this is a track a newer artist should cover. There's a lot of potential with this one.
Interlude.
'Because Of Love' is up next and this one is a medium tempo jam. I didn't care for it much back then and even now, it's not rockin' my disc player, but It's ok.
Interlude.
'Again' is the second true ballad on the disc. Played mostly on a keyboard, the song is sentimental and whimsical. I heard once this song was written by Janet for the movie "Poetic Justice", but I don't know if that's true. I think it was featured in the film, but not the soundtrack. It's nice to see it here and although I'm not listening to this one on a regular basis, it's pretty good for what it is.
Interlude.
'Where Are You Now'. Janet has a pattern. She usually reserves the power ballads for the end of the album so it's not surprising to find this track here. I was young when this song came out and I didn't think much of it. Now, after having experienced love, it's poignant, reflective and so terribly sad. So full of regret. It breaks my heart.
Interlude.
'The Body That Loves You' is another delicate and sensual ballad. I overlooked so much of her love ballads as a younger man because I'd never felt love. Now... Wow.
Interlude.
The final listed track is 'Any Time, Any Place'. Another power love ballad. I don't need to go over this again. I slept on this whole side of the disc.
Interlude. Interlude.
There's a hidden track at the end of the album called 'Whoops Now' and it's a rather fun, pop expression thrown on almost as an after thought. If you didn't know it was there, you'd miss it unless you let the album play out. I remember I discovered one night when I was letting the disc play as I was falling asleep and when it came on, I was shocked. It's got a great Motown feel to it. Great horns in the background and a light breezy beat. Sheer joy!
Now my copy of the album includes a second disc with 8 additional tracks mostly comprised of mixes and alternate versions. 'Again', 'If' and 'That's The Way Love Goes' are the three tracks featured here. There is also one b-side, 'One More Chance' written by her brother Randy Jackson. I love that song. It's incredible. There's a stripped down piano version of 'Again' and also a french version. The mixes are unimpressive. I'm not going to detail them. The first track is a recording of Janet's live performance at the 1993 MTV Music Awards.
You know, I jumped off the bus because I felt like this album was too different for my taste and yet all these years later, I find the album more satisfying than a lot of stuff I'd heard at the time. This is definitely a record that was ahead of its time. I'm so happy I bought this version and I love having the packing and artwork included in the book. My final words: I CAN FINALLY RECOMMEND THIS AMAZING AND PROGRESSIVE RECORD. IF YOU HAVEN'T HEARD IT, YOU SHOULD. WORTH THE TIME AND EFFORT.
JANET JACKSON - JANET.
DISC NO. 1
01. Morning
02. That's The Way Love Goes
03. You Know...
04. You Want This
05. Be A Good Boy...
06. If
07. Back
08. This Time
09. Go On Miss Janet
10. Throb
11. What'll I Do
12. The Lounge
13. Funky Big Band
14. Racism
15. New Agenda
16. Love Pt. 2
17. Because Of Love
18. Wind
19. Again
20. Another Lover
21. Where Are You Now
22. Hold On Baby
23. The Body That Loves You
24. Rain
25. Any Time, Any Place
26. Are You Still Up
27. Sweet Dreams
28. Whoops Now (Hidden Track)
DISC NO. 2
01. That's The Way Love Goes/If (Medley)
02. That's The Way Love Goes (We Aimsta Win Mix)
03. Again (French Version)
04. If (Brothers In Rhythm Swing Yo Pants Mix)
05. One More Chance
06. That's The Way Love Goes (CJ Mackintosh R&B Mix)
07. If (Todd Terry Janet's Jeep Mix)
08. Again (Piano/Vocal)
Shortly before this little disc came out, this artist's brother was enjoying the success of the most popular record of all time. Imagine what the impact that would have on brothers and sisters who were also trained as singers and dancers but never achieved any solo success. So now imagine his chart topping success followed almost immediately by his baby sister's disc that almost did as well as "Thriller".
For those of you who weren't there, "Control" took over everything. Girls at school were wearing their housekeys on their hoop earrings, kids practiced her dance moves during lunch and in the halls between classes. If you missed recording it on cassette off the radio, you didn't have to wait long for another chance.
While fans dreamed of rivalries between Prince and Michael Jackson and squared up behind the star of their choice, Janet tried a different approach. She knew she didn't want to go into the studio with a label, engineers and producers who'd worked with her family and the Motown sound for many years. She wanted to do something new and exciting. She was listening to the Minneapolis sound. And she liked what Prince and other artists surrounding him were doing. But she also knew her parents would never let Prince produce their baby girl.
So she did the next best thing. She's met Jam & Lewis during her previous recording sessions in Minneapolis. And they were excited to work with her. But the trick was... Blending the pop sensibility of Motown's hit making traditions with the vital and exciting energy of the Minneapolis sound. She brought the experience and the knowledge of the Motown history and Jam & Lewis brought the Minnesota funk.
The blend was something new and exhilarating. When it hit the streets, fans couldn't keep their hands off it. Her parent's worried she'd sound like Prince, but Janet didn't let it stop her. Ultimately, it was the blending of these two very different styles of musical tradition that helped Jimmy Jam and Terry Lewis develop their own signature version of the Minneapolis sound. And once the hits started coming, they never stopped.
With one declarative statement, Janet ... Sweet little baby sister Janet, stepped out into the spotlight and seized control of her own life. And her message, heard all the way around the world, was a very public wake up call to her family and friends.
Her first single, 'Control' was accompanied by a live performance video letting everyone know, this time she meant business. And the album released single after hit single. I think there are only a couple songs that didn't actually get a single release.
Listening to it now, some of the drum sounds are a bit outdated and there are songs where they rely heavily on old R&B sounds on the keyboards, but otherwise, the disc has held up. 'Control' kicks it off with just the right blend of both musical schools of production that you think you know what you're in store for. Fans of The Time who know Jam & Lewis saw it as a Time performance. But it was completely different. For one thing, instead of the misogynist preening of the Morris Day character, this band was led by a woman. Her dance moves were bold and avoided being overtly sexual. She took the stage as a confident band leader and rocked the house down. This is when we knew something special was happening.
Even now, the drum track on 'Nasty' sounds amazing. It was such a different sound and no one really copied it. Where Madonna empowered 80's women to own their sexuality, Janet empowered them to expect/demand equality and projected an image of a strong female archetype who didn't rely on sensuality to send a message. In fact, the message of 'Nasty' was a demand for respect rather than objectification. It was followed by, 'What Have You Done For Me Lately' which tells the story of a partner who takes his lady for granted. All three of these songs were released as singles and had huge chart success.
After the progressive and new sounding opening of 'Control', 'Nasty' and 'What Have You Done For Me Lately', 'You Can Be Mine' sounds a little outdated and weak. The message is empowering and as the song progresses, the music clears up and you get some wonderful arrangements from the masters of Minnesota funk. It goes out on a high note. Next up are two more tracks that saw single releases... 'The Pleasure Principle' and 'When I Think Of You'. 'The Pleasure Principle' is the first track appearing on the album not written by Jackson, Jam & Lewis. However, it's written by former bandmate and Time member, Monte Moir. Most of the original Time members went on to produce and write for other artists and they were all part of that Minneapolis sound. Although this tune does have a distinctive quality that sets it apart from the others, it still sounds like it belongs in the fused sound they'd created.
Both 'The Pleasure Principle' and 'When I Think Of You' reached the US top five. The next track is the one song that seems utterly and completely out of place on the record. 'He Doesn't Even Know I'm Alive' was written by Spencer Bernard. Although I'm not sure where he comes from or how he hooked up with Jam & Lewis, he's been with them ever since and contributed numerous songs to their artists. This one, however, sounds like dated Motown, not something that belongs with the innovative style of the rest of the album. In addition, the song seems take the powerful strong woman Jackson has presented throughout the rest of the album and turn her into a tiny, frightened uncertain little girl. It's demoralizing to see it happen. This song would have better served the record if it'd stayed in a drawer for another artist.
I don't even consider it part if the album. More like a filler track left over from her previous two albums recorded under her father's watchful eye.
The next two tracks set up a formula Janet would repeat a few times over the years. Both are ballads. It wasn't uncommon for her to save the slow music for the end of the album and use it to segue out of the disc. 'Let's Wait Awhile' is a song about abstinence and not allowing yourself to be pressured into sex. Once again, Janet was empowering women to say no. To control with whom and when they choose to engage in sexual conduct. Although today this isn't seen as a radical concept, in the 80's it was still a topic people wanted to ignore and pretend didn't happen.
The disc ends with Janet gently but firmly rebuffing her beau in the middle of an intimate setting choosing instead to wait until the time is right for both of them. 'Funny How Time Flies (When You're Having Fun)' is both sensual and serious without being preachy or pandering to one specific ideal. With this final track, Janet told an entire generation of women, intimacy is wonderful and can be extremely fun, but you have the power to say no. You can stop at anytime.
The importance of this record and how it shaped women's roles in society cannot be taken for granted. Madonna and other pop singers of the time wanted to free women from oppressive sexuality and allow women to enjoy and control sex. But the message of "Control" branched out into virtually ever corner of society and expressed strength for almost every conceivable obstacle a young woman in that decade might face in her life.
Her social awareness, dedication to empowerment and strength made her an overnight icon. The impact of this record may never be fully known. But it does demonstrate a social awareness none of her family possessed in any great amount. Her brother Michael produced and wrote songs he used to inspire change in others but his attempts were almost always extremely direct and lacked the inventive approach Janet took each time she planned an album.
My final words: THIS ALBUM EMPOWERED ME! HER BROTHER WANTED TO HEAL THE WORLD, BUT JANET CHANGED IT.
JANET JACKSON - CONTROL
01. Control
02. Nasty
03. What Have You Done For Me Lately
04. You Can Be Mine
05. The Princeiple of Pleasure
06. When I Think Of You
07. He Doesn't Even Know I'm Alive
08. Let's Wait Awhile
09. Funny How Time Flies (When You're Having Fun)
I think it was the "Janet" album that threw me initially. After it came out, I wasn't keen on following Janet as hardcore as I had been throughout most of the 80's. The production on that record was a new direction for her and for Jam & Lewis. They branched out into new sounds, new beats and a new style I wasn't altogether pleased with. I still liked her and I enjoyed her music, but I didn't rush out and buy what she was releasing.
I got her next album only because I won it at a Pride event in Las Vegas. They were giving away promotional copies and I won one. But the subsequent releases, I admired from afar but never picked up. Until recently. I won an auction on eBay and stocked up on a bunch of CDs I'd missed out on over the years. By a lot of bands I loved, but didn't have complete collections of their material. Janet was one of them.
And that's how this record came into my possession. I know this sounds like a broken record, but I think sometimes the segues on Janet Jackson records can really slow the pace of the music and can sometimes actually ruin a song. And although I'm not fond of the snippets appearing on this release, they're not nearly as bad as some of her other records.
It starts off with 'Intro' that is somewhat funny, but doesn't really have to be there. 'You Ain't Right' kicks in shortly after and although it's funky and aggressive, it's not her best track. It's still pretty good, but nothing to write home about. However, 'All For You' is absolutely incredible. I loved this song the first time I heard it. Not only do I love it, I love the video! This is pure Janet. The dancing, the moves, that cool girl next door vibe she wears so well... This is the Janet we remember from 'Love Will Never Do Without You' video. That cool chick we all wanna hang out with and be best friends with. She rocks this track!
The next track is another interlude that kinda drags, but it sets up the next track... 'Come On Get Up' is another driving number that screams "Here's the Janet you remember!" I love this song too. It absolutely bursts out of the speakers and swings you as you sing along. These are the songs she does that are so wonderful because as you sing along, your heart feels happy and cheerful. Next up is 'When We Oooo' and it's the first ballad on the record. It's also another strong track. Janet does seduction well and this number let's her express all of that sensuality with minimalist music arrangement and a mellow groove beat...
'China Love' clocks in at number 7 and it's the second ballad on the disc. The first time I heard it, I initially thought it was a throwaway slow jam, but as I listened to it, the more I fell in love with it. It's a delicate number with interesting notes and sounds. Janet really delivers on this one too. She sounds sincere and soft on it. I picture her laying on a velvet couch in the middle of a pool with huge orchids and other flowers floating in the water around her. Cherry blossoms in trees surrounding the pool. It's a very visual song and you can't help but imagine a romantic rendezvous when you hear it. The next ballad is 'Love Scene (Ooh Baby)' and this one isn't as good as the previous two, but it has a lovely chorus. It's followed by yet another ballad, 'Would You Mind'. This song is on the naughty side and I'm a little uncomfortable with it. It's a bit raunchy for this medley we've heard thus far. She fades out to another interlude that supposedly winds up the medley.
'Trust A Try' is up next and this frantic panic number is a rockin' fast paced bit that leaves you feeling a little confused. It combines different elements to create a song that is basically all over the place and so intent on making it point, it slams you more than rocks you. I'm not a fan. Next up is the interlude leading into the Carly Simon collaboration. I'm not a huge fan of Carly Simon. I dig the beat of 'Son Of A Gun', but I'm not big on the lyrics or the inclusion of Carly Simon. I guess it's OK for what it is. 'Truth' is another ballad and it's nice, but it's not exactly what I wanted to hear after the previous song. It goes out with another interlude. Unremarkable. But it's cool for what it is.
'Someone To Call My Lover' is a mid tempo pop number and this one gets us back on track with cool Janet grooves. I love this one. It's got those lovely bell sounds in the chorus Jam & Lewis are famous for using. And it don't stop there... Cause 'Feels So Right' kicks in with another strong beat and it's more classic Janet. It's followed by 'Doesn't Really Matter'. Once again, we have string of great tunes back to back. 'Better Days' rounds out the album and it's another ballad. It's good, but not as exciting as other tracks on the album. Then one final segue to close out the disc.
So to my surprise, there are some strong Janet songs here. Enough to keep me coming back for more. But there's also a lot of filler material here. This disc is loaded with ballads. Almost half the actual song material on the disc is slow. That would be fine if Janet had come up as a ballad singer like Whitney Houston or someone like that. But she's a pop star. People wanna dance and hear some beats when she comes on. So in that sense, I think the album failed. But there's enough strong material to make me feel like I shoulda stayed around. I shoulda kept listening to Ms. Janet. My final words: SOPPY WITH BALLADS, BUT FUNKY WITH BEATS... IT'S WORTH THE MONEY!
JANET JACKSON - ALL FOR YOU
01. Intro
02. You Ain't Right
03. All For You
04. 2wayforyou (Interlude)
05. Come On Get Up
06. When We Oooo
07. China Love
08. Love Scene (Ooh Baby)
09. Would You Mind
10. Lame (Interlude)
11. Trust A Try
12. Clouds (Interlude)
13. Son Of A Gun (I Betcha Think This Song Is About You) With Carly Simon
14. Truth
15. Theory (Interlude)
16. Someone To Call My Lover
17. Feels So Right
18. Doesn't Really Matter
19. Better Days
20. Outro
Alexander O'Neal comes from that whole Minneapolis sound movement back in the 80's. He was floating around that whole group of people who eventually made up the bulk of Prince's satellite groups and his own band. Originally, Alexander was slated to be the lead singer of Prince's side group, The Time; but was replaced for some reason. Who knows what happened there. But one fact is true... Alexander knew those guys and his association with them led to his career later on. When Jimmy Jam and Terry Lewis became a popular production team, they got with him and propelled him to the top of the R&B charts by producing hit after hit.
Of course their association with him started way back when they were first coming into their own and developing their own sound. They have a distinct sound that even though it's based on the Minneapolis sound, it still has features distinctly its own. At the beginning though, the sound was more grounded in 70's funk rather than the new material they later worked on.
Much of the material on this record falls into this category. You can hear Jam & Lewis searching for something to define themselves with. You get a couple tracks that are more polished and showed up later when they'd found a way to be distinctive, but the majority are somewhere between that original more traditional R&B sound and that new spark. Obviously some tracks showcase this more readily than others. The two songs that really step up and say, "Hey I'm here!" are the first track, 'Fake' and 'Criticize'. Both tracks are from the "Hearsay" CD. There are a couple other from that record on here too, but those are the two that really define Jam & Lewis at the time. I think they intentionally tried to keep O'Neal sounding different from other acts they were producing at the time like Janet Jackson. O'Neal's voice is a more traditional and legitimate sound for R&B as well.
Many of the other songs from this CD were also hits on the charts. For example, 'A Broken Heart Can Mend' was a big chart topper. I love the song and I seem to remember it showing up on a couple soundtracks, but I may be wrong on that. Other truly standout tracks include 'Never Knew Love Like This', 'Crying Overtime' and 'Innocent'. The version of 'Innocent' on this record is an extended version that breaks into a funky bridge towards the end of the song. It's really exciting and quite exhilarating to hear.
Ultimately, I think Jam & Lewis could have done much more with Alexander if they'd have taken their signature sound and really dumped it into this guy. He's got a great strong voice and he works well with the Jam & Lewis sound. I don't know if they've worked with him in some time, but I certainly would be interested in future collaborations. Unless Jam & Lewis have completely changed their signature sound; which I'm thinking they have based on the last few Janet CDs they worked on. But we'll see. My final words: NIFTY LITTLE COLLECTION.
ALEXANDER O'NEAL - THE BEST OF ALEXANDER O'NEAL
01. Fake
02. A Broken Heart Can Mend
03. Sunshine
04. Criticize
05. You Were Meant To Be My Lady (Not My Girl)
06. Never Knew Love Like This
07. All True Man
08. If You Were Here Tonight
09. Crying Overtime
10. Innocent/Alex 9000/Innocent II
I actually own a couple discs by Madonna, though mostly for other reasons. I own one because Prince worked on it and the rest are singles. It's not that I don't like Madonna... I like her quite a bit. Just never really got into her musically or as a performer. Sadly, she kinda typifies the things I usually dislike about artists.
'Erotica' was a breakthrough album of sorts. Since her debut in the early 80's, Madonna's been linked to sexuality as securely as Captain's been linked to Crunch. Although her image was sexualized and seductive, she was hardly pornographic and her music wasn't really controversial as her publicists wanted you to think. Madonna was threatening because she portrayed feminine sexuality from a position of power. She was confident, secure and unphased by an industry known for objectifying women. I'd give her credit for taking popular music in an entirely new direction. She made it possible for Janet Jackson, Paula Abdul, Tiffany, Debbie Gibson, Britney Spears and others to step up to the plate and be taken seriously as artists. Whether or not that's all been for the good remains to be seen.
So along comes 'Erotica'... And for mothers across the country who feared their daughters turning out like Madonna, their worst fears were confirmed. Blatantly sexually suggestive lyrics, foul language and aggressive rhythms more dance oriented than previous efforts pushed her from pop icon to massive superstar. Her fans were growing up and so was Madonna.
To call this disc a masterpiece would be overdoing it. There's still a lot of lackluster Madonna filler music. But there are more great tunes versus ho-hum tunes here for you to sink your ears into. The first half of the disc, tracks 1-6 are all brilliantly written, produced and performed. The stand out numbers are easily the faster more dance oriented tracks. Madonna's released a number of ballads in her day, in fact one of the singles from this record was a ballad, but she falls in the same trap as most ballad singers... boring, uninspired throwaway tunes targeted towards the more cliche listener. Not a great place for her to spend lots of time. As a vocalist, I've always thought she was limited in range and somewhat weak. Her strength has always been in faster paced dance material.
My favorite tracks are 'Erotica', 'Bye Bye Baby', 'Thief Of Hearts' and 'Words'. But her smoldering cover of 'Fever' is also fantastic. 'Bad Girl' is another track I find amusing and then there's her tribute to oral sex, 'Where Life Begins'. An amazing group of songs from an exciting performer.
My final words are: ENJOYABLE AND FUN. Certainly worth your time and effort even if you're not a die-hard fan.
MADONNA - EROTICA
01. Erotica
02. Fever
03. Bye Bye Baby
04. Deeper And Deeper
05. Where Life Begins
06. Bad Girl
07. Waiting
08. Thief Of Hearts
09. Words
10. Rain
11. Why's It So Hard
12. In This Life
13. Secret Garden
I saw this movie long before I realized my interest in the soundtrack. Let me state for the record... This film is absolutely brilliant. The soundtrack is another matter entirely. Although it has moments of absolute brilliance, it isn't a complete collection in that it leaves out a large number of songs appearing in the film. The tracks it does include seems to consist of the songs the producers thought would make the most money. Not always the smartest move when it comes to compiling a soundtrack.
The Ini Kamoze track opens the disc and it's ok. I remember it got some airplay and I saw the video on VH-1 a couple times. The Supercat track is awesome. It's a nice bluesy 50's number with a great beat. I quite like it. I really love the Salt-N-Pepa track, 'Here We Come'. It's funky, straight up and in your face. Salt-N-Pepa have always interested me and this track is a wonderful addition to the record. M People's contribution is cool, but somewhat standard fare for house records at the time. I'm sure it was mixed like crazy. Janet Jackson's number is lackluster but also fairly common for her during this time. This is right about the time I checked out on her. She became boring and everything sounded largely the same.
The Rolling Stones number is laughable and unwelcome. It's place in the movie is also annoying. It's the one song I absolutely feel has no business anywhere near this project. The Sam Phillips cover of 'These Boots Are Made For Walkin'' is wonderful. She captures the intensity of the original number with a folksy twist.
For years, I dished The Cranberries. I just hated them. Every song sounded like a broken record. Then I saw this film and heard this number. I think this song is incredible for a number of reasons... First and foremost, I love the message. "You're so pretty the way you are..." What an amazing statement in both the film and the music. Plus the mix is absolutely riveting. The Deep Forest song called 'Martha' is actually the track 'Marta's Song' from their album 'Boheme'. I like this track quite a bit as well. There is a slight difference in the bass track, but otherwise, it's the exact same number.
The Brand New Heavies tune is interesting but not remarkable. I enjoy the vocal delivery and although I've never invested much time or energy into this band, I'm interested in hearing more. The Cece Peniston song is pretty typical of her stuff, but it's fun and I really like the song. I can sing along and tap my feet. That's a great feature in a tune.
Now here's the reason I should've bought the disc. There's a Prince composition by The New Power Generation here. 'Get Wild' appears on the 'Exodus' record, but this version is quite different in a number of ways. There's different effects happening throughout the song. Specifically, Mayte in the background saying stuff in Spanish. There is a different vocal take as well. It really is worth having. It shows some of the progression in the way Prince writes and records music.
TTD clocks in with 'Supermodel Sandwich'. I have to be honest, as much as I normally enjoy his work, this is one of my least favorite numbers ever. The Perfecto Mix of 'Lemon' by U2 is pretty interesting though not incredible by any means. It's got a nice rhythm and flow. But the gasping cries of Bono detract from the overall effect of the song. It's all beat and no substance.
Overall, it's an interesting collection, but hardly one that goes well together. Like the fashions in the film, this disc is all over the place. You'll probably pick this up for one or two numbers you're interested in rather than the entire collection.
If that's the case, save the money and buy the tunes online individually. Check that... I just saw how much this disc was selling for on Amazon... If you want more than two songs, you might as well go ahead and buy the disc online. With prices like $.01... You can't get it cheaper. My final word: INTERESTING.
READY TO WEAR - MUSIC FROM THE MOTION PICTURE
01. Ini Kamoze - Here Comes The Hotstepper (Heartical Mix)
02. Supercat - My Girl Josephine
03. Salt-N-Pepa - Here We Come
04. M People - Natural Thing
05. Janet Jackson - 70's Love Groove
06. The Rolling Stones - Jump On Top Of Me
07. Sam Phillips - These Boots Are Made For Walkin'
08. The Cranberries - Pretty (Remix)
09. Deep Forest - Martha
10. The Brand New Heavies - Close To You
11. Cece Peniston - Keep Givin' Me Your Love (West End Mix)
12. The New Power Generation - Get Wild
13. Terence Trent D'Arby - Supermodel Sandwich
14. U2 - Lemon (Perfecto Mix)
Back in the day, a new Janet Jackson CD was something to look forward to. I think it was about the time 'Janet' came out that I started loosing interest in her. It wasn't because she was getting boring... If anything, her music was becoming more diverse and I always like artists who challenge me. So what made me lose interest? I think it had more to do with the inconsistency in the quality of the material she was recording. I felt half the tracks on 'Janet' were throw away "filler" material. And subsequent albums have been the same. Not to mention the inordinate amount of segues littering her tracklists. On the first couple albums they were quite nice and clever, but as the discs progressed, she got carried away with it. Not always to the listening pleasure of her fans.
I stopped buying her stuff after 'Velvet Rope'. I'd pick up singles if I liked something here and there, but when this disc came out, a good friend of mine swore up and down this was "THE" record of the year and I had to have it. He played me a couple songs off the disc and I was convinced this was gonna be a great disc. I bought it. So was it a good choice or a mistake? Truth be told... I'm not sure.
Personally, I really really like Janet. I like watching her talk, perform and generally, I like her singing. She seems like a person I'd enjoy knowing. That being said, you can't base your appreciation of a musical work simply on your personal feeling toward the artist.
The segues are a problem. They're all over the place and annoying at times. Picking one segue theme and sticking to it would be advisable. She starts off with talking to what is implied to be an artificial intelligence who acts also as a friend. That would be fine if she followed through with it during the entire disc, but it only pops up a couple times. Instead of getting into the segues, I'll focus on the songs...
There are some outstanding musical numbers on this disc. The first song is 'Feedback' and it's awesome. Not only is it a great tune but the video is quite interesting as well. My absolute favorite track is 'Rock With U'. I'm not sure why this song appeals to me other than it's got an exciting beat and comes on fairly relentlessly. It's amazing! Other outstanding tracks include '2nite', 'Luv', 'Greatest X', 'So Much Betta', 'The 1' and 'Discipline'. 'Discipline' is extremely provocative and suggestive. It's very erotic and highly sensual. 'The 1' features Missy Elliott and is extremely funky.
This album is a departure from Janet's regular fare. She's not working with her long time producer partners Jimmy Jam and Terry Lewis. She's using different people who are bringing her a new sound, but her songwriting input has lessened greatly.
I think it's better than anything she's done in a long time. There are still some throwaway songs that are boring and skippable, but you get the sense she's moving into something new. Whether she embraces this change or not remains to be seen, but it's worth the purchase for the funky numbers. Time to rediscover this artist.
I'm hopeful for the future once again. My final words: HOPEFUL & PROMISING.
JANET - DISCIPLINE
01. I.D.
02. Feedback
03. Luv
04. Spinnin
05. Rollercoaster
06. Bathroom Break
07. Rock With U
08. 2nite
09. Can't B Good
10. 4 Words
11. Never Letchu Go
12. Truth Or Dare
13. Greatest X
14. Good Morning Janet
15. So Much Betta
16. Play Selection
17. The 1 Feat. Missy Elliott
18. What's Ur Name
19. The Meaning
20. Discipline
21. Back
22. Curtains
This is a disc I bought because Prince wrote a song for her. However, I didn't know the song existed until the early 90s when I was living in Europe. Fortunately, I found the disc at a shop in Olten, Switzerland. I'm also a fan of Jam & Lewis. Flyte Tyme Productions is one of my favorite production houses. I've loved the work they've done with Janet Jackson and others.
The disc starts off relatively nicely. The first two tracks are fun, though not exactly groundbreaking in any way. They were typical pop fare for the time period. In fact they sound like something from the "Pretty Woman" soundtrack. The Prince track segues from the second song. It kicks in with a strange, off balance beat that somehow manages to make you wanna start moving around and waving your hands. 'Baby Go-Go' makes me wanna go-go.
The next two tracks are the Flyte Tyme numbers. The first, 'Rhythm Of Change' is written by Spencer Bernard and features a standard collection of Flyte Tyme musicians playing in the background. The tune itself isn't all that exciting, but it has a strong beat reminiscent of Janet Jackson's 'Black Cat'. 'Why Should I Cry?' is more standard Flyte Tyme and features a melodic hook. My only complaint is the echo on Hendryx's voice. It really distracts from the lyrics. Still, it's an awesome number and excellent turn out from them.
The remaining tracks are pretty common sounding and none of them stand out in any form. They're typical filler material from the time. But when you consider this cd as a record, virtually one whole side is worth hearing while the second is fluff bits. 50% isn't a bad percentage when you're talking about a full album. Hendryx has a powerful voice and she's not afraid to use it. She's a bold sounding artist. Her political messages all over the album liner notes are impossible to ignore and obsolete today, but they don't distract from the musical value. There's more than one reason to check this disc out. Worth the effort. My final word: DECENT.
NONA HENDRYX - FEMALE TROUBLE
01. I Know What You Need (Pygmy's Confession)
02. Big Fun
03. Baby Go-Go
04. Rhythm Of Change
05. Why Should I Cry?
06. Too Hot To Handle
07. Winds Of Change (Mandela To Mandela)
08. Female Trouble
09. Drive Me Wild
