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Wikipedia

Control (Janet Jackson album)

March 06, 2023

Control is the third studio album by American singer Janet Jackson, released on February 4, 1986, by A&M Records. Her collaborations with the songwriters and record producers Jimmy Jam and Terry Lewis resulted in an unconventional sound: a fusion of rhythm and blues, rap vocals, funk, disco, and synthesized percussion that established Jackson, Jam and Lewis as the leading innovators of contemporary R&B. The distinctive triplet swing beat utilized on the record is also considered to be a precursor to the new jack swing genre. The album became Jackson's commercial breakthrough and enabled her to transition into the popular music market, with Control becoming one of the foremost albums of the 1980s and contemporary music.

Control
Studio album by
Janet Jackson
ReleasedFebruary 4, 1986 (1986-02-04)
RecordedAugust – October 1985
StudioFlyte Tyme (Minneapolis)
Genre
Length41:48
LabelA&M
Producer
Janet Jackson chronology
Dream Street
(1984) 		Control
(1986) 		Control: The Remixes
(1987)
Singles from Control
  1. "What Have You Done for Me Lately"
    Released: January 13, 1986
  2. "Nasty"
    Released: April 15, 1986
  3. "When I Think of You"
    Released: July 28, 1986
  4. "Control"
    Released: October 17, 1986
  5. "Let's Wait Awhile"
    Released: January 6, 1987
  6. "The Pleasure Principle"
    Released: May 12, 1987
  7. "Funny How Time Flies (When You're Having Fun)"
    Released: November 25, 1987

Containing autobiographical themes, a majority of the album's lyrics came as the result of a series of changes in her life: a recent annulment of her marriage to singer James DeBarge, severing her business affairs from her father and manager Joseph and the rest of the Jackson family, hiring the A&M executive John McClain as her new management, and her subsequent introduction to Jam and Lewis. The album has been praised by critics as both an artistic feat and as a personal testament of self-actualization. It has also been regarded as a template upon which numerous female artists have modeled their careers, particularly Black women.

Following its release, Control became Jackson's first album to top the Billboard 200 albums chart in the United States and five of its 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 singles chart, making Jackson the first female artist to have five top five hits from one album on the Billboard Hot 100 chart; "When I Think of You" became the singer's first number one hit. Control also set a record for the longest continuous run of charting singles on the Hot 100, at 65 consecutive weeks. Music videos created to promote the album's singles showcased her dancing ability and became a catalyst for MTV's evolving demographics. The album remained on the Billboard 200 chart for over two years. It has been certified five times platinum by the Recording Industry Association of America (RIAA) and has sold more than 10 million copies worldwide.[1][2][3]

Control went on to receive several accolades, including a nomination for the Grammy Award for Album of the Year and winning Producer of the Year, Non-Classical for Jam and Lewis in 1987. 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, in addition to being included in several publications "best of" album lists. In 2016, it was selected for exhibition in the National Museum of African American History and Culture (NMAAHC).

Background

Joseph Jackson, patriarch of the Jackson family of musicians, was known for managing the careers of all nine of his children – most notably, the successful career of The Jackson 5.[4] After arranging a recording contract with A&M in 1982 for a then 16-year-old Janet, he oversaw the entire production of her debut album, Janet Jackson, and its follow-up, Dream Street (1984); the latter of which was written and produced by her brothers Marlon and Michael, and Jesse Johnson.[5] Best known as a television actress, she was initially reluctant to begin a recording career. She said, "I was coming off of a TV show that I absolutely hated doing, Fame. I didn't want to do [the first record, Janet Jackson]. I wanted to go to college. But I did it for my father ..." and elaborated that she was often in conflict with her producers.[6] Amidst her professional struggles, she rebelled against her family's wishes by marrying James DeBarge of the family recording group DeBarge in 1984. The Jacksons disapproved of the relationship, citing DeBarge's immaturity and substance abuse. Jackson left her husband in January 1985 and was granted an annulment later that year.[7]

Jackson subsequently fired her father as her manager and employed John McClain, then A&M Records' senior vice president of artists and repertoire and general manager.[8] Commenting on the decision, she stated, "I just wanted to get out of the house, get out from under my father, which was one of the most difficult things that I had to do, telling him that I didn't want to work with him again."[6] Joseph Jackson resented John McClain for what he saw as an underhanded attempt to steal his daughter's career out from under him, stating, "I've worked hard for my family. The problem comes, though, when others come in behind you and try to steal them away. The wheels have already been set for Janet Jackson. Anyone who jumps on now will be getting a free ride."[9] McClain responded by saying "I'm not trying to pimp Janet Jackson or steal her away from her father."[9] He subsequently introduced her to the songwriting/production duo of James "Jimmy Jam" Harris III and Terry Lewis, former Prince associates and ex-members of The Time.[10]

Composition and production

When Jam and Lewis agreed to produce Jackson's third studio album, they wanted to appeal primarily 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."[4] Before their association with Jackson, Jam and Lewis had originally planned to record an album with tracks they wrote for Sharon Bryant, but she found their lyrics and sound to be too "rambunctious".[11] The duo presented the same set of recordings to Jackson, who gave her input and took co-writing and co-production credits for the album's content.[11] Jam and Lewis recalled that to collaborate with Jackson on the material, they spent the first week simply getting to know their new client. Lewis explained, "We got into her head. We saw what she was capable of, what she wanted to say, where she wanted to be, what she wanted to be. We put together some songs to fit her as we saw her, as she revealed herself to us. It was as simple as that."[12]

 
"Nasty"
Jackson's second single "Nasty" is one of the primary examples of what inspired the new jack swing sound, mixing funk with contemporary R&B in addition to its triplet swing beat. The song's lyrics recount Jackson's encounter with sexual harassment.
Problems playing this file? See media help.

For the song "What Have You Done for Me Lately", which was originally penned for one of Jam and Lewis's own records, the lyrics were rewritten to convey Jackson's feelings about her recent annulment from James DeBarge.[13] The song was chosen as the lead single for Control, as Jam and Lewis felt it best represented Jackson's outlook on life.[13] "Nasty", which in Jackson's opinion was the most innovative song on the album, was inspired by her experience with street harassment in Minneapolis by a group of men outside the hotel she resided at during the recording of Control.[13] She recalled, "They were emotionally abusive. Sexually threatening. Instead of running to Jimmy or Terry for protection, I took a stand. I backed them down. That's how songs like 'Nasty' and 'What Have You Done for Me Lately' were born, out of a sense of self-defense."[14] Jimmy Jam wrote and played the keyboard arrangement, with Jackson playing the accompaniment. Background vocals were sung by Jackson, Jam and Lewis.[13] The distinctive triplet swing beat of the song was developed by Jam on an Ensoniq Mirage keyboard.[13] "Let's Wait Awhile" was centered on safe sex and abstinence, a subject of significant social commentary at the time. Jam commented that it is common practice for songwriters to use current events as a means of inspiration for lyrics and that the AIDS pandemic had raised awareness about sexually transmitted diseases. He commented, "The theme of the song ('Let's Wait Awhile') was Janet's idea. She's not a preachy person. She's not telling people how to live their lives. All she's doing is offering an opinion."[15]

Although Joseph Jackson initially demanded that his daughter's new album be recorded in Los Angeles so that he could keep an eye out for her, Jam and Lewis refused.[12] They required the entire production of the album to be done at their own studio in Minneapolis, Minnesota, "far from the glitter and distractions of Hollywood and the interference of manager-fathers."[12] Jam stated, "We required that they put her in our hands. We had to do it on our turf, with no bodyguards, no star trips and none of Joe Jackson's people hanging around making suggestions."[12] Control was recorded at Flyte Tyme Studios, the site for Flyte Tyme Records, founded by Jimmy Jam and Terry Lewis in Minneapolis. "There's a little radiator I used to sit on when we did the Control album," Jackson recalled in 1993.[16] John McClain served as the executive producer.[17][18]

Jam and Lewis were the primary instrumentalists for the recording, including percussion, piano, drums, and also provided background vocals.[11][18] Jackson accompanied Jam and Lewis on keyboard and took part in composing the arrangements.[11][18] Stephen Holden of The New York Times observed the album was a prominent example of the developing relationship with musicians and modern technology, stating "... technology has altered the form, shape, scale and even the meaning of popular music ... The album wasn't created by a studio band, as were most pop-rock albums in the 1960s and '70s, but by the producers and the singer programming mechanized drum and keyboard textures."[19] Jackson's father disapproved of the new material and image of Control, claiming it would never sell.[9] In a cover story for Spin magazine titled "Damn It, Janet: The Battle for Control of Janet Jackson," Joseph was reported saying "[i]f Janet listens to me, she'll be as big as Michael."[20] She and McClain disregarded his objections.[9] Commenting on the final product, Jackson stated: "It's aggressive, cocky, very forward. It expresses exactly who I am and how I feel. I've taken control of my own life. This time I'm gonna do it my way."[21]

Album cover

Fashion photographer and illustrator Tony Viramontes created the stylized cover for the new album and the singles "Nasty" and "Control". Jackson said of Viramontes, "He was very creative, and I believe one day his work will be iconic. He was such a joy to work with. I miss him."[22] Author Dean Rhys Morgan in Bold, Beautiful and Damned: The World of Fashion Illustrator Tony Viramontes discusses how Jackson was "transformed from a former child star into an assured fashion forward figure with her trendsetting big hair and severe all black ensemble. Until this point, Jackson had been more a reflection than pioneer, more interpreter than innovator. This album was all about Janet and who she wanted to be."[22] Alexander Fury wrote in The Independent, "the artwork created with Eighties illustrator Tony Viramontes for Control stands the test of time."[23]

Release and promotion

 
Jackson performing a medley of the album's singles, "The Pleasure Principle", "Control" and "What Have You Done for Me Lately", during the Rock Witchu Tour in 2008.

Although A&M did not consider a full concert tour to promote Jackson's album, the label funded a three-week promotional tour across the United States in 13 cities following its release.[24] In addition to the studio release, a remix album, Control: The Remixes, was released in select countries in November 1987.[25] Jackson's lyrical expression has been noted as one of the key elements of the album's success. Author Dave Marsh in The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made (1999) comments: "Certainly, Janet must have written her own lyrics, which went after men—in particular, not very well disguised stand-ins for her father and former husband—more venomously than another guy would have dared. Control, the resulting album, was one of the best-sellers of 1986–1987, producing five hit singles."[11]

Jesus Garber, then-director of A&M's black music marketing and promotion, noted that in addition to crossover promotion from black to pop music charts, music video was utilized to launch Jackson into superstardom.[26] Eric 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."[27] Henderson commented that Jackson's dancing ability, trained by a then-unknown Paula Abdul, only served to propel her into further stardom.[27] Charlie Minor, then-senior vice president of promotion for A&M stated: "The images completed the image of Janet Jackson with the buyer ... They gave her a face, dance, action identity with the songs, and a visual image of her as a rock 'n' roll star."[26] Jonathan Cohen of Billboard magazine commented "[Jackson's] accessible sound and spectacularly choreographed videos were irresistible to MTV, and helped the channel evolve from rock programming to a broader, beat-driven musical mix."[28] The video for "Nasty" received three nominations for the fifth annual 1987 MTV Video Music Awards, winning Best Choreography for Paula Abdul.[29]

Commercial performance

 
Jackson singing "Let's Wait Awhile" during her 2015–16 Unbreakable World Tour.

Control debuted at number 84 on the Billboard 200 on March 8, 1986, and at number 26 on the Top R&B/Black Albums on March 1, 1986. After twenty weeks, it topped the Billboard 200 and the Top R&B/Black Albums chart, selling 250,000 copies in a single week, a record for an album by a female artist.[30][31][a] The Recording Industry Association of America (RIAA) first certified Control gold in April 1986, denoting 500,000 units shipped within the United States.[32] Two months later, in June 1986, the album was RIAA certified platinum, denoting 1 million units shipped.[32] Three years later, Control was RIAA certified fivefold platinum in October 1989.[32] By 1990, Control had sold 5 million copies in the United States[33] and as of December 2009, the album has sold 496,000 copies in the U.S. since 1991 according to Nielsen SoundScan, which does not count albums sold through clubs like the BMG Music, where she sold 883,000.[34] Combined, it has sold over 6,379,000 copies in the U.S.[35] Since its debut, Control has sold over 10 million copies worldwide.[1]

The album's lead single, "What Have You Done for Me Lately", peaked at number four on the Billboard Hot 100 singles chart and at number one on the Hot Black Singles chart.[36][b] The single was certified gold by the RIAA in November 1990.[37] The song was compared favorably to similar recordings of female empowerment released by black women, such as "New Attitude" by Patti LaBelle, "Better Be Good to Me" by Tina Turner, and "Sisters Are Doin' It for Themselves" by Aretha Franklin. Oprah Winfrey commented: "What you're seeing in all the areas of arts and entertainment is black women internalizing the idea of black power and pride ... Black women started listening to their inner cues, rather than society or even the black community's idea of what they are supposed to be and can be."[38] "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 and at number one on the Hot Black Singles chart.[36] It was certified gold in November 1990.[39] Critic Jon Bream noted "the songwriters have slyly juxtaposed a nasty-sounding groove and the repetition of the word 'nasty' with a subtle antinasty message."[40]

"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 in November 1990.[36][41] The album's fourth single and title track, "Control", reached its peak position at number five on the Hot 100 and at number one on the Hot Black Singles chart, later certified gold by the RIAA in November 1990.[36][42] "Let's Wait Awhile" reached the number two position on the Hot 100 and number one on the Hot Black Singles chart.[36] Clarence Page of the Chicago Tribune commented in a similar vein to "Nasty", the ballad "throw[s] cold water on the passions of young love 'before we go too far'."[43] Unlike its predecessors, "The Pleasure Principle" did not reach within the top five of the Hot 100, instead peaking at number fourteen. It did, however, become Jackson's fifth number one single on the Hot Black Singles chart.[36] Each of the album's singles excluding "Let's Wait Awhile" peaked within the top five of the Billboard Club Play Singles.[36][c] "Funny How Time Flies (When You're Having Fun)" was not released as a commercial single in the United States. It peaked at number 59 on the UK Singles Chart.[25]

Critical reception

Professional ratings
Review scores
SourceRating
AllMusic     [44]
Christgau's Record GuideB[45]
Encyclopedia of Popular Music     [46]
The Guardian     [47]
The Rolling Stone Album Guide     [48]
Slant Magazine     [27]

Upon its release, the album received widespread critical acclaim from critics. 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.[49] Hoerburger expressed the view 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."[49] Steven Ivory of Billboard expressed "[v]ocally, Jackson is more aggressive than ever. Indeed, her exhibition of sass and funkiness is certainly more provocative" in comparison to her previous work.[50] NME wrote: "Jackson has gone a long way in shaking off the experience of being a shadow Jackson child. She is an artist in her own right."[51] 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."[52] In The Village Voice, Robert Christgau "scoffed at Janet's claims of autonomy", but applauded Jam & Lewis's beats as "their deepest ever" while finding Jackson's contribution entertaining enough.[53] Los Angeles Times critic Connie Johnson wrote: "Though still a teen-ager, this singer's stance is remarkably nervy and mature. She has a snotty sort of assurance that permeates several cuts, plus the musical muscle to back it up."[54] Jon Pareles of The New York Times notes Control takes obvious influence from Prince, describing "[t]he album's pacing, its clipped vocal lines—even the spoken introduction that starts things off" as pure Minneapolis sound; he adds "[b]ut where the Prince style is usually connected with heavy-breathing come-ons, Miss Jackson is cheerfully standoffish."[55]

For the 29th Annual Grammy Awards, Control received four nominations: Album of the Year, Best R&B Song for "What Have You Done for Me Lately", Best Female R&B Vocal Performance and Non-Classical Producer of the Year for Jimmy Jam and Terry Lewis. Jam and Lewis won Producer of the Year.[56] The album earned a record-breaking twelve nominations from the American Music Awards, winning four.[57][58] Jackson also won three Soul Train Music Awards and six Billboard Music Awards.[59][60][61]

Later 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.[27] 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."[27] 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.[27] 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.[62] In The New Rolling Stone Album Guide (2004), Laura Sinagra said that on Control, "Jam and Lewis perfected their melodic, full-blown funk attack", while Jackson "filled each track with a breathy believability" with vocal performances that ranged from yearning to seductive.[48] In 2020, Rolling Stone ranked Control number 111 on the reboot of its list of 'The 500 Greatest Albums of All Time'.[63]

Accolades

Organization Country Accolade Year Source
Billboard Year-End Charts United States Top Black Artist, Top Black Singles Artist, Top Dance Club Play Artist, Top Dance Sales Artist, Top Pop Singles Artist, Top Pop Singles Artist, Female 1986 [61]
Grammy Awards United States Producer of the Year, Non-Classical 1987 [19]
American Music Awards United States Favorite Soul/R&B Single ("Nasty"), Favorite Soul/R&B Female Video Artist 1987 [57]
Soul Train Music Awards United States Best Music Video ("What Have You Done for Me Lately"), Album of the Year, Female (Control) 1987 [59]
MTV Video Music Awards United States Best Choreography ("Nasty") 1987 [29]
American Music Awards United States Favorite Soul/R&B Video ("When I Think of You"), Favorite Pop/Rock Video ("When I Think of You") 1988 [58]
Soul Train Music Awards United States Best Music Video ("Control") 1988 [60]
MTV Video Music Awards United States Best Choreography ("The Pleasure Principle") 1988 [64]
Rolling Stone United States "Rolling Stone's 100 Best Albums of the Eighties" (ranked 28) 1989 [65]
Vibe United States "100 Essential Albums of the 20th Century" (no rank) 1999 [66]
Q United Kingdom "100 Women Who Rock the World" (ranked 72) 2002 [67]
Slant Magazine United States "Vital Pop: 50 Essential Pop Albums" (no rank) 2003 [68]
Rock and Roll Hall of Fame United States "The Definitive 200: Top 200 Albums of All-Time" (ranked 86) 2007 [69]
The Guardian United Kingdom "1000 Albums To Hear Before You Die" (no rank) 2007 [70]
Vibe United States "The Unfadeable 51" (no rank) 2008 [71]
Slant Magazine United States "Best Albums of the '80s" (ranked 31) 2012 [72]
Spin United States "The 300 Best Albums of the Past 30 Years (1985–2014)" (ranked 234) 2014 [73]
Billboard United States "Greatest of All Time Top R&B/Hip-Hop Albums" (ranked 16) 2017 [74]
NPR United States "Turning The Tables: The 150 Greatest Albums Made By Women" (ranked 17) 2017 [75]
Pitchfork United States "The 200 Best Albums of the 1980s" (ranked 8) 2018 [76]
Cleveland.com United States "The 80 greatest albums of the 1980s by Rock Hall Inductees" (ranked 9) 2020 [77]
Rolling Stone United States "The 500 Greatest Albums of All Time" (ranked 111) 2020 [78]

Legacy

Her 1986 album Control is important to the development of R&B for a number of reasons. The primary producers of Control, Jimmy Jam, Terry Lewis, and Jackson herself, 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.

Richard J. Ripani, The New Blue Music, 2006[79]

Control is widely considered to be the breakthrough in Jackson's career, establishing her independence and dominance in the realm of popular music.[4] In The Sex Revolts: Gender, Rebellion, and Rock'n'roll (1996) author Simon Reynolds wrote that "Janet Jackson became a superstar with the immaculately designed soft-core feminism of Control."[80] Jet magazine commented that although the Jackson family's musical legacy had given her an opportunity to tap into an international audience, Control was the turning point at which "her career took off and she became a bona fide superstar. Control showcased Janet as a person who was firmly and finally in control of her own life."[81] Dennis Hunt of the Los Angeles Times wrote: "Previously, she had recorded two unsophisticated, kiddie soul albums. If you listened carefully to that kid stuff, there was a grown-up singer there somewhere struggling to get out. [Jimmy Jam and Terry Lewis] liberated the real Janet Jackson."[82]

Lyrically, Jackson's album is said to exhibit a "politically driven feminist" message, as stated by Lilly Goren in You've Come A Long Way, Baby: Women, Politics, and Popular Culture (2009).[83] Musically, according to Rickey Vincent, author of Funk: The Music, The People, and The Rhythm of The One (1996), Jam and Lewis's collaboration with her is said to be one of the high points of the 1980s, as they redefined dance music by mixing a youthful sound with industrial-strength beats.[84] As documented by musicologist Richard J. Ripani, author of The New Blue Music: Changes in Rhythm & Blues, 1950–1999 (2006), Control is regarded as one of the most influential albums in the history of rhythm and blues and the first album to bridge the gap between R&B and rap music. Its success in both the mainstream R&B and pop music charts "led to the incorporation of many of the stylistic traits of rap over the next few years, and Janet Jackson was to continue to be one of the leaders in that development."[79] Furthermore, the album's second single "Nasty" has been credited with influencing the new jack swing genre, pioneered by Teddy Riley.[79][85] Laura Sinagra in The New Rolling Stone Album Guide wrote that the album impacted popular music with a "blockbuster momentum all its own", while Eric Henderson of Slant Magazine noted Control "was every bit the hit machine that her brother's Thriller was."[27][48] Additionally, Control made Billboard Hot 100 history having the longest continuous run on the Hot 100 with singles from one album at 65 consecutive weeks, breaking her brother Michael's record by one week; Thriller by comparison charted singles for 64 consecutive weeks.[86] Steve Morse of The Boston Globe commented: "All things considered, 1986 was a stellar year for the black female vocalist—the best, in fact, since the disco era of a decade back ... Black music crossed over to the pop charts in dramatic fashion, with Whitney Houston, Patti LaBelle and Janet Jackson each having No. 1 albums."[87]

In addition to stepping out of the Jackson family shadow, Control established Jackson as one of the preeminent female artists of popular music, rivaling fellow pop star Madonna, as critics began to acknowledge their influence on the record industry and younger artists. Continuum Encyclopedia of Popular Music of the World Volume 8: Genres: North America (2012) documents that both women redefined house music, repackaging it "as part of a global metropolitan pop aesthetic."[88] With regard to marketing singles, Paul Grein of Billboard reported: "10 or 20 years ago you would have had two singles from an album at the most. Now we're in an era where Madonna is on her fifth single from the album True Blue and Janet Jackson is on her sixth from the LP Control."[89] Jackson subsequently became the first female artist to produce six top 40 hits on the Billboard Hot 100 from a single album.[90] Los Angeles Times writer Paul Grein wrote a segment titled "The influence of Madonna and Janet Jackson", reporting Debbie Gibson's manager Doug Breitbart claimed "Madonna has brought back a really strong, melodic component to pop music", while Teen Beat editor Maggie Murphy remarked "Janet Jackson may have started this more than anyone else."[91] Anthony DeCurtis, author of Present Tense: Rock & Roll and Culture (1992) wrote that "Madonna and Janet Jackson have produced videos that explore the female gaze," and described Jackson's music video for "Nasty" as feminist theory on film that deconstructs the objectification of women.[92] Laura Sinagra documented that within two years of the release of Control, "a new crop of female singers (such as Paula Abdul and Karyn White) were charged with imitating Janet."[48] Anthony DeCurtis of Rolling Stone remarked: "Control—with its quintuple-platinum sales and string of hit singles—established" a then-twenty-year-old Jackson "as one of the most popular recording artists in the world."[93] The Guardian described the album's release as one of the 50 key events in the history of R&B and hip hop.[94]

Upon the 30th anniversary of the album's release, Julian Kimble of Billboard magazine wrote: "In hindsight, Control is both evolutionary and revolutionary. As Jackson’s first album to land atop the Billboard 200, it marked professional and personal breakthroughs. Distancing herself from the immense Jackson family shadow, she created one of the most influential projects across contemporary R&B and pop music. And not only was Jackson’s maiden voyage with producers Jimmy Jam and Terry Lewis at the forefront of R&B, pop and hip-hop’s intersection, it birthed a novel sound in the process."[95] Morgan Y. Evans for PopMatters' wrote: "Janet Jackson's Control is worth reconsidering as, perhaps boldly, one of the top three or four pop records of the '80s...It is unquestionably the most coherent and powerful full album statement from any female solo pop artist during much of the '80s, some of Kate Bush's more eccentric triumphs that decade notwithstanding."[96] Kyle Anderson of Entertainment Weekly commented: "The videos from Control were all over MTV, and Janet established herself as an instantly dominant pop figure talked about in the same sentences as Madonna and her older brother Michael."[97] MTV's Meaghan Garvey asserted "it's hard to overstate the significance of Control, whether in terms of the pop landscape, the evolution of the music video as a vessel for promotion and expression, or Top 40 feminist anthems." She also argued "it's important to note that Control’s self-actualization anthems were expressions of black female pride. Control spawned a whopping six videos—great ones, at that—which played an immeasurable role in the shift toward visible black pop."[98] Gerrick D. Kennedy of Los Angeles Times wrote that Jackson's continued influence is evident in the careers of Rihanna, Beyoncé, Ciara, FKA Twigs and Tinashe in that "all of them take cues from Jackson's blueprint. And all that began with Control."[99] In 2016, a cassette of Control was added to the "Musical Crossroads" exhibition of the National Museum of African American History and Culture (NMAAHC).[100]

Track listing

No.TitleWriter(s)Producer(s)Length
1."Control"
5:53
2."Nasty"
  • Jackson
  • Harris
  • Lewis
  • Lewis
  • Jam
  • Jackson[a]
4:03
3."What Have You Done for Me Lately"
  • Jackson
  • Harris
  • Lewis
  • Lewis
  • Jam
  • Jackson[a]
4:59
4."You Can Be Mine"
  • Harris
  • Lewis
5:16
5."The Pleasure Principle"Monte Moir
4:58
6."When I Think of You"
  • Harris
  • Lewis
  • Lewis
  • Jam
  • Jackson[a]
3:56
7."He Doesn't Know I'm Alive"Spencer Bernard
3:30
8."Let's Wait Awhile"
  • Jackson
  • Harris
  • Lewis
  • Melanie Andrews
  • Lewis
  • Jam
  • Jackson
4:37
9."Funny How Time Flies (When You're Having Fun)"
  • Harris
  • Lewis
  • Lewis
  • Jam
  • Jackson[a]
4:29
Total length:41:48
Japanese first pressing edition
No.TitleWriter(s)Producer(s)Length
5."Start Anew"
  • Ralph McCarthy
  • Yuji Toriyama
30th Music4:19
6."The Pleasure Principle"Moir
4:58
7."When I Think of You"
  • Harris
  • Lewis
  • Lewis
  • Jam
  • Jackson[a]
3:56
8."He Doesn't Know I'm Alive"Bernard
3:30
9."Let's Wait Awhile"
  • Jackson
  • Harris
  • Lewis
  • Andrews
  • Lewis
  • Jam
  • Jackson
4:37
10."Funny How Time Flies (When You're Having Fun)"
  • Harris
  • Lewis
  • Lewis
  • Jam
  • Jackson[a]
4:29

Notes

  • ^[a] signifies a co-producer

Personnel

  • Janet Jackson – vocals, background vocals, keyboards, bells
  • Melanie Andrews – background vocals
  • Troy Anthony – saxophone
  • Jerome Benton – vocals
  • Spencer Bernard – synthesizer, guitar
  • Geoff Bouchieiz – guitar
  • Mark Cardenas – synthesizer
  • Roger Dumas – drums, programming
  • Jimmy Jam – synthesizer, percussion, piano, drums, vocals, background vocals
  • Jellybean Johnson – guitar, vocals
  • Lisa Keith – background vocals
  • Terry Lewis – percussion, vocals, background vocals
  • John McClain – executive producer
  • Monte Moir – synthesizer, guitar, drums
  • Nicholas Raths – acoustic and 12-string guitar
  • Gwendolyn Traylor – background vocals
  • Hami Wave – background vocals

Charts

Certifications

Region Certification Certified units/sales
Australia (ARIA)[126] Gold 35,000^
Canada (Music Canada)[127] Platinum 100,000^
Netherlands (NVPI)[128] Platinum 100,000^
New Zealand (RMNZ)[129] Gold 7,500^
United Kingdom (BPI)[130] Platinum 300,000^
United States (RIAA)[131] 5× Platinum 5,000,000^
Summaries
Worldwide — 10,000,000[1][2][3]

^ Shipments figures based on certification alone.

See also

Notes

^ a: Originally titled "Top R&B/Black Albums", the chart is now known as "Top R&B/Hip-Hop Albums"
^ b: Formerly titled "Hot Black Singles chart", the chart is now known as "Hot R&B/Hip-Hop Songs"
^ c: Originally titled "Club Play Singles", the chart is now known as "Dance Club Songs"

References

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External links

  • Control Video Page at janetjackson.com

Further reading

March 06, 2023
control, janet, jackson, album, control, third, studio, album, american, singer, janet, jackson, released, february, 1986, records, collaborations, with, songwriters, record, producers, jimmy, terry, lewis, resulted, unconventional, sound, fusion, rhythm, blue. Control is the third studio album by American singer Janet Jackson released on February 4 1986 by A amp M Records Her collaborations with the songwriters and record producers Jimmy Jam and Terry Lewis resulted in an unconventional sound a fusion of rhythm and blues rap vocals funk disco and synthesized percussion that established Jackson Jam and Lewis as the leading innovators of contemporary R amp B The distinctive triplet swing beat utilized on the record is also considered to be a precursor to the new jack swing genre The album became Jackson s commercial breakthrough and enabled her to transition into the popular music market with Control becoming one of the foremost albums of the 1980s and contemporary music ControlStudio album by Janet JacksonReleasedFebruary 4 1986 1986 02 04 RecordedAugust October 1985StudioFlyte Tyme Minneapolis GenrePop R amp BLength41 48LabelA amp MProducerJimmy Jam and Terry Lewis Monte MoirJanet Jackson chronologyDream Street 1984 Control 1986 Control The Remixes 1987 Singles from Control What Have You Done for Me Lately Released January 13 1986 Nasty Released April 15 1986 When I Think of You Released July 28 1986 Control Released October 17 1986 Let s Wait Awhile Released January 6 1987 The Pleasure Principle Released May 12 1987 Funny How Time Flies When You re Having Fun Released November 25 1987Containing autobiographical themes a majority of the album s lyrics came as the result of a series of changes in her life a recent annulment of her marriage to singer James DeBarge severing her business affairs from her father and manager Joseph and the rest of the Jackson family hiring the A amp M executive John McClain as her new management and her subsequent introduction to Jam and Lewis The album has been praised by critics as both an artistic feat and as a personal testament of self actualization It has also been regarded as a template upon which numerous female artists have modeled their careers particularly Black women Following its release Control became Jackson s first album to top the Billboard 200 albums chart in the United States and five of its 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 singles chart making Jackson the first female artist to have five top five hits from one album on the Billboard Hot 100 chart When I Think of You became the singer s first number one hit Control also set a record for the longest continuous run of charting singles on the Hot 100 at 65 consecutive weeks Music videos created to promote the album s singles showcased her dancing ability and became a catalyst for MTV s evolving demographics The album remained on the Billboard 200 chart for over two years It has been certified five times platinum by the Recording Industry Association of America RIAA and has sold more than 10 million copies worldwide 1 2 3 Control went on to receive several accolades including a nomination for the Grammy Award for Album of the Year and winning Producer of the Year Non Classical for Jam and Lewis in 1987 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 in addition to being included in several publications best of album lists In 2016 it was selected for exhibition in the National Museum of African American History and Culture NMAAHC Contents 1 Background 2 Composition and production 3 Album cover 4 Release and promotion 5 Commercial performance 6 Critical reception 7 Accolades 8 Legacy 9 Track listing 10 Personnel 11 Charts 11 1 Weekly charts 11 2 Year end charts 11 3 All time chart 12 Certifications 13 See also 14 Notes 15 References 16 External links 17 Further readingBackground EditJoseph Jackson patriarch of the Jackson family of musicians was known for managing the careers of all nine of his children most notably the successful career of The Jackson 5 4 After arranging a recording contract with A amp M in 1982 for a then 16 year old Janet he oversaw the entire production of her debut album Janet Jackson and its follow up Dream Street 1984 the latter of which was written and produced by her brothers Marlon and Michael and Jesse Johnson 5 Best known as a television actress she was initially reluctant to begin a recording career She said I was coming off of a TV show that I absolutely hated doing Fame I didn t want to do the first record Janet Jackson I wanted to go to college But I did it for my father and elaborated that she was often in conflict with her producers 6 Amidst her professional struggles she rebelled against her family s wishes by marrying James DeBarge of the family recording group DeBarge in 1984 The Jacksons disapproved of the relationship citing DeBarge s immaturity and substance abuse Jackson left her husband in January 1985 and was granted an annulment later that year 7 Jackson subsequently fired her father as her manager and employed John McClain then A amp M Records senior vice president of artists and repertoire and general manager 8 Commenting on the decision she stated I just wanted to get out of the house get out from under my father which was one of the most difficult things that I had to do telling him that I didn t want to work with him again 6 Joseph Jackson resented John McClain for what he saw as an underhanded attempt to steal his daughter s career out from under him stating I ve worked hard for my family The problem comes though when others come in behind you and try to steal them away The wheels have already been set for Janet Jackson Anyone who jumps on now will be getting a free ride 9 McClain responded by saying I m not trying to pimp Janet Jackson or steal her away from her father 9 He subsequently introduced her to the songwriting production duo of James Jimmy Jam Harris III and Terry Lewis former Prince associates and ex members of The Time 10 Composition and production EditWhen Jam and Lewis agreed to produce Jackson s third studio album they wanted to appeal primarily 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 4 Before their association with Jackson Jam and Lewis had originally planned to record an album with tracks they wrote for Sharon Bryant but she found their lyrics and sound to be too rambunctious 11 The duo presented the same set of recordings to Jackson who gave her input and took co writing and co production credits for the album s content 11 Jam and Lewis recalled that to collaborate with Jackson on the material they spent the first week simply getting to know their new client Lewis explained We got into her head We saw what she was capable of what she wanted to say where she wanted to be what she wanted to be We put together some songs to fit her as we saw her as she revealed herself to us It was as simple as that 12 Nasty source source Jackson s second single Nasty is one of the primary examples of what inspired the new jack swing sound mixing funk with contemporary R amp B in addition to its triplet swing beat The song s lyrics recount Jackson s encounter with sexual harassment Problems playing this file See media help For the song What Have You Done for Me Lately which was originally penned for one of Jam and Lewis s own records the lyrics were rewritten to convey Jackson s feelings about her recent annulment from James DeBarge 13 The song was chosen as the lead single for Control as Jam and Lewis felt it best represented Jackson s outlook on life 13 Nasty which in Jackson s opinion was the most innovative song on the album was inspired by her experience with street harassment in Minneapolis by a group of men outside the hotel she resided at during the recording of Control 13 She recalled They were emotionally abusive Sexually threatening Instead of running to Jimmy or Terry for protection I took a stand I backed them down That s how songs like Nasty and What Have You Done for Me Lately were born out of a sense of self defense 14 Jimmy Jam wrote and played the keyboard arrangement with Jackson playing the accompaniment Background vocals were sung by Jackson Jam and Lewis 13 The distinctive triplet swing beat of the song was developed by Jam on an Ensoniq Mirage keyboard 13 Let s Wait Awhile was centered on safe sex and abstinence a subject of significant social commentary at the time Jam commented that it is common practice for songwriters to use current events as a means of inspiration for lyrics and that the AIDS pandemic had raised awareness about sexually transmitted diseases He commented The theme of the song Let s Wait Awhile was Janet s idea She s not a preachy person She s not telling people how to live their lives All she s doing is offering an opinion 15 Although Joseph Jackson initially demanded that his daughter s new album be recorded in Los Angeles so that he could keep an eye out for her Jam and Lewis refused 12 They required the entire production of the album to be done at their own studio in Minneapolis Minnesota far from the glitter and distractions of Hollywood and the interference of manager fathers 12 Jam stated We required that they put her in our hands We had to do it on our turf with no bodyguards no star trips and none of Joe Jackson s people hanging around making suggestions 12 Control was recorded at Flyte Tyme Studios the site for Flyte Tyme Records founded by Jimmy Jam and Terry Lewis in Minneapolis There s a little radiator I used to sit on when we did the Control album Jackson recalled in 1993 16 John McClain served as the executive producer 17 18 Jam and Lewis were the primary instrumentalists for the recording including percussion piano drums and also provided background vocals 11 18 Jackson accompanied Jam and Lewis on keyboard and took part in composing the arrangements 11 18 Stephen Holden of The New York Times observed the album was a prominent example of the developing relationship with musicians and modern technology stating technology has altered the form shape scale and even the meaning of popular music The album wasn t created by a studio band as were most pop rock albums in the 1960s and 70s but by the producers and the singer programming mechanized drum and keyboard textures 19 Jackson s father disapproved of the new material and image of Control claiming it would never sell 9 In a cover story for Spin magazine titled Damn It Janet The Battle for Control of Janet Jackson Joseph was reported saying i f Janet listens to me she ll be as big as Michael 20 She and McClain disregarded his objections 9 Commenting on the final product Jackson stated It s aggressive cocky very forward It expresses exactly who I am and how I feel I ve taken control of my own life This time I m gonna do it my way 21 Album cover EditFashion photographer and illustrator Tony Viramontes created the stylized cover for the new album and the singles Nasty and Control Jackson said of Viramontes He was very creative and I believe one day his work will be iconic He was such a joy to work with I miss him 22 Author Dean Rhys Morgan in Bold Beautiful and Damned The World of Fashion Illustrator Tony Viramontes discusses how Jackson was transformed from a former child star into an assured fashion forward figure with her trendsetting big hair and severe all black ensemble Until this point Jackson had been more a reflection than pioneer more interpreter than innovator This album was all about Janet and who she wanted to be 22 Alexander Fury wrote in The Independent the artwork created with Eighties illustrator Tony Viramontes for Control stands the test of time 23 Release and promotion Edit Jackson performing a medley of the album s singles The Pleasure Principle Control and What Have You Done for Me Lately during the Rock Witchu Tour in 2008 Although A amp M did not consider a full concert tour to promote Jackson s album the label funded a three week promotional tour across the United States in 13 cities following its release 24 In addition to the studio release a remix album Control The Remixes was released in select countries in November 1987 25 Jackson s lyrical expression has been noted as one of the key elements of the album s success Author Dave Marsh in The Heart of Rock amp Soul The 1001 Greatest Singles Ever Made 1999 comments Certainly Janet must have written her own lyrics which went after men in particular not very well disguised stand ins for her father and former husband more venomously than another guy would have dared Control the resulting album was one of the best sellers of 1986 1987 producing five hit singles 11 Jesus Garber then director of A amp M s black music marketing and promotion noted that in addition to crossover promotion from black to pop music charts music video was utilized to launch Jackson into superstardom 26 Eric 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 27 Henderson commented that Jackson s dancing ability trained by a then unknown Paula Abdul only served to propel her into further stardom 27 Charlie Minor then senior vice president of promotion for A amp M stated The images completed the image of Janet Jackson with the buyer They gave her a face dance action identity with the songs and a visual image of her as a rock n roll star 26 Jonathan Cohen of Billboard magazine commented Jackson s accessible sound and spectacularly choreographed videos were irresistible to MTV and helped the channel evolve from rock programming to a broader beat driven musical mix 28 The video for Nasty received three nominations for the fifth annual 1987 MTV Video Music Awards winning Best Choreography for Paula Abdul 29 Commercial performance Edit Jackson singing Let s Wait Awhile during her 2015 16 Unbreakable World Tour Control debuted at number 84 on the Billboard 200 on March 8 1986 and at number 26 on the Top R amp B Black Albums on March 1 1986 After twenty weeks it topped the Billboard 200 and the Top R amp B Black Albums chart selling 250 000 copies in a single week a record for an album by a female artist 30 31 a The Recording Industry Association of America RIAA first certified Control gold in April 1986 denoting 500 000 units shipped within the United States 32 Two months later in June 1986 the album was RIAA certified platinum denoting 1 million units shipped 32 Three years later Control was RIAA certified fivefold platinum in October 1989 32 By 1990 Control had sold 5 million copies in the United States 33 and as of December 2009 the album has sold 496 000 copies in the U S since 1991 according to Nielsen SoundScan which does not count albums sold through clubs like the BMG Music where she sold 883 000 34 Combined it has sold over 6 379 000 copies in the U S 35 Since its debut Control has sold over 10 million copies worldwide 1 The album s lead single What Have You Done for Me Lately peaked at number four on the Billboard Hot 100 singles chart and at number one on the Hot Black Singles chart 36 b The single was certified gold by the RIAA in November 1990 37 The song was compared favorably to similar recordings of female empowerment released by black women such as New Attitude by Patti LaBelle Better Be Good to Me by Tina Turner and Sisters Are Doin It for Themselves by Aretha Franklin Oprah Winfrey commented What you re seeing in all the areas of arts and entertainment is black women internalizing the idea of black power and pride Black women started listening to their inner cues rather than society or even the black community s idea of what they are supposed to be and can be 38 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 and at number one on the Hot Black Singles chart 36 It was certified gold in November 1990 39 Critic Jon Bream noted the songwriters have slyly juxtaposed a nasty sounding groove and the repetition of the word nasty with a subtle antinasty message 40 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 in November 1990 36 41 The album s fourth single and title track Control reached its peak position at number five on the Hot 100 and at number one on the Hot Black Singles chart later certified gold by the RIAA in November 1990 36 42 Let s Wait Awhile reached the number two position on the Hot 100 and number one on the Hot Black Singles chart 36 Clarence Page of the Chicago Tribune commented in a similar vein to Nasty the ballad throw s cold water on the passions of young love before we go too far 43 Unlike its predecessors The Pleasure Principle did not reach within the top five of the Hot 100 instead peaking at number fourteen It did however become Jackson s fifth number one single on the Hot Black Singles chart 36 Each of the album s singles excluding Let s Wait Awhile peaked within the top five of the Billboard Club Play Singles 36 c Funny How Time Flies When You re Having Fun was not released as a commercial single in the United States It peaked at number 59 on the UK Singles Chart 25 Critical reception EditProfessional ratingsReview scoresSourceRatingAllMusic 44 Christgau s Record GuideB 45 Encyclopedia of Popular Music 46 The Guardian 47 The Rolling Stone Album Guide 48 Slant Magazine 27 Upon its release the album received widespread critical acclaim from critics 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 49 Hoerburger expressed the view that tracks such as Nasty and What Have You Done for Me Lately erased the former pop ingenue 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 49 Steven Ivory of Billboard expressed v ocally Jackson is more aggressive than ever Indeed her exhibition of sass and funkiness is certainly more provocative in comparison to her previous work 50 NME wrote Jackson has gone a long way in shaking off the experience of being a shadow Jackson child She is an artist in her own right 51 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 52 In The Village Voice Robert Christgau scoffed at Janet s claims of autonomy but applauded Jam amp Lewis s beats as their deepest ever while finding Jackson s contribution entertaining enough 53 Los Angeles Times critic Connie Johnson wrote Though still a teen ager this singer s stance is remarkably nervy and mature She has a snotty sort of assurance that permeates several cuts plus the musical muscle to back it up 54 Jon Pareles of The New York Times notes Control takes obvious influence from Prince describing t he album s pacing its clipped vocal lines even the spoken introduction that starts things off as pure Minneapolis sound he adds b ut where the Prince style is usually connected with heavy breathing come ons Miss Jackson is cheerfully standoffish 55 For the 29th Annual Grammy Awards Control received four nominations Album of the Year Best R amp B Song for What Have You Done for Me Lately Best Female R amp B Vocal Performance and Non Classical Producer of the Year for Jimmy Jam and Terry Lewis Jam and Lewis won Producer of the Year 56 The album earned a record breaking twelve nominations from the American Music Awards winning four 57 58 Jackson also won three Soul Train Music Awards and six Billboard Music Awards 59 60 61 Later 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 27 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 27 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 27 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 62 In The New Rolling Stone Album Guide 2004 Laura Sinagra said that on Control Jam and Lewis perfected their melodic full blown funk attack while Jackson filled each track with a breathy believability with vocal performances that ranged from yearning to seductive 48 In 2020 Rolling Stone ranked Control number 111 on the reboot of its list of The 500 Greatest Albums of All Time 63 Accolades EditOrganization Country Accolade Year SourceBillboard Year End Charts United States Top Black Artist Top Black Singles Artist Top Dance Club Play Artist Top Dance Sales Artist Top Pop Singles Artist Top Pop Singles Artist Female 1986 61 Grammy Awards United States Producer of the Year Non Classical 1987 19 American Music Awards United States Favorite Soul R amp B Single Nasty Favorite Soul R amp B Female Video Artist 1987 57 Soul Train Music Awards United States Best Music Video What Have You Done for Me Lately Album of the Year Female Control 1987 59 MTV Video Music Awards United States Best Choreography Nasty 1987 29 American Music Awards United States Favorite Soul R amp B Video When I Think of You Favorite Pop Rock Video When I Think of You 1988 58 Soul Train Music Awards United States Best Music Video Control 1988 60 MTV Video Music Awards United States Best Choreography The Pleasure Principle 1988 64 Rolling Stone United States Rolling Stone s 100 Best Albums of the Eighties ranked 28 1989 65 Vibe United States 100 Essential Albums of the 20th Century no rank 1999 66 Q United Kingdom 100 Women Who Rock the World ranked 72 2002 67 Slant Magazine United States Vital Pop 50 Essential Pop Albums no rank 2003 68 Rock and Roll Hall of Fame United States The Definitive 200 Top 200 Albums of All Time ranked 86 2007 69 The Guardian United Kingdom 1000 Albums To Hear Before You Die no rank 2007 70 Vibe United States The Unfadeable 51 no rank 2008 71 Slant Magazine United States Best Albums of the 80s ranked 31 2012 72 Spin United States The 300 Best Albums of the Past 30 Years 1985 2014 ranked 234 2014 73 Billboard United States Greatest of All Time Top R amp B Hip Hop Albums ranked 16 2017 74 NPR United States Turning The Tables The 150 Greatest Albums Made By Women ranked 17 2017 75 Pitchfork United States The 200 Best Albums of the 1980s ranked 8 2018 76 Cleveland com United States The 80 greatest albums of the 1980s by Rock Hall Inductees ranked 9 2020 77 Rolling Stone United States The 500 Greatest Albums of All Time ranked 111 2020 78 Legacy EditHer 1986 album Control is important to the development of R amp B for a number of reasons The primary producers of Control Jimmy Jam Terry Lewis and Jackson herself 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 Richard J Ripani The New Blue Music 2006 79 Control is widely considered to be the breakthrough in Jackson s career establishing her independence and dominance in the realm of popular music 4 In The Sex Revolts Gender Rebellion and Rock n roll 1996 author Simon Reynolds wrote that Janet Jackson became a superstar with the immaculately designed soft core feminism of Control 80 Jet magazine commented that although the Jackson family s musical legacy had given her an opportunity to tap into an international audience Control was the turning point at which her career took off and she became a bona fide superstar Control showcased Janet as a person who was firmly and finally in control of her own life 81 Dennis Hunt of the Los Angeles Times wrote Previously she had recorded two unsophisticated kiddie soul albums If you listened carefully to that kid stuff there was a grown up singer there somewhere struggling to get out Jimmy Jam and Terry Lewis liberated the real Janet Jackson 82 Lyrically Jackson s album is said to exhibit a politically driven feminist message as stated by Lilly Goren in You ve Come A Long Way Baby Women Politics and Popular Culture 2009 83 Musically according to Rickey Vincent author of Funk The Music The People and The Rhythm of The One 1996 Jam and Lewis s collaboration with her is said to be one of the high points of the 1980s as they redefined dance music by mixing a youthful sound with industrial strength beats 84 As documented by musicologist Richard J Ripani author of The New Blue Music Changes in Rhythm amp Blues 1950 1999 2006 Control is regarded as one of the most influential albums in the history of rhythm and blues and the first album to bridge the gap between R amp B and rap music Its success in both the mainstream R amp B and pop music charts led to the incorporation of many of the stylistic traits of rap over the next few years and Janet Jackson was to continue to be one of the leaders in that development 79 Furthermore the album s second single Nasty has been credited with influencing the new jack swing genre pioneered by Teddy Riley 79 85 Laura Sinagra in The New Rolling Stone Album Guide wrote that the album impacted popular music with a blockbuster momentum all its own while Eric Henderson of Slant Magazine noted Control was every bit the hit machine that her brother s Thriller was 27 48 Additionally Control made Billboard Hot 100 history having the longest continuous run on the Hot 100 with singles from one album at 65 consecutive weeks breaking her brother Michael s record by one week Thriller by comparison charted singles for 64 consecutive weeks 86 Steve Morse of The Boston Globe commented All things considered 1986 was a stellar year for the black female vocalist the best in fact since the disco era of a decade back Black music crossed over to the pop charts in dramatic fashion with Whitney Houston Patti LaBelle and Janet Jackson each having No 1 albums 87 In addition to stepping out of the Jackson family shadow Control established Jackson as one of the preeminent female artists of popular music rivaling fellow pop star Madonna as critics began to acknowledge their influence on the record industry and younger artists Continuum Encyclopedia of Popular Music of the World Volume 8 Genres North America 2012 documents that both women redefined house music repackaging it as part of a global metropolitan pop aesthetic 88 With regard to marketing singles Paul Grein of Billboard reported 10 or 20 years ago you would have had two singles from an album at the most Now we re in an era where Madonna is on her fifth single from the album True Blue and Janet Jackson is on her sixth from the LP Control 89 Jackson subsequently became the first female artist to produce six top 40 hits on the Billboard Hot 100 from a single album 90 Los Angeles Times writer Paul Grein wrote a segment titled The influence of Madonna and Janet Jackson reporting Debbie Gibson s manager Doug Breitbart claimed Madonna has brought back a really strong melodic component to pop music while Teen Beat editor Maggie Murphy remarked Janet Jackson may have started this more than anyone else 91 Anthony DeCurtis author of Present Tense Rock amp Roll and Culture 1992 wrote that Madonna and Janet Jackson have produced videos that explore the female gaze and described Jackson s music video for Nasty as feminist theory on film that deconstructs the objectification of women 92 Laura Sinagra documented that within two years of the release of Control a new crop of female singers such as Paula Abdul and Karyn White were charged with imitating Janet 48 Anthony DeCurtis of Rolling Stone remarked Control with its quintuple platinum sales and string of hit singles established a then twenty year old Jackson as one of the most popular recording artists in the world 93 The Guardian described the album s release as one of the 50 key events in the history of R amp B and hip hop 94 Upon the 30th anniversary of the album s release Julian Kimble of Billboard magazine wrote In hindsight Control is both evolutionary and revolutionary As Jackson s first album to land atop the Billboard 200 it marked professional and personal breakthroughs Distancing herself from the immense Jackson family shadow she created one of the most influential projects across contemporary R amp B and pop music And not only was Jackson s maiden voyage with producers Jimmy Jam and Terry Lewis at the forefront of R amp B pop and hip hop s intersection it birthed a novel sound in the process 95 Morgan Y Evans for PopMatters wrote Janet Jackson s Control is worth reconsidering as perhaps boldly one of the top three or four pop records of the 80s It is unquestionably the most coherent and powerful full album statement from any female solo pop artist during much of the 80s some of Kate Bush s more eccentric triumphs that decade notwithstanding 96 Kyle Anderson of Entertainment Weekly commented The videos from Control were all over MTV and Janet established herself as an instantly dominant pop figure talked about in the same sentences as Madonna and her older brother Michael 97 MTV s Meaghan Garvey asserted it s hard to overstate the significance of Control whether in terms of the pop landscape the evolution of the music video as a vessel for promotion and expression or Top 40 feminist anthems She also argued it s important to note that Control s self actualization anthems were expressions of black female pride Control spawned a whopping six videos great ones at that which played an immeasurable role in the shift toward visible black pop 98 Gerrick D Kennedy of Los Angeles Times wrote that Jackson s continued influence is evident in the careers of Rihanna Beyonce Ciara FKA Twigs and Tinashe in that all of them take cues from Jackson s blueprint And all that began with Control 99 In 2016 a cassette of Control was added to the Musical Crossroads exhibition of the National Museum of African American History and Culture NMAAHC 100 Track listing EditNo TitleWriter s Producer s Length1 Control Janet JacksonJames Harris IIITerry LewisLewisJimmy JamJackson a 5 532 Nasty JacksonHarrisLewisLewisJamJackson a 4 033 What Have You Done for Me Lately JacksonHarrisLewisLewisJamJackson a 4 594 You Can Be Mine HarrisLewisLewisJamJackson a Jellybean Johnson a 5 165 The Pleasure Principle Monte MoirMoirJackson a Steve Wiese a 4 586 When I Think of You HarrisLewisLewisJamJackson a 3 567 He Doesn t Know I m Alive Spencer BernardLewisJamJackson a Bernard a 3 308 Let s Wait Awhile JacksonHarrisLewisMelanie AndrewsLewisJamJackson4 379 Funny How Time Flies When You re Having Fun HarrisLewisLewisJamJackson a 4 29Total length 41 48 Japanese first pressing editionNo TitleWriter s Producer s Length5 Start Anew Ralph McCarthyYuji Toriyama30th Music4 196 The Pleasure Principle MoirMoirJackson a Wiese a 4 587 When I Think of You HarrisLewisLewisJamJackson a 3 568 He Doesn t Know I m Alive BernardLewisJamJackson a Bernard a 3 309 Let s Wait Awhile JacksonHarrisLewisAndrewsLewisJamJackson4 3710 Funny How Time Flies When You re Having Fun HarrisLewisLewisJamJackson a 4 29 Notes a signifies a co producerPersonnel EditJanet Jackson vocals background vocals keyboards bells Melanie Andrews background vocals Troy Anthony saxophone Jerome Benton vocals Spencer Bernard synthesizer guitar Geoff Bouchieiz guitar Mark Cardenas synthesizer Roger Dumas drums programming Jimmy Jam synthesizer percussion piano drums vocals background vocals Jellybean Johnson guitar vocals Lisa Keith background vocals Terry Lewis percussion vocals background vocals John McClain executive producer Monte Moir synthesizer guitar drums Nicholas Raths acoustic and 12 string guitar Gwendolyn Traylor background vocals Hami Wave background vocalsCharts EditWeekly charts Edit Chart 1986 89 PeakpositionAustralia Kent Music Report 101 25Canada Top Albums CDs RPM 102 11Dutch Albums Album Top 100 103 7European Albums Top 100 104 24German Albums Offizielle Top 100 105 36Japanese Albums Oricon 106 57New Zealand Albums RMNZ 107 5South African Albums RISA 108 1Swedish Albums Sverigetopplistan 109 47Swiss Albums Schweizer Hitparade 110 28UK Albums OCC 111 8US Billboard 200 112 1US Top R amp B Hip Hop Albums Billboard 113 1 Year end charts Edit Chart 1986 PositionCanada Top Albums CDs RPM 114 34Dutch Albums Album Top 100 115 20European Top 100 Albums Music amp Media 116 63New Zealand Albums RMNZ 117 39US Billboard 200 118 6US Top R amp B Hip Hop Albums Billboard 119 2Chart 1987 PositionCanada Top Albums CDs RPM 120 46Dutch Albums Album Top 100 121 42European Top 100 Albums Music amp Media 122 87UK Albums Chart 20US Billboard 200 123 5US Top R amp B Hip Hop Albums Billboard 124 5All time chart Edit Chart PositionUS Billboard 200 125 72Certifications EditRegion Certification Certified units salesAustralia ARIA 126 Gold 35 000 Canada Music Canada 127 Platinum 100 000 Netherlands NVPI 128 Platinum 100 000 New Zealand RMNZ 129 Gold 7 500 United Kingdom BPI 130 Platinum 300 000 United States RIAA 131 5 Platinum 5 000 000 SummariesWorldwide 10 000 000 1 2 3 Shipments figures based on certification alone See also EditList of best selling albums by womenNotes Edit a Originally titled Top R amp B Black Albums the chart is now known as Top R amp B Hip Hop Albums b Formerly titled Hot Black Singles chart the chart is now known as Hot R amp B Hip Hop Songs c Originally titled Club Play Singles the chart is now known as Dance Club Songs References Edit a b c Norment Lynn April 2008 Don t Call It A Come Back Ebony Johnson Publishing Company 74 ISSN 0012 9011 a b Tannenbaum Rob October 6 2015 Janet Jackson Shows Off Her Resilience on Unbreakable Album Review Billboard Archived from the original on October 22 2017 Retrieved November 5 2017 a b Controlling the Game Black Entertainment Television November 19 2014 Archived from the original on November 4 2017 Retrieved November 5 2017 a b c Gaar Gillian G 2002 She s a Rebel The History of Women in Rock amp Roll Seal Press pp 323 324 ISBN 1 58005 078 6 Bream Jon February 7 1986 Janet Jackson still seeks an identity Star Tribune p 03 C ISSN 0744 5458 a b Saunders Michael October 3 1996 The 3 Divas Janet Jackson turns her focus inward Boston Globe p D13 Smith Jessie Carney 1996 Notable Black American Women Vol 2 Gale p 324 ISBN 978 0 8103 9177 2 Edmond Jr A 1987 John McClain creates solid gold money makers Black Enterprise 18 54 ISSN 0006 4165 a b c d Taraborrelli Randy May 27 1987 Janet Jackson s in Control with latest album Sun Sentinel p 1 E ISSN 0744 5458 Goldberg Michael April 23 1987 Jam and Lewis Take Control Rolling Stone Archived from the original on November 7 2017 Retrieved November 4 2017 a b c d e Marsh Dave 1999 The Heart of Rock amp Soul The 1001 Greatest Singles Ever Made Da Capo Press p 492 ISBN 0 306 80901 X a b c d Hunt Dennis January 25 1987 Harris and Lewis Two Guys Firmly in Control Los Angeles Times p 81 ISSN 0458 3035 a b c d e Halstead Craig Craig Halstead Chris Cadman 2003 Jacksons Number Ones Authors On Line p 126 ISBN 0 7552 0098 5 Ritz David September 16 1993 Sexual healing Rolling Stone 665 38 ISSN 0035 791X Johnson Belma June 21 1967 No Fooling Around for Pop Safe Sex Is the Song of the Day San Francisco Chronicle p 39 Q June 1993 Gregory Andy 2002 International Who s Who in Popular Music 2002 Routledge p 253 ISBN 1 85743 161 8 a b c Control gt Credits AllMusic 2008 Archived from the original on October 2 2022 Retrieved June 29 2008 a b Holden Stephen April 12 1987 How Rock Has Become More Mechanized Since the late 50s man made sounds have shifted to robotic rhythms The New York Times p 39 Goldstein Patrick December 21 1986 Pop Eye Los Angeles Times p 85 Zekas Rita May 9 1986 Janet Jackson in Control but terrorism trashes tour Toronto Star p D 22 ISSN 0319 0781 a b Rhys Morgan Dean Bold Beautiful and Damned The World of 1980 s Fashion Illustrator Tony Viramontes London Lawrence King Publishing Ltd 2013 ISBN 978 1 78067 3073 pp 140 141 Fury Alexander March 13 2018 Alexander Fury I ve long been obsessed with Rhythm Nation Features Fashion The Independent Archived from the original on November 7 2017 Retrieved November 4 2017 Janet Jackson s Secret to Success Billboard August 16 1986 Archived from the original on October 2 2022 Retrieved November 5 2020 a b Warwick Neil1 Jon Kutner Tony Brown 2004 The Complete Book of the British Charts Singles amp Albums Omnibus Press pp 547 548 ISBN 978 1 84449 058 5 a b Bessman Jim August 16 1986 Janet s Secret To Success Control Billboard Vol 98 no 33 pp 3 75 ISSN 0006 2510 a b c d e f g Henderson Eric October 30 2003 Review Janet Jackson Control Slant Magazine Archived from the original on May 20 2022 Retrieved November 5 2017 Cohen Jonathan December 15 1999 Billboard Feature Janet Jackson Still In Control Billboard Archived from the original on January 10 2011 Retrieved October 12 2009 a b Peter Gabriel s Sledgehammer video dominates MTV awards Houston Chronicle September 13 1987 p 11 ISSN 1074 7109 Janet Jackson Spin June 1993 Archived from the original on May 19 2020 Retrieved August 26 2017 Top Black Albums Billboard March 8 1986 p 66 Archived from the original on October 2 2022 Retrieved February 14 2019 a b c Control gold and platinum Recording Industry Association of America 1986 p 25 Archived from the original on September 24 2015 Retrieved June 7 2008 Janet Jackson s year Jet October 14 2009 Archived from the original on March 12 2017 Retrieved November 5 2017 Janet Jackson s hopes for new future with old label A amp M Records Daily News New York November 19 2009 Archived from the original on November 22 2009 Retrieved November 4 2017 Ask Billboard Life After Discussing Divas Billboard April 9 2009 Archived from the original on November 20 2015 Retrieved November 5 2017 a b c d e f g Janet Jackson gt Charts amp Awards gt Billboard Singles AllMusic 2008 Archived from the original on February 17 2011 Retrieved November 4 2017 What Have You Done for Me Lately gold and platinum Recording Industry Association of America November 12 1990 p 25 Archived from the original on September 24 2015 Retrieved June 7 2008 Infusino Divina August 10 1986 Black Women Get R E S P E C T The San Diego Union p E 1 Nasty gold and platinum Recording Industry Association of America November 13 1990 p 25 Archived from the original on September 24 2015 Retrieved June 7 2008 Bream Jon February 21 1986 3 Twin Cities bands put albums in Top 10 Star Tribune p 4 C ISSN 0744 5458 When I Think of You gold and platinum Recording Industry Association of America November 12 1990 p 25 Archived from the original on September 24 2015 Retrieved June 7 2008 Control gold and platinum Recording Industry Association of America November 12 1990 p 25 Archived from the original on September 24 2015 Retrieved June 7 2008 Page Clarence June 17 1987 Rock Music in Tune With the Times Now Trumpets Restraint Chicago Tribune p 19 ISSN 1085 6706 Thurston Jason Control Janet Jackson AllMusic Archived from the original on June 13 2012 Retrieved April 24 2021 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2018 Retrieved November 5 2017 The 200 Best Albums of the 1980s Pitchfork September 12 2018 Archived from the original on July 24 2020 Retrieved July 31 2015 The 80 greatest albums of the 1980s by Rock Hall Inductees The Plain Dealer March 19 2020 Archived from the original on March 22 2020 Retrieved March 22 2020 The 500 Greatest Albums of All Time Rolling Stone September 22 2020 Archived from the original on October 1 2020 Retrieved October 15 2020 a b c Ripani Richard J 2006 The New Blue Music Changes in Rhythm amp Blues 1950 1999 Univ Press of Mississippi pp 130 132 ISBN 1 57806 862 2 Simon Reynolds 1996 The Sex Revolts Gender Rebellion and Rock n roll Harvard University Press p 297 ISBN 978 0 674 80273 5 Janet Jackson receives American Music Awards top honor highlighting stellar career Jet Vol 99 no 7 January 29 2001 p 56 ISSN 0021 5996 Dennis Hunt January 25 1987 Harris and Lewis Two Guys Firmly in Control Los Angeles Times p 81 ISSN 0458 3035 Goren Lilly 2009 You ve Come A Long Way Baby Women Politics and Popular Culture University Press of Kentucky p 61 ISBN 978 0 8131 2544 2 Vincent Rickey George Clinton 1996 Funk The Music The People and The Rhythm of The One Macmillan p 284 ISBN 0 312 13499 1 Stereo Williams June 20 2018 New Jack Summer In June 88 Bobby Brown Teddy Riley amp New Edition Announced the Arrival of R amp B s New School Billboard Archived from the original on May 20 2019 Retrieved May 2 2019 Paul Grien May 16 1987 Chart Beat PDF Billboard p 6 archived PDF from the original on July 28 2020 retrieved February 24 2019 Steve Morse December 28 1986 Pop Boston Globe p A 36 ISSN 0743 1791 John Shepherd David Horn 2012 Continuum Encyclopedia of Popular Music of the World Volume 8 Genres North America A amp C Black p 353 ISBN 978 1 4411 6078 2 RECORD PRODUCERS BETTING ON B SIDES Orlando Sentinel Archived from the original on October 2 2022 Retrieved October 2 2022 Trust Gary September 10 2009 Chart Beat Thursday Whitney Houston Mariah Carey Billie Holiday Billboard Archived from the original on September 24 2015 Retrieved November 4 2017 Grein Paul December 1 1987 Teen Agers Making Their Voices Heard Tiffany 16 Is Not Alone Now on Pop Scene as Recording Industry Capitalizes on Young Artists Los Angeles Times p 1 ISSN 0458 3035 DeCurtis Anthony 1992 Present Tense Rock amp Roll and Culture Duke University Press p 257 ISBN 978 0 8223 1265 9 Anthony DeCurtis February 22 1990 Janet Jackson Free At Last Rolling Stone Archived from the original on November 7 2017 Retrieved November 5 2017 Gareth Grundy June 13 2011 50 key Events in the History of R amp B and hip hop The Guardian Archived from the original on October 25 2017 Retrieved November 5 2017 Julian Kimble February 4 2016 Remembering Control 30 Years Later How Janet Jackson s Third Album Cemented Her Icon Status Billboard Archived from the original on February 23 2021 Retrieved November 5 2017 Principled Pleasure Janet Jackson s Control at 30 Still Commands Respect PopMatters June 17 2016 Archived from the original on October 31 2020 Retrieved February 7 2021 Janet Jackson s Rhythm Nation 1814 Still dancing and dreaming 25 years later Entertainment Weekly Anderson Kyle September 19 2014 Archived from the original on September 21 2014 Retrieved September 19 2014 Meaghan Garvey February 4 2016 On 30 Years of Janet Jackson s Control MTV Archived from the original on November 7 2017 Retrieved November 5 2017 Gerrick D Kennedy February 4 2016 Janet Jackson s Control at 30 A look back Los Angeles Times Archived from the original on November 7 2017 Retrieved November 5 2017 Roger Catlin September 22 2016 The New Exhibition on Black Music Could Give Other Museums a Run for Their Money Smithsonian Archived from the original on May 27 2021 Retrieved March 27 2021 Kent David 1993 Australian Chart Book 1970 1992 illustrated ed St Ives N S W Australian Chart Book pp 150 151 ISBN 0 646 11917 6 Top RPM Albums Issue 0742 RPM Library and Archives Canada Dutchcharts nl Janet Jackson Control in Dutch Hung Medien European Top 100 Albums PDF Music amp Media Archived PDF from the original on January 23 2022 Retrieved January 23 2022 Offiziellecharts de Janet Jackson Control in German GfK Entertainment Charts Retrieved August 10 2019 Oricon Top 50 Albums date in Japanese Oricon Charts nz Janet Jackson Control Hung Medien South African Divas Albums Geo Cities Archived from the original on June 2 2019 Retrieved April 11 2019 Swedishcharts com Janet Jackson Control Hung Medien Swisscharts com Janet Jackson Control Hung Medien Janet Jackson Artist Official Charts UK Albums Chart Janet Jackson Chart History Billboard 200 Billboard 304191 Chart History Top R amp B Hip Hop Albums Billboard Archived copy Archived from the original on October 21 2012 Retrieved March 27 2021 a href Template Cite web html title Template Cite web cite web a CS1 maint archived copy as title link Dutch charts jaaroverzichten 1986 Dutchcharts nl December 23 1986 Archived from the original on 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from the original on March 8 2021 Retrieved April 30 2022 via World Radio History Billboard 200 Albums Jun 23 2016 Billboard Chart Archive Archived from the original on April 5 2013 Retrieved November 5 2017 R amp B Hip Hop Albums Year End 1987 Billboard Archived from the original on January 15 2021 Retrieved March 29 2021 Greatest of All Time Billboard 200 Billboard November 12 2015 Archived from the original on October 1 2016 Retrieved November 5 2017 Iconic Treasures From the Legendary Career and Life of Janet Jackson Australian Record Award Julien s Auctions Archived from the original on July 17 2022 Retrieved April 30 2022 Canadian album certifications Janet Jackson Control Music Canada Dutch album certifications Janet Jackson Control in Dutch Nederlandse Vereniging van Producenten en Importeurs van beeld en geluidsdragers Retrieved September 15 2018 EnterControl in the Artiest of titel box Select 1988 in the drop down menu saying Alle statussen Scapolo Dean 2007 The Complete New Zealand Music Charts 1966 2006 ISBN 978 1 877443 00 8 British album certifications Janet Jackson Control British Phonographic Industry American album certifications Janet Jackson Control Recording Industry Association of America External links EditControl Video Page at janetjackson comFurther reading EditCornwell Jane Janet Jackson Carlton Books 2002 ISBN 1 84222 464 6 Retrieved from https en wikipedia org w index php title Control Janet Jackson album amp oldid 1142670173, wikipedia, wiki, book, books, library,

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