1990 Album Review: Janet Jackon - Janet Jackson's Rhythm Nation 1814 (5/5)

Yes, this album was released in 1989, but no look back at 1990 would be complete without consideration of Rhythm Nation 1814, Janet Jackson's fourth album and follow-up to her breakthrough 1986 album Control that made Jackson a major star. With this album Jackson, with critical assist from longtime production collaborators Jimmy Jam and Terry Lewis, expanded on the winning dance pop formula of Control with better rhythms, better ballads and an attempt at weaving a social justice concept through the work. The album was responsible for five top 5 hits during 1990, including two #1s, in addition to scoring #1 hits in 1989 and even 1991. In all, the set's seven singles peaked no lower than #4 on the Hot 100, an achievement unrivaled by any other album.

Chimes underscore the opening monologue, "Pledge," during which Jackson explains the concept of the "rhythm nation." After a five-to-one countdown, simply and effectively choreographed for the song's video, comes the explosive first track "Rhythm Nation." What can I say about "Rhythm Nation?" It was the first song to top my personal chart, a fantastic blend of dance pop and New Jack Swing R&B, an amazing pop composition of layered synth melodies and effects, and probably one of my favorite pop singles of all time--second only to "If" among my favorite Janet Jackson songs. The song's foundation is a sample of Sly & the Family Stone's "Thank You (Falettineme Be Mice Elf Agin)" expanded upon with then-modern drum machines and synthesizers. It's the first of the album's opening three-part salvo of pop songs with a social justice message. Granted, these aren't the deepest of themes, but what other major pop artist has opened her album with songs about something other than love, sex or fashion?

Beat-heavy "State of the World" and "The Knowledge" explore how the media shapes how we view the problems of the world and the power of education, respectively. "State of the World" in particular typifies the New Jack Swing sound of the era, most closely associated with producer Teddy Riley, although clearly shown here to also be a comfortable fit for Jam and Lewis. (Riley would go on to producer brother Michael's New Jack Swing album in 1991, Dangerous.)

"Get the point? Good, let's dance," says Janet before launching into the album's first hit single, "Miss You Much," providing an effective transition between the album's opening social conscience skin to its dance pop heart. The video demonstrated some of Jackson's best dance choreography, staged on a multi-level set reminiscent of Paula Abdul's "Cold Hearted," which had been a hit just months before. "Love Will Never Do," the album's 7th top 5 hit and fourth #1 hit comes next. Janet sings the first verse in a lower register and the second in a higher one, as if performing a duet with herself. The producers acknowledged they considered the song as a potential duet, but in the end just had Janet do it.

"Living in a World (They Didn't Make)" is the final socially aware song from the album's first half, this time about the plight of inner-city youth. It's my least favorite song in the album. It's gloom is quickly forgotten though in the wake of the next two very upbeat songs. "Alright" is a breezy and lengthy ode to friendship, which got a nice remix for the single version that improved the song and accompanied its inventive Broadway-themed dance video. "Escapade" is similarly lightweight, basking in the joys of a romantic getaway. "Black Cat" is the album's most unusual track, pushing Jackson's dance pop into rock territory, not unlike what her brother did with "Beat It." This also was subtly remixed for its single release.

The first rainstorm to appear on a Janet Jackson album introduces "Lonely," the first of three romantic slow songs that close the album. The second, "Come Back to Me," is the best, and was selected and remixed to be the album's fifth single. Lushly scored with warm strings and synths, it's a gorgeously romantic exploration of heartache. Closing track "Someday Is Tonight" finds the singer ready for sex, an apparent sequel to the abstinence-themed Control track, "Let's Wait While."

I got this album for Christmas in 1989 and I played it to death--literally. Sometime in 1990 the tape broke and unspooled, and I had to get another copy. So much of what I remember fondly about pop music in 1990 is tied to this album, from "Rhythm Nation" in January through "Love Will Never Do" in December. It remains one of my favorite pop albums of all time.

Best: Rhythm Nation, Miss You Much, Love Will Never Do, Come Back to Me, Alright, Escapade