Essential Albums of the '80s: Janet Jackson - Control (1986)

It must feel good if you’re an artist struggling to find an audience and finally discover the sound that fits your style and delivers what the public has been hungry for. That’s what Janet Jackson did with her third album, Control, which was wildly more successful than her hitless first two albums.

Although she was already famous for her television work (and for just being a Jackson), Control proved that Janet was an artist in her own right. The hard-edged dance pop sound was honed by Minneapolis-based production duo Jimmy Jam & Terry Lewis, cementing a musical relationship with Jackson that would last into the ‘00s, producing hit after hit.

What’s satisfying about Control is that as much as it delivered hit singles—five top 10s in the US—it also holds together well as an album, both musically and thematically. It’s a statement about independence, professionally, personally, even sexually.

The title track spells it all out with its spoken-word intro before breaking into the album’s signature high-octane dance pop. “Nasty,” my favorite track, finds Jackson bending gender stereotypes, treating men like playthings she can love or leave on her own terms. Its deep bass grind still feels fresh and fun. “What Have You Done For Me Lately,” finds Jackson on the verge of a breakup, but rather than a sob story about some guy dumping her, she’s the one laying out how’s it going to be if he wants her to stay.

As in your face as these songs are, “Let’s Wait Awhile” shows that you don’t have to give up control to be sensitive, with Jackson telling her beau she wants to forgo sex…for now. She later seals the deal on closing track “Funny How Times Flies (When You’re Having Fun),” introducing Jackson’s signature sexual coos that permeate many of her later albums, although at this early stage, it doesn't yet feel so tawdry. Elsewhere, the album stays aloft with the joyful dance pop of songs like “The Pleasure Principle,” “You Can Be Mine” and her first #1 hit “When I Think of You.” A true ‘80s gem.

Best: Nasty, When I Think of You, What Have You Done For Me Lately, Control, Let’s Wait Awhile

Further Listening: Janet Jackson’s Rhythm Nation 1814 (1989)

I already wrote about this album as part of my 1990 series, since its multiple hit singles (seven top 5 hits) were such an integral part of that year’s music landscape. But the album did come out in the twilight hours of the ‘80s, so it deserves mention here, since it’s even better than Control, with Jam & Lewis pushing Jackson further into groovy dance pop with a touch of new jack swing. After the inward-looking Control, Rhythm Nation’s theme looked outward at the problems of the world, but also found time for love, sex and hedonistic fun. Best: Rhythm Nation, Miss You Much, Love Will Never Do (Without You), Come Back to Me, Alright, Escapade, Black Cat, State of the World.

Music of 1991: January

Madonna's 1990 compilation, The Immaculate Collection, officially closed the book on her '80s songs, a decade-defining body of work that gave the singer seven #1 hits (the set also contained her first '90s #1, "Vogue"). It also pointed to way to her '90s future, with two new distinctly different tracks that basically served as a preview of Erotica. First up was the Lenny Kravitz-produced "Justify My Love," a rather gutsy move from a pop singer to release an almost solely spoken-word track. Despite its oversexualized tone, radio embraced it anyway, sales were strong, and the fact that MTV banned its even racier video, meant that Madonna was able to successfully market the first music video single for commercial purchase. The song was the first Hot 100 #1 hit of 1991 and Madonna's ninth.



"Love Will Never Do (Without You)" was the seventh and final single released from Janet Jackson's Rhythm Nation 1814. Like the previous six, it reached the top 5, and also hit #1, becoming the album's fourth #1 hit and Jackson's fifth overall. As a run of hits, the album's singles reached 1-2-1-4-2-1-1, making it arguably the most successful pop album of all time in terms of generating hits. I've always thought the song sounded like it should be a duet based on its arrangement and theme, a fact I've later confirmed that the producers toyed with. Thus Jackson sings the first verse in a lower octave, like it's the "guy" part, and the second one higher, as the "girl" part. Even without some hot male singer in tow, the song works great. It also had a notable video, shot by famed photographer Herb Ritts, that showcased Jackson's recently toned physique.



R&B group Surface had their biggest hit in January 1991. They'd reached the top 5 in 1989 with "Shower Me with Your Love," but "The First Time" became their first and only #1 hit. It's a mellow R&B love song typical of the time. I remember I used to really like this song, but hearing it now, I don't find it particularly exceptional. The group would have one more top 40 hit later in the year with "Never Gonna Let You Down" (#17).

Damn Yankees was a hard rock supergroup formed in 1990 that had a decent run of hits on the rock mainstream chart. On the Hot 100, "High Enough" was far and away their most successful single, reaching #3 in January 1991. The song features a robust guitar and strings melody. Listening to it now, it's surprising they never had another big hit, as they continued releasing singles into 1993 (they came close with "Where You Goin' Now" in 1992, which reached #20).

In the late '80s and '90s, New Edition spawned a whole family tree of musical acts, as the group's demise led its members to either go solo (Bobby Brown, Johnny Gill) or form a new group (1990's hit act Bell Biv Devoe), and even nurture new acts Boyz II Men and Another Bad Creation. Among the soloists, Ralph Tresvant had the least successful chart run, but did manage to score one big hit, "Sensitivity," which hit #4. It was produced by Jimmy Jam and Terry Lewis, who would bring Tresvant on for their 1992 soundtrack to the movie Mo' Money.

In the late '90s, it was common for labels to promote albums with songs not released as singles, so much so that Billboard re-engineered the Hot 100 in 1998 to account for this. Back in 1991 though, it was a novel concept, and in fact the practice can probably be traced to early 1991, during which there were two songs that became major hits without a accompanying physical single. The first was The Simpsons' "Do the Bartman," a promotional tie-in to the popular Fox comedy, which at the time was in its second season (it is now in its 23rd year, making it the longest running American sitcom in television history). "Do the Bartman" was not released as a single in the U.S., but despite that, hit #9 on the pop airplay chart, and its video was a major hit on MTV. The song was written and produced by Michael Jackson, a fan of the show, and it sounds like he's doing the chorus backup vocals too. In countries like Britain, Australia and Ireland where the song was released as a single, it became a #1 hit.

Teen pop sensation Debbie Gibson was 21 years old at the start of 1991. As a full-fledged adult then, she released her third album, Anything Is Possible, still pop but featuring a more mature sound than her previous efforts. As satisfying as the title track was, it was the album's only top 40 hit, and not a major one at that, peaking at #26. This was Gibson's ninth and final top 40 hit. I think this is a cool song and wish it had been a bigger hit for her.



Cher had a movie-music crossover hit with her remake of the '60s song "The Shoop Shoop Song (It's in His Kiss)" from her film Mermaids. Although the song performed poorly in the U.S., peaking at #33; however, it was a major hit internationally, including a #1 hit in Britain and other European countries.

Music of 1990: March

United States

Through most of March 1990, America was rejoicing to the frothy dance pop of Janet Jackson's "Escapade." It was the third and biggest of Rhythm Nation's seven top 10 hits, spending 3 weeks at #1. The song's colorful Mardi-Gras-inspired video, filmed outside, was a departure from the black-and-white indoor videos for "Miss You Much" and "Rhythm Nation." There's also less emphasis on synchronized dancing, and Janet looks happy throughout the video. All in all, the song's lighter mood and festive sound was the perfect hit to transition from winter to spring. The song was inspired by Martha and the Vandellas' "Nowhere to Run"



Canadian Alannah Myles had the month's second-biggest hit with "Black Velvet," her soulful, sultry ode to Elvis Presley. I remember not caring for this song back in 1990, as I thought it sounded a bit country (and I didn't like country at all back then). It's grown on me significantly since then, and I'd probably include it on a list of my 10 favorite songs of the year. A shame she never had another major hit in the US.



After scoring two #1 hits in 1989, Swedish duo Roxette had a third top 2 hit in March 1990 with "Dangerous." After the ballad "Listen to Your Heart," it was the duo's most upbeat single yet. Also following up a successful 1989 single with another hit was the B-52s, who hit #3 with "Roam," the follow-up to their #3 hit "Love Shack." Although "Love Shack" has been remembered as their most iconic song, I've always rather liked "Roam," which had a cool video.



Madonna scored a fourth top 10 hit from Like a Prayer with "Keep It Together." Although known for her videos, this was one of several Madonna hits to not have one, along with "Angel," "Hanky Panky" and "Rescue Me." Also scoring a hit at this time was Madonna's ex-husband's big brother, Michael Penn. I've always really liked this song, as well as its video, which won him an MTV VMA for best new artist.

Finally, this was the time American got its introduction to Cathy Dennis, appearing with her group D-Mob in "C'mon and Get My Love," which hit #10. Dennis would go on to score three top 10 solo hits the following year, including #2 single "Touch Me (All Night Long)." As her recording career wound down, her writing and producing career took off, and she has gone on to helm a number of major hits, most notably Kylie Minogue's "Can't Get You Out of My Head" and Katy Perry's "I Kissed a Girl," as well as the theme song to the Idol franchise. Pity she hadn't yet found the outfit with the chest cutout when she made this video.



United Kingdom

Britain's biggest hit of March 1990 was "Dub Be Good to Me" by Beats International, which spent 4 weeks at #1. The song was written and produced by Norman Cook, better known these days as Fatboy Slim, and co-written by Jimmy Jam and Terry Lewis, best known at the time for their work with Janet Jackson. Dub is a sub-genre of reggae that relies heavily on samples. While Dub is generally instrumental, this song incorporates a vocal from the SOS Band's "Just Be Good to Me," re-recorded by Lindy Layton, as well as a sample of "Jam Hot" by Johnny Dynell. The song also samples the Clash's "Guns of Brixton" and the theme music from Once Upon a Time in the West by Ennio Morricone. Although a massive hit in Britain, the single was not big in the US, although it did hit #1 on the dance club chart.



Reaching the top of the chart the last week of March was "The Power" by German dance act Snap! Like "Dub Be Good to Me," it also features a number of samples which, since unauthorized, landed the group in a bit of trouble. In particular, Jocelyn Brown, who's refrain "I've got the power" from her "Love's Gonna Get You" is used extensively as the song's title, sought legal action against the song. Chill Rob G, whose "Let the Words Flow" is also used extensively, retaliated by recording his own version of "The Power," lifting additional elements from the Snap version not present on his "Let the Words Flow." "The Power" would go on to be a major hit in the US, hitting #2 in August and topping the dance chart one week before "Dub Be Good to Me" in June.



The Brit Awards formed the basis of #2 hit "The Brits 1990," a megamix dance medley of hits nominated that year put together by Jonathan King. I can't say I recognize any of them, but medley mixes were big at the time, particularly those by Jive Bunny and the Mastermixers, who hit #4 in March with "That Sounds Good to Me," the group's fourth single and first to not top the UK singles chart.



"Blue Savannah" became synth-pop duo Erasure's 8th top 10 hit in March, hitting #3. It was the third and most successful single from Wild!, the act's fourth album. Dance act Candy Flip had their only major hit, a #3 remake of The Beatles' "Strawberry Fields Forever" featuring the very famous Clyde Stubblefield drum rhythm from James Brown's "Funky Drummer."

Instrumental singles have always fared better in the UK than in the US, so it's no surprise that "Lily Was Here," one of the few instrumentals to chart fairly well in the American, did even better in Britain, hitting #6 in March. The composition, created by David A. Stewart and featuring newcomer Candy Dulfer on saxophone, is from the soundtrack to Dutch film De Kassiere. In 1991, the single hit #11 in the US. I've always really loved this, particularly the DNA remix that was included on the US single.

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

Songs of My Lifetime: Janet jackson - "If"

Doing the write-up of Number Ones put me in the mood to reminisce about "If," hands down my favorite Janet Jackson song ever. When Janet. came out in the summer of 1993, I listened to the whole album nonstop, but this was an early and immediate favorite. My friends and I used to try to copy the video's dance moves--particularly the robotic arm motions during the instrumental middle section.

A few years later while in college, my friend Layla, who was an extraordinary dancer (and now a DJ), got a group of us together to perform "If" at DragFest, our college's big spring gay dance--the social event of the season. We rehearsed daily for about a week leading up to the dance, and it was a lot of fun. I've always loved the videos with the big choreographed dance sequences--many of the best of which were Janet Jackson's (When I Think of You, Miss You Much, Rhythm Nation, and Alright, in particular). Thanks to Layla, I actually got to be part of one. Her choreography was pretty faithful to the video moves (see below). When we performed on stage at the dance, it was a big hit.

The song itself is pretty amazing dance pop. Its unrelenting tempo, heavy bass beat, layers of synths, and fuzzy electric guitar form the perfect background for Janet's horny declarations ("I closed my eyes and thought about us a hundred different ways") and thinly veiled allusions to oral sex ("your smooth and shiny feels so good against my lips, sugar"). Indeed. This is one to turn up--way up.

Janet Jackson - Number Ones

Like Madonna did recently, this week Janet Jackson released a 2-disc, career-spanning greatest hits collection. This is Janet's second retrospective, following Design of a Decade (DOAD), the 1995 release that included all the singles from Control and Rhythm Nation 1814, plus two new tracks. A drawback of that set was that since it was released on A&M, her former label, it included only one track from Janet., which had been released under her new label Virgin. So while it had "That's the Way Love Goes," it was missing "If," "Again," and "Any Time, Any Place," which were all major hits.

Number Ones corrects that oversight and more, delivering a satisfying and comprehensive set of Janet's remastered hits, spanning her A&M, Virgin and Island years from "What Have You Done for Me Lately" to new single "Make Me" Nothing from Janet Jackson or Dream Street is included, but that's no surprise, given that neither album generated any major hits. The concept behind Number Ones is that every track here was #1 on some Billboard chart, be it the Hot 100, dance club play or R&B chart (abroad, where Janet's chart prospects didn't fare as well, this is known as The Best).

Number Ones generally contains single versions, which is good, since Janet was notorious for putting out singles that differed--sometimes substantially--from the album version. "Alright," "Come Back to Me," and "Black Cat," Rhythm Nation's 4th, 5th, and 6th singles, in particular, were quite different from their album versions. DOAD generally included single versions, but here there are some nice touches that depart from DOAD, like using the video version of "Alright," which, in addition to having a different arrangement from the album version, also included a rap from Heavy D. Here's an era-by-era rundown of Number Ones:

Control (1986-1987)

Pros: All six Control singles are here, including the single version of "Let's Wait Awhile," which is nice, since that was one of the few single versions DOAD did not include. More significantly, "Diamonds," the 1987 top 10 hit with Herb Alpert, makes its first appearance on a Janet Jackson disc. This is probably the biggest treat of the whole collection, since "Diamonds" did not appear on DOAD (or Control), and has not been available from digital outlets. "Control" includes the spoken-word intro, which DOAD omitted.

Cons: It might have been nice to include the video version of "When I Think of You," which was slightly remixed from the original, but this is a small gripe.

Best: Nasty, When I Think of You, What Have You Done for Me Lately

Rhythm Nation 1814 (1989-1992)

Pros: The aforementioned rap version of "Alright," A different mix of "Rhythm Nation," that, unlike DOAD includes the spoken-word "Pledge" introduction, which DOAD omitted. It includes the same single version of "Come Back to Me" as DOAD and a similar single version of "Black Cat" (it has a shorter middle section guitar solo).

Cons: The album misses an opportunity to finally put out the radio version of "State of the World," the "United Nations Remix Edit." I would so love to have this, but alas, it wasn't ever #1. Also, I prefer the bubblier remix of "The Best Things in Life Are Free" to the album version which appears here.

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

Janet./Design of a Decade (1993-1995)

Pros: Finally, the Janet. singles appear. In my market, the pop radio station (Z100, Portland) played remixes of "That's The Way Love Goes" and "If." While I liked the former, the original version of "If" is superior, so I'm glad that appears here. "Any Time, Any Place" appears in its single version, the R. Kelly remix.

Cons: "You Want This" didn't make the cut, which is a shame, since the single version contains a rap by MC Lyte and would be nice to have. "Twenty Foreplay" was also significantly remade (and improved) for its single release, but that was such a minor release, I didn't expect it would be here.

Best: If, That's the Way Love Goes, Runaway

The Velvet Rope (1997-1999)

Pros: Interesting version of "Got 'til It's Gone," which includes a little intro from Q-tip, but is otherwise pretty close to the album version. Single edit of "Together Again" (not a remix, and there were some fun remixes of this song). "What's It Gonna Be" with Busta Rhymes makes an appearance, while the BLACKstreet collaboration "Girlfriend/Boyfriend" does not.

Con: One of the few times they didn't use a single version that I would have championed is the TNT Remix Edit of "I Get Lonely," which has a funkier beat and more prominently features BLACKstreet. I wouldn't have minded having her Shaggy collaboration, "Luv Me, Luv Me." And why oh why wasn't The Velvet Rope's title track a single? "Velvet Rope" is such a cool song.

Best: Got 'til It's Gone, Together Again

All for You (2000-2002)

Pro: The video version of "All for You" appears, which I've always championed to the single version since it has that fun middle-section interlude that interpolates little snips of "The Pleasure Principle" and "Go Deep." Also included is the original single version of "Doesn't Really Matter," which was always better than the ridiculous remix they put on the album.

Cons: No complaints here, but there were so few singles from All for You there's little to discuss.

Best: Someone to Call My Lover, All for You, Doesn't Really Matter

Nipplegate and beyond (2004-2009)

Pro: This is when Janet's career nosedived, along with the quality of her music, so despite what might have been an inclination to load this with the more recent but less popular singles, they resisted, and so we just get "All Nite," "Call on Me," and "Feedback." "Make Me" is a fun song, an ode to her brother Michael's #1 hit "Don't Stop 'til You Get Enough."

Con: A shame "Just a Little While" couldn't be here, as that's probably my favorite Janet song of this era (although I do love the groove of "All Nite").

Best: All Nite (Don't Stop)

So, overall a pretty decent set with no major missteps and quite a lot of nice inclusions, particularly if you're a fan with her albums but not her singles.

November New Releases

The usual autumn glut of big-name releases continues. In particular, I'm quite excited about Robbie Williams' new album, which I hope will be excellent. I'm also hopeful that Leona Lewis, like Kelly Clarkson, will really shine on her second outing. Rihanna's promised a racy fourth album. And then there's Glee...swoon. What a month!

Highlights

Robbie Williams - Reality Killed the Video Star (Nov. 9). Robbie Williams returns after a 3-year absence with his 8th studio album. It's produced by Trevor Horn, formerly of the Bubbles (from whom the title comes, a reference to their MTV classic "Video Killed the Radio Star"), who also produced the last Pet Shop Boys album (and the Pet Shop Boys in turn appeared on Robbie's last album Rudebox--see the connections?). Back in the mix this time as songwriter is Guy Chambers, the longtime Williams collaborator who did not appear on Rudebox or Intensive Care. First single "Bodies" is already an international smash.

Rihanna - Rated R (Nov. 23). Rihanna returns with her fourth studio album, following up the massively successful Good Girl Gone Bad that produced three US #1 hits and four other top 40 singles. Dark first single "Russian Roulette" is co-written with Ne-Yo, whose said the album overall is edgier than her previous work. Justin Timberlake, The Dream, and Tricky Stewart also collaborated with the Barbadian singer.

Leona Lewis - Echo (Nov. 16). The 2006 X Factor winner, who became the first British reality-TV-launched artist to crack the US (as well as the rest of the world) with massive hit "Bleeding Love," returns with her second album. Expect more finely crafted pop from all the industry's biggest craftsmen--Simon Cowell, Clive Davis, Ryan Tedder, Justin Timberlake, Ne-Yo, Xenomania, Etc. First single "Happy" was released in the US weeks ago.

Glee: The Music Volume (Nov. 3). Anybody who loves pop music, musicals, high school romance, teacher feuds, and is gay (or has plenty of gay friends) should be watching Glee. It's fall's best new show. I'm absolutely infatuated with this show (and the hot teacher, played by Matthew Morrison). The hit mash-ups are missing, but all the show's other major musical moments are here, such as the pilot's "Don't Stop Believin," and memorable fall moments like "Somebody to Love," "No Air," "Gold Digger," "Keep Holding On" and "Bust a Move."

Norah Jones - The Fall (Nov. 17). For her fourth album, Norah Jones has reportedly taken a new direction. How far she'll stray from her winning formula of jazz-influenced pop/folk is anybody's guess. First single "Chasing Pirates" has a bit of an '80s feel to it I think. However she swings it, Grammy nominations will undoubtedly follow next year.

John Mayer - Battle Studies (Nov. 17). Yet another Grammy favorite releases his fourth album. Mayer's last album, Continuum, was a contender for Album of the Year, so expectations are high for Battle Studies, which the singer has said will take a new direction (see a trend?). The album's first single, "Who Says" is off to a good start at iTunes.

Carrie Underwood - Play On (Nov. 2/3). The former American Idol turned major country star releases her third album featuring first single "Cowboy Casanova." Most of the album is produced by Mark Bright, with one track from Swedish pop producer extraordinaire Max Martin. Pop songwriters Kara DioGuardi and Chantal Kreviazuk also lend a hand.

Adam Lambert - For Your Entertainment (Nov. 24). Last season's American Idol runner-up Adam Lambert is expected to release his debut this month. Lambert's latest single, "Time for Miracles," will reportedly not appear on the album (its from the dreadful looking film 2012). Given the relative mystery and lack of first single, I wouldn't be surprised if it gets pushed back to next year (despite certain record company pressure to get this in stores for the holidays).

Other releases

Nov. 2/3

Amerie - In Love & War. The R&B singer puts out her fourth album.

Weezer - Raditude. Weezer's not very hot at the moment, but they have a new album.

Nov. 9/10

JLS - JLS. The X Factor contestants release their debut album featuring #1 hit "Beat Again" and new single "Everybody in Love."

Britney Spears - The Singles Collection. Britney Spears releases a career-spanning greatest hits collection, featuring all her major hits plus new single "3," which recently topped the US singles chart.

Snow Patrol - Up to Now. Snow Patrol releases its greatest hits, featuring new single "Just Say Yes" plus hits like "Chasing Cars," "Run," and "Take Back the City."

Bon Jovi - The Circle. The famous '80s "hair" band releases its 11th album.

Biffy Clyro - Only Revolutions. Scottish band releases its fifth album.


Nov. 16/17

Janet Jackson - Number Ones/The Best. Janet Jackson releases a 2-CD career-spanning greatest collection, uniting her singles under A&M, Virgin and Island Records. Includes 33 hits plus new single "Make Me."

Will Young - The Hits. Will Young collects his 12 biggest hits plus two new songs including current single "Hopes and Fears."

Kris Allen - Kris Allen. This year's American Idol winner releases his debut album featuring first single "Live Like We're Dying," not to be confused with Tim McGraw's "Live Like You Were Dying."

Stereophonics - Keep Calm and Carry On. British rock band known for hits like "Dakota" and "Handbags and Gladrags" releases their 7th studio album. First single is "Innocent."

Nov. 23/24

Timbaland - Shock Value 2. This was slated for release months ago, then it vanished, and now it's back on the docket. Expect a similar slate of high-profile guests such as Justin Timberlake (of course), Katy Perry, Lady GaGa, Keri Hilson, Chris Brown, T-Pain, Lil Wayne, Missy Elliott, Drake, and Brandy.

Sugababes - Sweet 7. The decade's ruling girlgroup (well, tied with Girls Aloud in any case) releases their 7th album. Not bad for a pop act whose first album scored only one top 10 hit. The hits don't seem to be coming as easily these days--their last two albums scored only one top 10 hit each. This album was rush re-recorded to replace departing member Keisha Buchanan's vocals with those of new member Jade Ewen (except for "Get Sexy," which had already been released).

Jay Sean - All or Nothing. British R&B artists releases his third album, which is also his American debut, featuring US #1 hit "Down."

Lady GaGa - The Fame Monster. Lady GaGa re-releases her mega-successful album with new material.

Mary J. Blige - Stronger. R&B singer releases her ninth album.

50 Cent - Before I Self Destruct. It really will be a miracle of this gets releases before his career implodes. Talk about self-fulfilling prophecy (note: When I started drafting this article a couple of weeks ago, the release date was Nov. 2, note the 3 week slip...already.)

Nov. 30

Westlife - Where We Are. The Irish boyband has been together 10 years now. Unlike other boybands, they've never needed a comeback, because they've never gone away. This year Westlife releases its 10th album. First single is the Daughtry remake "What About Now."

The Bravery - Stir the Blood. New York band releases its third album.

Janet Jackson's Greatest Hits

Not wanting to be outdone by Madonna, Janet Jackson is set to release her own 2-CD career-spanning greatest hits collection on November 17 titled "Number Ones" in the US and "Janet Jackson: The Best" elsewhere (I guess because she hasn't had as many #1s outside the states--including NEVER having hit #1 in the UK).

Janet Jackson's Web site has the tracklist for the set, which includes a number of fantastic inclusions, most notably her top 10 1987 hit "Diamonds" (with Herb Alpert), which did not appear on a Janet Jackson album or her 1995 hits collection.

Disc 1
1. What Have You Done for Me Lately
2. Nasty
3. When I Think of You
4. Control
5. Let's Wait Awhile
6. The Pleasure Principle
7. Diamonds (with Herb Alpert)
8. Miss You Much
9. Rhythm Nation
10. Escapade
11. Alright
12. Come Back to Me
13. Black Cat
14. Love Will Never Do
15. The Best Things in Life Are Free (with Luther Vandross)
16. That's the Way Love Goes

Disc 2

1. If
2. Again
3. Because of Love
4. Any Time, Any Place
5. Scream (with Michael Jackson)
6. Runaway
7. Got 'til It's Gone (with Joni Mitchell & Q-Tip)
8. Together Again
9. I Get Lonely (with BLACKstreet)
10. Go Deep
11. What's It Gonna Be (with Busta Rhymes)
12. Doesn't Really Matter
13. All For You
14. Someone to Call My Lover
15. All Nite (Don't Stop)
16. Call on Me (with Nelly)
17. Feedback
18. Make Me