Album Review.
Likes: The Great Forever, Shoulda' Known Better, Night, Gon' B Alright
Dislikes: Burn It Up!
Overall: Back to the strong suit of lyrical social consciousness; musically, it lost my attention
 
11 years ago, Janet Jackson endured a ridiculous backlash and blacklisting after her breast was accidentally shown during her Superbowl halftime performance. The incident nearly, if not actually, ruined her current album, Damita Jo's, chances of getting the acknowledgement it deserved. Over the next 4 years, Jackson would break from her artistic formula of working principally with Jimmy Jam and Terry Lewis and release 2 records (2006's 20 Y.O. and 2008's Discipline) her fans would find unflatteringly aberrant and insipid. She also left Virgin Records after 13 years for Island, only for the relationship to dissolve in 14 months. For the first time, Jackson was a free agent. In 2009, she suddenly lost her brother, Michael, and her long-time courtship with producer Jermaine Dupri ended. Rumblings of new material eventually quieted and 6 years went by. Some worried that this string of events either indicated or led to a vanishing of Jackson's musical interest or inspiration, and they wondered when they would hear from her again. This past spring, word of a project and tour finally came, and the Unbreakable era began. What would she say or address? What would the music sound like?
 
Jackson went *Christina Aguilera voice* back to basics, reuniting with Jam and Lewis (with some additional production by Dem Jointz and Tommy McClendon) and trading in what became an expected staple (i.e. throbbing sexuality, no pun intended) for the old one, focusing mainly on social justice and the human spirit. "The Great Forever" arguably has a double meaning, with implicative lines about her nuptials to Qatari entrepreneur Wissam Al Mana getting press and the fight for marriage equality. On "Shoulda' Known Better," she sings with disillusionment about how societal strife overwhelmingly remains, despite all the efforts to combat it and how reform now seems like an idealistic dream of her youth: "I had this great epiphany, and rhythm nation was the dream...I guess I shoulda' known better." This disheartened rumination is expressed over a pulsating, conversely uplifting cadence and a still hopeful, alternative take on her key phrase: "Awakening a better choice, it only starts if you lift your voice and say 'I shoulda known better, and so, next time I'll know better.'" This song had me in my feelings; so many times, I've been an emotional blur of frustration and sadness over the perils of the world, thinking "It's useless to care. It's useless to fight. Nothing's going to change." On "Black Eagle," Jackson challenges us to learn more about each other's respective struggles and increase our compassion, if for no other reason than we might need someone to be empathetic towards us one day. It's smooth, mellow and she's cooing softly, but we're getting lyrically chastised and sent to the principal's office. The contrast is almost funny. "Promise of You" encourages us to rise to our occasion, both as individuals and citizens.

​Live in Nashville: Ascend Amphitheater
Show Date: September 27, 2015
Opening Act: N/A
 
I'm sure it seems ridiculous to do a concert review for Janet Jackson, who's known for live entertainment excellence, but nevertheless, it must be done; especially when certain trademarks were absent.
 
One of my favorite things about pop shows are the dramatic openings. Three sheer screens projected a band of wild crows (or ravens?) forming a large, single one, which eventually morphed into Jackson's silhouette and naturally caused hysteria. With the help of a digital Missy Elliott, Jackson stepped out to current song, "Burn it Up!" and proceeded to perform a rather epic opus of a hits medley, which included "Nasty" and "Miss You Much." The setlist was extremely well-ordered and inclusive; it astounded me how she was able to mash a 30-year career into 2 hours without there being any shortchanges, lulls, abrupt endings, forced or odd transitions. Even the new songs fit right in; there were no awkward "What is this??" moments. I'm personally offended that my favorite song, "You Want This" was a part of the medley and not performed in its entirety though, haha. An awesome surprise was the addition of "Scream;" the only song Jackson recorded with her late brother, Michael. "Get it Michael!" she shouted over his verse. When it came time for the iconic dance break, I was prepared to pass out. She didn't do it, but went into "Rhythm Nation," which totally worked. If you're curious as to whether the 49-year-old missed a beat or an 8-count, she didn't. Vocally, Jackson met expectations, with the best showcase being the ballads section, where there was more girth than many might anticipate.
 
Now, for those missing trademarks. Unbreakable Tour goers who have seen Jackson live before or any of her concert DVD's might notice a difference in stage production. There's usually a bold, consistent theme with elaborate, expensive-looking sets and visuals, and a bevy of cool costumes. The set pieces shined like obsidian rock, but were few and pretty simple overall (2 stair cases and a scaffold block for the band were primarily used). Though the video graphics and lights were neat, they didn't connect, have concept or emphasize the message of "unbreakable." We didn't see anything much in relation to that until the end, when the bird reappeared and was unfazed by arrows shot into it. Jackson left the stage a handful of times, but never changed attire. The dance-team's wardrobe was giving me Janet. era, while the background singers were giving Velvet Rope Tour. Given the paucity of a premise, I didn't know if that was an intentional homage or just another incoherency. For Nashville attendees, the production wasn't the only thing that was retrenched. Jackson's energy was subdued in comparison (not to be mistaken, she was in no way lazy or cavalier) and majority of the audience interaction was placed at the end. In shows past, she's a mix of hyper and intense, and addresses the crowd frequently. She's notorious for being hands-on in a very literal way, bringing guys onstage to be tied up and tantalized for her rated-R cuts. Not this time, fellas. I prefer to hear from an act throughout a concert, but when Jackson took time to speak, she gave heartfelt thanks for support given to her and her family, which was memorable. There weren't many unique band arrangements, but when a crucial part of your show is nostalgia and catering to long-term fans (as one should), it makes sense not to tamper with classics. No one wants to hear a hip-hop or rock version of "Again" or a jazzy rendition of "I Get Lonely."
 
There were no preliminary performers (which was great; I just want to get to who I paid for), so be sure to be on time. Jackson had a DJ play remixes of her songs to get people pumped up instead. Typically this is annoying, but it was actually a satisfying appetizer. Hardcore fans were doing choreography in the aisles and making friends with strangers that were just as excited as they were. Many came wearing flawlessly intact old tour gear and make-shift Janet-like outfits. The atmosphere was beautiful and giddy. While I was visiting the exhibit of Janet artifacts they had available (which is incredible and must-see), I was surprised with upgraded tickets to front row!! I still can't believe that happened and it's been more than a week. I have no idea what made them choose my friend and I, but I'm not asking any questions. I've never seen anyone of Janet's status before or been front row, so for both of those things to happen at the same time was mind-blowing to say the least. Pyrotechnics, smoke and lights are amazing from a distance; seeing it front row is an out-of-body experience and brings out your inner child. It's like "Wow, Mommy! Look!!" Hands-down one of the best moments of my life. Putting that aside and being objective, there might be some bells and whistles missing, but none of the upmost important ones. "Ms. Jackson if you're nasty" is incomparable and still lives up to her performance standard.

By Eddie J., Contributing Writer
When we listen to music, we typically attribute our listening experience to the person on the album cover, not considering or forgetting that there are MULTIPLE people behind the scenes who made that album happen. Of the more vital figures in the recording process are producers; many of whom could walk right by us in the grocery store and we would never know that they’re the reason behind our favorite song’s existence (no, not every producer is a key-name with a solo record or shouts out their name at the beginning of every song). If you don’t already know, producers are generally responsible for the musical (and sometimes vocal) arrangement. Every so often, producers also contribute lyrics. When an artist releases subpar music, they themselves are often blamed, but the producers are really the ones who should take the bag. If they do their job, producers can make a barely talented artist average or good artist great. Many of your favorite artists might not be as successful without them. Here’s a list of some big names that only go as far as their producers. You might be surprised at who you see on the list.

#5 Trey Songz, Key Producer: Troy Taylor
Okay, I may get some flak for even putting Trey Songz in a category that has “artist” in the title, but in my defense, Songz was actually listenable and kind of unpredictable once upon a time.  Now, this isn’t one of those deluded “Oh, he sounded so much better and he didn’t just sing about sex in the early days” rants, because let’s be honest: he’s sung about sex since his first album and in abundance. However, the difference from the “Gotta Make It” album’s sex songs and those on “Chapter Five” is the music and the little fantasies he and his songwriters left to the imagination by not being overtly explicit. His first album, which is considered an R&B classic, was almost exclusively produced by Troy Taylor. Don’t know Troy? His credits include Whitney Houston’s remake of “I’m Every Woman,” Tyrese’s “Sweet Lady,” Toni Braxton’s “Just Be a Man About It,” Aaliyah’s “Miss You” and B2K’s “Why I Love You” (one of their few good songs), just to name a few. As time progressed, more people got added to the mix on Trey’s albums, making a cesspool of forgettable songs. Not to discredit the other producers who have come and gone on the Songz bandwagon, but there’s just no genuinely amazing music-to-artist chemistry by the time he gets to “Passion, Pain and Pleasure.” We saw the foolery when Taylor wasn’t featured on “Trey Day” and songs like “No Clothes On” made the cut. Even with big names like R. Kelly and Stargate, Songz came off as corny, lackluster or like a Diet R. Kelly. Yet, “Ready” filled the void for the general public and guess whose name showed up in the credits the most as a producer? Troy Taylor. “Jupiter Love” anyone?

#4 Christina Aguilera, Key Producers: Too many to list
So Aguilera is great for this list because she makes two points: 1) some artists are only great with a select few producers and 2) NEVER burn bridges that’ll keep you from getting to your hometown. 
The interesting thing about Christina is that she doesn’t really work with anyone more than twice album wise; the only common denominator is Linda Perry who frequently appeared on “Stripped” and “Back to Basics.” I won’t make this into an argument for which albums have been successful or not, because that doesn’t really qualify the greatness of the music. Let’s just say that “Bionic” and “Lotus” haven’t musically put Ms. Aguilera in the best light. Her self-titled debut was an amazing mix between bubble-gum pop and R&B tracks to show off her vocal versatility, and gave her a solid foundation to attract audiences to both catchy songs and her amazing voice, without her even having to touch a pen. By “Stripped,” Aguilera began to take full control and write songs about social and personal issues, which is probably why most of her fans hold the album to such a high standard. The producer behind the bulk of this feat? None other than Scott Storch, who gave the project grungy, raw undertones that made it such a classic to most listeners. Other significant ingredients included Linda Perry’s musical softness and vulnerability in the ballads and the catchy, yet soulful touch of Matt Morris, who co-wrote over half of it (Morris is responsible for Kelly Clarkson’s “Miss Independent,” which was originally written for “Stripped”).