Date: May 15, 1993
Weeks: 8
I've said before that I prefer high-intensity songs, and that I have no use for relaxing and low-key songs. Sometimes low-key songs can work for me, but they have to include some kind of emotional intensity, a meaning that impresses me. And in order to attain that emotional intensity, such a song would need to avoid the following:
- Pitch-shifting the lead singer's voice in an obnoxiously artificial way to repetitively state the song's title over and over again. If you want to achieve this sound, hire some other singers of various ranges. And in particular, avoid making this silly choice even more intense toward the end of the song.
- An overly trite hook repeated a thousand times. "Like a moth to a flame, burned by desire." Heard it! Before I even came here. Sing something else, please.
- A musical track badly in conflict between its deep, bass-y, earthy verse and a major-chord, piano-sounding transition that never resolves into anything actually different. This entire song is like the verse build-up to a song that's actually interesting.
- Unclear pronouns in the chorus that don't even hold up on inspection of the lyrics. What's the way love goes? I suppose there's possibly an over-literal interpretation that the song just tells the story of an entire relationship, from the phase of nervous affection, to the phase of asking the other person out, to the first sexual encounter. That's the way love goes, from common point A to common point B. But then at the end the lyrics about "a moth to a flame, burned by desire" repeat, and it's not like we'd been told the relationship ended, so I don't think that interpretation actually works.
- A semi-ironic self-aware music video that spends half the time taking the song seriously, and half the time laughing about how silly it is. You can't express emotional vulnerability if you're just going to protect yourself from that vulnerability.
My verdict: Don't like it. It's not badly made overall, and Jackson sings it well, but there are a lot of weird choices that completely undermine this song.
Showing posts with label Janet Jackson. Show all posts
Showing posts with label Janet Jackson. Show all posts
Wednesday, March 21, 2012
Friday, February 24, 2012
Song #873: "All For You" by Janet Jackson
Date: Apr 14, 2001
Weeks: 7
It's not your imagination, this is a disco song. At least, it's heavily based on a sample of "The Glow of Love" by Change, from 1980. Which is to say, it's practically a remake, or at least a remake of the good parts.
I like the piano. The pumped up bass and drums do their best to drown it out without contributing much of interest, but the piano part works. I wish it had more to do than its one riff that occasionally percolates to the surface of the mix, but it's a good sound. And unfortunately, that's about all the music that there is, other than random little laser sound effects sprinkled across the top. The music video includes a bizzare dance breakdown bridge. But it's not good, and it's not in the single.
The song's biggest problem is Janet Jackson. She does not fit this song. The generic, bland backing track demands someone with an interesting, powerful voice, and that is not Jackson. Her breathy, soft voice is far too delicate for this song.
The lyrics are an exploration of the problem Janet Jackson has being approached by suitors because they're a little intimidated to approach someone famous. "Something inside you grabs you says 'who am I?'. I know exactly 'cause it happens with all the guys." So I guess this song is about giving the guy permission and encouragement to approach her. I guess she really wants this one particular guy to approach her because she thinks he's hot. "Look at that body, shakin' that thing like I never did see." I don't think the line "got a nice package all right, guess I'm going to have to ride it tonight" comes across as sexy as she intends it to.
My verdict: Don't like it. There's not enough going on to keep my interest. It's not a good match of performer to material.
Weeks: 7
It's not your imagination, this is a disco song. At least, it's heavily based on a sample of "The Glow of Love" by Change, from 1980. Which is to say, it's practically a remake, or at least a remake of the good parts.
I like the piano. The pumped up bass and drums do their best to drown it out without contributing much of interest, but the piano part works. I wish it had more to do than its one riff that occasionally percolates to the surface of the mix, but it's a good sound. And unfortunately, that's about all the music that there is, other than random little laser sound effects sprinkled across the top. The music video includes a bizzare dance breakdown bridge. But it's not good, and it's not in the single.
The song's biggest problem is Janet Jackson. She does not fit this song. The generic, bland backing track demands someone with an interesting, powerful voice, and that is not Jackson. Her breathy, soft voice is far too delicate for this song.
The lyrics are an exploration of the problem Janet Jackson has being approached by suitors because they're a little intimidated to approach someone famous. "Something inside you grabs you says 'who am I?'. I know exactly 'cause it happens with all the guys." So I guess this song is about giving the guy permission and encouragement to approach her. I guess she really wants this one particular guy to approach her because she thinks he's hot. "Look at that body, shakin' that thing like I never did see." I don't think the line "got a nice package all right, guess I'm going to have to ride it tonight" comes across as sexy as she intends it to.
My verdict: Don't like it. There's not enough going on to keep my interest. It's not a good match of performer to material.
Monday, February 6, 2012
Song #610: "When I Think Of You" by Janet Jackson
Date: Oct 11, 1986
Weeks: 2
I'm a little torn on this song. On the one hand, it's fun and energetic enough. On the other hand, it has a lot of little moments I don't care for, and Janet Jackson has a lot of better songs, even if the charts don't necessarily reflect my opinion of their quality. I mean, this is from the same album as "Control," "Nasty," and "What Have You Done For Me Lately," but out of all those this is the only one that reached No. 1, even though it's easily the most forgettable of the set.
The song is perfectly enjoyable and through the first and second verses and both of those choruses. This song does a lot to justify many of the tropes of the 80s that I've complained about before. That 80s poundy drum correctly captures the intended bold energy. That matches the synthesized horn stings, which sound different enough from real horns to create an intriguing sound. The bass is simple but appealing enough. Janet Jackson's light voice is appealing and floats pleasantly in a layer of sound above the appealing background. The song gets off to a good start and seems to be building to a big musical payoff in the bridge.
Unfortunately, the bridge is where the song falls apart. Rather than getting bigger and more impressive, the bridge is full of studio tricks and very little sound. The section of bongo drums and weird grunts just isn't that appealing. The part where they add an echo to "when I think of you [you you you you]" is one of those things that just comes off insincere. And that conflicts with Jackson's spoken "when I think of you," which sounds very sincere, except in the context in which it's presented.
The lyrics are simple, and they're fine, but they're not very deep. When she feels bad, she thinks about her love, and she feels better. There's no odd phrases to mock, but there's not really anything all that clever to praise. The lyrics are ultimately pretty neutral. Except for the part in the bridge where she says "Bass" just before there's a small bass solo. That's one of those things that only works in a band where the singer calls attention to the guitar player who is also a member of the band, and even then it only really works live. A solo artist calling attention to the anonymous studio musician who did her bass line is just odd.
Also, the background singers doing the "So in love" lyric sing it in an overly staccato way that makes it sound like they're singing something else. For years I thought the lyric was something like "Sovinfur," and I wondered what that word meant.
My verdict: Don't like it. It starts off strong, but gets weird at the halfway point. And Janet Jackson has way better songs than this, even if some of her best aren't represented on this list.
Weeks: 2
I'm a little torn on this song. On the one hand, it's fun and energetic enough. On the other hand, it has a lot of little moments I don't care for, and Janet Jackson has a lot of better songs, even if the charts don't necessarily reflect my opinion of their quality. I mean, this is from the same album as "Control," "Nasty," and "What Have You Done For Me Lately," but out of all those this is the only one that reached No. 1, even though it's easily the most forgettable of the set.
The song is perfectly enjoyable and through the first and second verses and both of those choruses. This song does a lot to justify many of the tropes of the 80s that I've complained about before. That 80s poundy drum correctly captures the intended bold energy. That matches the synthesized horn stings, which sound different enough from real horns to create an intriguing sound. The bass is simple but appealing enough. Janet Jackson's light voice is appealing and floats pleasantly in a layer of sound above the appealing background. The song gets off to a good start and seems to be building to a big musical payoff in the bridge.
Unfortunately, the bridge is where the song falls apart. Rather than getting bigger and more impressive, the bridge is full of studio tricks and very little sound. The section of bongo drums and weird grunts just isn't that appealing. The part where they add an echo to "when I think of you [you you you you]" is one of those things that just comes off insincere. And that conflicts with Jackson's spoken "when I think of you," which sounds very sincere, except in the context in which it's presented.
The lyrics are simple, and they're fine, but they're not very deep. When she feels bad, she thinks about her love, and she feels better. There's no odd phrases to mock, but there's not really anything all that clever to praise. The lyrics are ultimately pretty neutral. Except for the part in the bridge where she says "Bass" just before there's a small bass solo. That's one of those things that only works in a band where the singer calls attention to the guitar player who is also a member of the band, and even then it only really works live. A solo artist calling attention to the anonymous studio musician who did her bass line is just odd.
Also, the background singers doing the "So in love" lyric sing it in an overly staccato way that makes it sound like they're singing something else. For years I thought the lyric was something like "Sovinfur," and I wondered what that word meant.
My verdict: Don't like it. It starts off strong, but gets weird at the halfway point. And Janet Jackson has way better songs than this, even if some of her best aren't represented on this list.
Sunday, April 24, 2011
Song #823: "Together Again" by Janet Jackson
Date: Jan 31, 1998
Weeks: 2
This is a happy, bouncy song about people who have passed away.
I joke, but honestly I have to respect the song's tone. The lyrics are about happy memories of a friend, feeling that friend is still around in some way, and looking forward to seeing that friend again in Heaven some day. A lot of songs about that would be slow and maudlin. But this one remembers that its lyrics are ultimately happy, and the result is a bouncy happy dance song.
Most of the music works really well and contributes to the happy spirit of the song. The one point of contention regarding quality might be the bass line, which makes up most of the non-vocal component of this song. Sometimes it strikes me as simplistic, and other times it seems classic. But I like so much of everything else that's going on, I'm willing to meet the song half way.
Because there's not a lot of music beyond the bass line, a lot of the song is riding on Janet Jackson's voice. And she doesn't disappoint. Her voice is softly musical and perfectly matched to the music here. I'm not sure she was always letting herself sing like this. In the 80s she seemed to be trying to be the female Michael Jackson, but she seems to have gotten better in the 90s once she started carving out her own style.
My verdict: Like it. This is a bouncy, deep, well-performed, and fun tune.
Weeks: 2
This is a happy, bouncy song about people who have passed away.
I joke, but honestly I have to respect the song's tone. The lyrics are about happy memories of a friend, feeling that friend is still around in some way, and looking forward to seeing that friend again in Heaven some day. A lot of songs about that would be slow and maudlin. But this one remembers that its lyrics are ultimately happy, and the result is a bouncy happy dance song.
Most of the music works really well and contributes to the happy spirit of the song. The one point of contention regarding quality might be the bass line, which makes up most of the non-vocal component of this song. Sometimes it strikes me as simplistic, and other times it seems classic. But I like so much of everything else that's going on, I'm willing to meet the song half way.
Because there's not a lot of music beyond the bass line, a lot of the song is riding on Janet Jackson's voice. And she doesn't disappoint. Her voice is softly musical and perfectly matched to the music here. I'm not sure she was always letting herself sing like this. In the 80s she seemed to be trying to be the female Michael Jackson, but she seems to have gotten better in the 90s once she started carving out her own style.
My verdict: Like it. This is a bouncy, deep, well-performed, and fun tune.
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