Janet Jackson – Rhythm Nation 1814

1986's “Control” was such an artistic digression from not only Janet Jackson’s own output, but also that of the R&B genre at large, it is difficult to comprehend how she managed to follow it up with an even more risk-taking and empowering record. Of course, the continued involvement of ex-Time members Jimmy Jam and Terry Lewis, who were by now operating at the peak of their powers as songwriters and producers, was undoubtedly a significant factor. Fortunately, Jam and Lewis continued to synergise with Jackson's creative intellect and inclinations, with both entities managing to transcend all musical parameters whenever they collaborated on a project. Naturally, the talented trio wanted to prove that "Control" wasn't a fluke. And applying the inexplicable magic present on the first outing to a second almost four years apart would be testing to say the least, but going by their combined credentials, it was clear that they were more than up to the task of popularizing urban sounds and styles all over again.

Heralded for the beat-heavy, sophisticated and hip style of their Flyte Tyme productions, Jam and Lewis knew better than to simply do more of the same on a sophomore effort. Given this fact, “Rhythm Nation 1814” was obliged to sound even more exquisitely crafted and cutting-edge than not only its predecessor, but every other record in the charts. So as to achieve this, the producing team updated their studio equipment and started using samples in their instrumental arrangements. The result was a cohesive, dynamic and hi-tech recording that fused rhythm and blues with funk, industrial music and even heavy metal, with four of its singles topping the Billboard Hot 100. Impelled by her exponential rise to fame on the basis of "Control", Jackson had grown ambitious and wanted to truly escape her troubled and faltering brother’s shadow. Thusly, the lyrical and musical elements of its aftercomer needed to be higher-calibre in every respect. Upon considering the merits of their unrelated yet equally danceable, funky components, “Rhythm Nation 1814” is more than a match for her brother’s own attempt to repeat the huge sales of his career-defining blockbuster. In fact, “Rhythm Nation 1814” could be viewed as being the worthier successor, since it actually eclipsed its predecessor in terms of commercial success, whereas “Bad”, for the most part, did not.

Throughout the Reagan administration, African-American rappers were uniquely praised for addressing social issues of the time, if only due to the presumption that their material was largely derived from personal experience. Usually, maudlin subject matter orated by pretentious individuals can come off as trite, naïve and grandiose. Frankly, how much egotism is necessary to believe that lecturing the oblivious masses in a pop context will succeed where constant media exposure has not? To tell the truth, the primary aim of targeting political topics is to expand an artist’s scope and make them appear less self-centred and conceited than the average pop star. In Jackson’s case, she takes on the role of messenger rather than admonisher, wisely restricting the overt politicking to three tracks. Inspired by countless news reports of racism, poverty, and substance abuse, Jackson saw an opportunity to ostensibly encourage her fan base via the medium of music and dance to acknowledge and avoid such tragedies, therefore adding depth to her one-dimensional contradictory "fed-up with men and their bullshit" sweet girl persona. Through handling said social and political themes with the utmost care and sensitivity, she elevated her credibility, and thanks to heavily choreographed and stylish corresponding visuals, became a cultural and fashion icon to boot. A sultriness and exuberance covers the proceedings, with the driving funk and rock-inflected pop pieces - “Black Cat” “Miss You Much”, "Alright", "Someday Is Tonight," and "Escapade" - all bolstering the album’s futuristic, eponymous emblem. That being said, the spoken-word interludes and ballads, namely the magisterial "Love Will Never Do (Without You)" and beautiful "Come Back To Me", are just as integral, providing the album with much-needed diversity and breathing space.

As per the title, "Rhythm Nation 1814" sends a clear message of creating a common identity. It also refers to the album's lavish, mechanized dance rhythms. Jackson's enhanced involvement in the album's creative process meant that it did not become a mere continuation of "Control". Instead, she created a quasi-concept album meticulously and strategically calculated to make maximum impact, all the way down to its sequencing (downtempo socially conscious songs segueing into explicitly sensual and romantic material) and graphics and visuals that appealed and conformed to contemporary youth pop culture. In 1989, Jackson's impressive though rather generic vocals, gender-neutral dance image and hope to change the world through music made her a role model for black women. And as much as "Rhythm Nation 1814" failed in its monumental quest, it did leave its mark on pop culture and music, crossing racial boundaries to become considered not just a classic album, but also a breakthrough artistic statement that still carries importance.

Rating: 5/5