Janet Jackson released her third album Control 30 years ago today. Yes that does feel like it’s aging me a bit,though I was technically five years old when it first came out. Years of looking at the past,present and possible future of black American music bring out just how important Janet’s first big moment in the sun actually was. Not only did it do a lot for her career wise. But with the level of consistency producers Jimmy Jam and Terry Lewis bought to it, the album focused attention back on full albums as a prime medium for uptempo funk and dance oriented music in the late 1980’s. Needless to say,my ongoing journey with Control is full of personal reflections as well.
First time I ever heard of Janet Jackson was a gift of the first 45 RPM records in my collection in 1987. They were Janet’s “Nasty” and “When I Think Of You” from this particular album. It wouldn’t be for another decade or so that I’d finally hear the entire album. It’s yet another in that special CD rack reserved for my very favorite albums. Am sure many of you reading this have similarly nostalgic memories of when they first heard this album. Of course I was also hearing this while almost simultaneously getting seriously into The Time. So just the idea of the Minneapolis sound meeting up with Janet Jackson let me to talk about the song “Control” itself.
Opening up with wind chime effects,whirring electronic hums and liquid guitar-like accents,the main groove opens with some brittle hand claps/drum machine percussion effects. The song’s sections is separated out by distinct breaks. The first is an instrumental chorus with Minneapolis funk’s trademark of (by this time) digital synthesizers playing the strong grooving horn lines. Janet’s vocals duet call and response style with her own harmonies on the main chorus. The bridge has a sunny melody with digitized bells. The final choruses of the song Janet’s lead and harmony vocals play in beautiful harmony with the percussion and synth horn lines with a playful synergy.
Rhythmically,this song has a very strong industrial and hard hitting sound that is right on time with the dance music coming out of Japan and Europe during that time. Yet even with the hard slamming electronic instrumentation, “Control” is still structured entirely in the mold of a James Brown style funk jam. The big beat on the one,with it’s many breaks continues to drive the groove. Also Janet’s budding confidence in singing about if it has to do with her life,she wants to be the one in control in response Jam & Lewis’s synth horns. Whatever musician and/or producer was personally involved,this showcased how Minneapolis was a major source for revitalizing a hard funk attitude for the late 1980’s.