Жанет Джексонның «Control» альбомы: Өзгерістер мен жаңа үлгілер

Control is the third studio album by American singer Janet Jackson, released on February 4, 1986, by A&M Records. Her collaborations with the songwriters and record producers Jimmy Jam and Terry Lewis resulted in an unconventional sound: a fusion of rhythm and blues, rap vocals, funk, disco, and synthesized percussion that established Jackson, Jam and Lewis as the leading innovators of contemporary R&B. The distinctive triplet swing beat utilized on the record is also considered to be a precursor to the new jack swing genre. The album became Jackson's commercial breakthrough and enabled her to transition into the popular music market, with Control becoming one of the foremost albums of the 1980s and contemporary music. Containing autobiographical themes, a majority of the album's lyrics came as the result of a series of changes in her life: a recent annulment of her marriage to singer James DeBarge, severing her business affairs from her father and manager Joseph and the rest of the Jackson family, hiring the A&M executive John McClain as her new management, and her subsequent introduction to Jam and Lewis. The album has been praised by critics as both an artistic feat and as a personal testament of self actualization. It has also been regarded as a template upon which numerous female artists have modeled their careers, particularly Black women. Following its release, Control became Jackson's first album to top the Billboard 200 albums chart in the United States and five of its commercial singles—"What Have You Done for Me Lately", "Nasty", "Control", "When I Think of You", and "Let's Wait Awhile"—peaked within the top five of the Billboard Hot 100 singles chart, making Jackson the first female artist to have five top five hits from one album on the Billboard Hot 100 chart; "When I Think of You" became the singer's first number one hit. Control also set a record for the longest continuous run of charting singles on the Hot 100, at 65 consecutive weeks. Music videos created to promote the album's singles showcased her dancing ability and became a catalyst for MTV's evolving demographics. The album remained on the Billboard 200 chart for over two years. It has been certified five times platinum by the Recording Industry Association of America (RIAA) and has sold more than 10 million copies worldwide. Control went on to receive several accolades, including a nomination for the Grammy Award for Album of the Year and winning Producer of the Year, Non Classical for Jam and Lewis in 1987. It is listed by the National Association of Recording Merchandisers and the Rock and Roll Hall of Fame as one of the 200 Definitive Albums of All Time, in addition to being included in several publications "best of" album lists. In 2016, it was selected for exhibition in the National Museum of African American History and Culture (NMAAHC).

Joseph Jackson, patriarch of the Jackson family of musicians, was known for managing the careers of all nine of his children – most notably, the successful career of The Jackson 5. After arranging a recording contract with A&M in 1982 for a then 15 year old Janet, he oversaw the entire production of her debut album, Janet Jackson, and its follow up, Dream Street (1984); the latter of which was written and produced by her brothers Marlon and Michael, and Jesse Johnson. Best known as a television actress, she was initially reluctant to begin a recording career. She said, "I was coming off of a TV show that I absolutely hated doing, Fame. I didn't want to do [the first record, Janet Jackson]. I wanted to go to college. But I did it for my father  " and elaborated that she was often in conflict with her producers. Amidst her professional struggles, she rebelled against her family's wishes by marrying James DeBarge of the family recording group DeBarge in 1984. The Jacksons disapproved of the relationship, citing DeBarge's immaturity and substance abuse. Jackson left her husband in January 1985 and was granted an annulment later that year. Jackson subsequently fired her father as her manager and employed John McClain, then A&M Records' senior vice president of artists and repertoire and general manager. Commenting on the decision, she stated, "I just wanted to get out of the house, get out from under my father, which was one of the most difficult things that I had to do, telling him that I didn't want to work with him again." McClain responded by saying "I'm not trying to pimp Janet Jackson or steal her away from her father."

When Jam and Lewis agreed to produce Jackson's third studio album, they wanted to appeal primarily to the African American community, in addition to achieving crossover success on the pop music charts. Jam commented in an interview with Rolling Stone magazine, "We wanted to do an album that would be in every black home in America  we were going for the black album of all time." The duo presented the same set of recordings to Jackson, who gave her input and took co writing and co production credits for the album's content. The song was chosen as the lead single for Control, as Jam and Lewis felt it best represented Jackson's outlook on life. Jimmy Jam wrote and played the keyboard arrangement, with Jackson playing the accompaniment. Background vocals were sung by Jackson, Jam and Lewis. Although Joseph Jackson initially demanded that his daughter's new album be recorded in Los Angeles so that he could keep an eye out for her, Jam and Lewis refused. They required the entire production of the album to be done at their own studio in Minneapolis, Minnesota, "far from the glitter and distractions of Hollywood and the interference of manager fathers." "There's a little radiator I used to sit on when we did the Control album," Jackson recalled in 1993. John McClain served as the executive producer. Jackson accompanied Jam and Lewis on keyboard and took part in composing the arrangements. Jackson's father disapproved of the new material and image of Control, claiming it would never sell. She and McClain disregarded his objections.

Fashion photographer and illustrator Tony Viramontes created the stylized cover for the new album and the singles "Nasty" and "Control". Jackson said of Viramontes, "He was very creative, and I believe one day his work will be iconic. He was such a joy to work with. I miss him." Author Dean Rhys Morgan in Bold, Beautiful and Damned: The World of Fashion Illustrator Tony Viramontes discusses how Jackson was "transformed from a former child star into an assured fashion forward figure with her trendsetting big hair and severe all black ensemble. Until this point, Jackson had been more a reflection than pioneer, more interpreter than innovator. This album was all about Janet and who she wanted to be."

Although A&M did not consider a full concert tour to promote Jackson's album, the label funded a three week promotional tour across the United States in 13 cities following its release. In addition to the studio release, a remix album, Control: The Remixes, was released in select countries in November 1987. Jackson's lyrical expression has been noted as one of the key elements of the album's success. Author Dave Marsh in The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made (1999) comments: "Certainly, Janet must have written her own lyrics, which went after men—in particular, not very well disguised stand ins for her father and former husband—more venomously than another guy would have dared. Control, the resulting album, was one of the best sellers of 1986–1987, producing five hit singles." Eric Henderson of Slant Magazine credits the release of Control as "the birth of Janet the music video star, as six of the nine tracks were turned into popular videos that all but announced her as queen of the production dance number." The video for "Nasty" received three nominations for the fifth annual 1987 MTV Video Music Awards, winning Best Choreography for Paula Abdul.

Organization Country Accolade Year Source Billboard Year End Charts United States Top Black Artist, Top Black Singles Artist, Top Dance Club Play Artist, Top Dance Sales Artist, Top Pop Singles Artist, Top Pop Singles Artist, Female 1986 Rolling Stone United States "Rolling Stone's 100 Best Albums of the Eighties" (ranked 28) 1989 Vibe United States "100 Essential Albums of the 20th Century" (no rank) 1999 Q United Kingdom "100 Women Who Rock the World" (ranked 72) 2002 Slant Magazine United States "Vital Pop: 50 Essential Pop Albums" (no rank) 2003 Rock and Roll Hall of Fame United States "The Definitive 200: Top 200 Albums of All Time" (ranked 86) 2007 The Guardian United Kingdom "1000 Albums To Hear Before You Die" (no rank) 2007 Vibe United States "The Unfadeable 51" (no rank) 2008 Slant Magazine United States "Best Albums of the '80s" (ranked 31) 2012 Spin United States "The 300 Best Albums of the Past 30 Years (1985–2014)" (ranked 234) 2014 Billboard United States "Greatest of All Time Top R&B/Hip Hop Albums" (ranked 16) 2017 NPR United States "Turning The Tables: The 150 Greatest Albums Made By Women" (ranked 17) 2017 Pitchfork United States "The 200 Best Albums of the 1980s" (ranked 8) 2018 Cleveland. com United States "The 80 greatest albums of the 1980s by Rock Hall Inductees" (ranked 9) 2020Rolling StoneUnited States"The 500 Greatest Albums of All Time" (ranked 111)2020