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By the time Janet Jackson was born in 1966, her sibling band the Jackson 5 had already begun performing together. The young singer would later make her debut with the band at the age of seven, later joining the cast of the TV sitcom “Good Times” at the age of 10. Further TV appearances followed including “Different Strokes” and “A New Kind of Family”, before under pressure from her father released her self-titled debut album in 1982. A second studio album “Dream Street” followed in 1984 matching the disappointment of its predecessor, after which she hired a new manger John McCain and underwent dancing lessons.
Having collaborated with producers Jimmy Jam and Terry Lewis in the studio, Jackson released her third studio album, “Control”, in 1982. Catapulting the singer to Pop Icon status, and promoting Jackson as a strong minded, responsible young woman, the record was a smash hit, topping the Billboard 200 upon release. Spawning the Billboard Hot 100 Top 5 singles “What Have You Done for Me Lately”, “Nasty”, “When I Think of You”, “Control”, and “Let’s Wait Awhile”, the album went on to sell over 14 million copies worldwide.
The success of the album meant it became a tough act to follow, and, reluctant to overtly sell her sexuality opted for a more socially conscious, romantic album with 1989’s “Rhythm Nation 1814”. Spawning four No. 1 singles “Miss You Much”, “Escapade”, “Black Cat”, and “Love Will Never Do (Without You)”, the record featured high-quality production, generous samples and was supported by the singer’s first major tour.
Following the release Jackson signed with Virgin Records, in a deal reportedly worth $32 million, and duetted with Luther Vandross on the single “The Best Things in Life Are Free”. Far removed from her previous public image, Jackson’s 1993 album “janet.” showcased a sexy and alluring singer, epitomised by her ‘revealing’ Rolling Stone Magazine cover. Featuring Jam and Lewis at the production reigns once again, the album was led by Jackson’s biggest single to date “That’s the Way Love Goes”, which was held aloft the Billboard Hot 100 for eight weeks. In 1995 the singer collaborated with her brother Michael on the single “Scream”, which later resulted in the most expensive music video of all time, but only rose to No. 5 in the pop charts.
After singing another deal with Virgin worth $80 million, the singer released the full-length “The Velvet Rope” in 1997. Marked by Jackson’s newfound sexuality as well as the social consciousness promoted on “Rhythm Nation”, the record earned mixed reviews however spawned the No. 1 single “Together Again”. In support of the record Jackson embarked on another worldwide tour and remained in the charts with the duet “What’s It Gonna Be?!” with Busta Rhymes and “Doesn’t Really Matter”. The full-length “All for You” arrived in 2001 once again finding itself at the top of the Billboard 200 and was led by the No. 1 titled track.
Following a “wardrobe malfunction” at the Super Bowl XXXVIII, Jackson became America’s focal talking point, and raised a national debate on public indecency. At the same time the singer issued her eighth studio album “Damita Ja” in 2004 featuring production from Jam and Lewis, Kanye West, Dallas Austin, and Just Blaze. Due to the Super Bowl incident a host of media outlets refused to play the album’s singles which resulted in significantly lower album sales compared to predecessors. In 2006 Jackson released the full-length “20 Y.O.” led by the singles “Call on Me” and “So Excited”, which was followed by the singer’s 10th studio album “Discipline” in 2008.
Though Jean was born in Croix-des-Bouquets, Haiti and had lived in the country since he was nine, he spent most of his childhood and formative years as a musician in the United States. Jean cites reggae and Bigga Haitian as his earliest musical influences but since his move to the States he developed a love for hip-hop music.
One of Jean’s first professional musical endeavors and undeniably one of his most successful was the formation of the Fugees. The group formed in South Orange, New Jersey in the 80s, initially under the moniker Tranzlator Crew. During their assimilation to Ruffhouse and Columbia Records they altered their name to the Fugees and put out their studio debut “Blunted on Reality” a year later. This album did relatively well on the charts, but did not come close to achieving the success they reached with their sophomore release “The Score”. This album topped the US Billboard 200 and has since obtained Platinum status six times over. The Fugees disbanded in 1997 with only two albums under their belt, but left an indelible impression on both hip-hop and pop culture.
Jean was the first member of the Fugees to start a solo career and wasted no time in doing so. The year the group broke up he released his debut studio album “The Carnival”. The album contained over 73 minutes of material and featured guest spots from Lauryn Hill, Celia Cruz, John Forte, and even the Haitian politician/ former musician Michael Joseph Martelly. The album hosted the three singles “Guantanamera”, “Gone till November”, and “We Trying to Stay Alive” (the latter an ode to the Bee Gees). Additionally the album garnered praise from more underground critics like the Village Voice and excelled commercially, placing at No.16 on the US Billboard 200 and selling over 5 million copies since it’s release.
Jean’s next studio album also sported a hefty list of guest artists spanning from pioneering funk troupe Earth, Wind & Fire to actor/pro-wrestler Dwayne Johnson (aka The Rock). His 3rd studio album “Masquerade” was issued on 18 July 2002 and out performed his previous two releases, peaking at No. 6 on the Billboard 200. Prior to the release of this album Wyclef suffered the loss of his father and pursued a career as an actor making an appearance in the film “Shottas” (a Jamaican gangster movie). These events (particularly the loss of his father) influenced the tone of “Masquerade” and contrary to his past works he included surprising reworking of songs by Bob Dylan and Frankie Valli and also included a guest spot for Tom Jones on his rendition of “Pussycat”.
Not even three albums into his career Jean issued a Greatest Hits compilation in 2003 and followed it up the same year with his studio LP “The Preacher’s Son” (an obvious self-reference as his father was a Nazarene pastor). Jean’s 5th studio album “Welcome to Haiti” marked a drastic alternation in style as every song was performed in a foreign language and was heavily influenced by Caribbean culture.
Jean’s sequel to his debut “Carnival Vol. II Memoirs of an Immigrant” was released at the close of 2007 and was chalked full of differing guest musicians: Serj Tankian, Shakira, Paul Simon, Mary J. Blige, Norah Jones, Lil Wayne, Akon etc...
Jean’s next full length release “From the Hut, to the Projects, to the Mansion” is a concept album based on the Haitian revolutionary “Toussaint L’Ouverture”. He followed up this album with yet another Haitian themed release “If I Were President: My Haitian Experience”. As the title suggests this recording is influenced by and coincided with Jean’s decision to run for president of Haiti.
Outside Jean’s solo career he is heavily involved in politics and charity work, particularly in regards to his home country Haiti. He has also established himself as a highly sought after songwriter and has composed material for Destiny Child, Sublime, Simply Red, Whitney Houston, Cypress Hill, Michael Jackson, Mya, Santana, Mick Jagger, and Sinead O’Connor among others.
Founded by Jazzie B in 1988, Soul II Soul began as a sound system playing records at house and street parties. Featuring a rotating cast of members including Nellee Hooper, Simon Law, Phillip “Daddae” Harvey, and Caron Wheeler, the band's debut release was the dubplate “FairPlay” in 1988, which secured them a deal with Virgin Records. Following the subsequent release of a few un-charting singles in 1988, the group rose to recognition with in 1989 with the release of “Keep on Moving”. The same year Soul II Soul issued the single “Back to Life (However Do You Want Me)”, which went on to top the UK Singles Chart for four consecutive weeks. Featuring Wheeler on vocals the single paved the way for the group’s debut album “Club Classics Vol. One” which also found the top spot of the UK Albums Chart.
Soul II Soul also enjoyed moderate success in the U.S. at this time with the single “Back to Life” reaching the Billboard 200’s Top 10. The band’s debut also secured the group two Grammy Awards for Best R&B Performance by a Duo or Group for “Back to Life” and Best R&B Instrumental for “African Dance”. The group’s sophomore album “Vol. II: 1990 - A New Decade” followed in May 1990 once again rising to the top of the UK Albums Chart. Led by the singles “Get a Life”, “A Dream’s Dream”, and “Missing You”, the album was recorded without Caron Wheeler, however earned the group three Soul Train Awards. A third album, “Vol. III: Just Right” arrived in 1992, which spawned the group’s last Top 10 hit, “Joy”.
The following year Soul II Soul released the greatest hits album “Vol. IV: The Singles 88-93”, which rose to No. 10 on the UK Albums Chart. Marked by a decline in sales, the band’s fourth full-length “Vol. V: Believe” was released in August 1995 peaking at No. 13, and was followed by “Time for Change” in 1997.
Any fan of pop music cannot go wrong in attending a Janet Jackson performance. Of course music is the central focus at any concert, but if you go to one of Janet's shows you are going to get a hell of a lot more than that. She is simply a spectacle to watch.
Her vocals are so precise that they sound as though they have been lifted straight from her albums (and no she does not lip-synch). Her dance moves are absolutely out of this world. She jerks around in a nearly mechanical manner, testing the limits of the human body. Some of her choreographed routines seem to an extent inhuman and these rigid robotic-like convulsions seem to fit in beautifully with the technopolis style set design. The flashing lights and the illuminated LED screens projecting images so fast you think you are going to have a seizure really accent the futuristic look of the mis-en-scene.
And don't even get me started on Janet's vast and immensely stylish fashion. She may not change costumes as much as her more histrionic contemporaries, but the outfits she does choose could not complement her dance style and set design more. She is typically seen sporting a homogenous colored outfit (usually in a classic white or black), which is incredibly sleek looking. Her jackets fit tightly around the waist and often are lined with dominant looking shoulder pads that create an extreme dynamic look. Again her acute choice of clothes really enhances the power of her dance performance. Her dance performances also pair nicely with her music often mirroring the message or themes of the song. From a pop star at the caliber of Janet, it is without doubt that you will experience a hit laden night. She will take you through her immense catalogue and sound, performing slowed down ballads like "Again", slowed down jams like "Any Time, Any Place", old school breakbeats "Rhythm Nation" and electro-club tracks like "Feedback". Whatever song you do hear it will be absolutely astonishing.
wjmcc
When you think about the Fugees, it’s actually quite difficult to gauge which of the members has had the most success since the group disbanded, initially in 1997 and then again, acrimoniously, in 2005. Lauryn Hill, of course, produced a genuine classic in the form of The Miseducation of Lauryn Hill in 1998, but the fact she’s since been better-known for her legal troubles and disappointing live appearances is seriously threatening to outweigh her genre-defying record. Pras Michel has focused primarily on a modest acting career, although still found time for a worldwide smash in the form of ‘Ghetto Superstar’. And then, there’s Wyclef Jean, who’s extensive solo canon has fluctuated wildly in terms of critical reception; the hugely-successful ‘Perfect Gentleman’ bordered on novelty single, whilst his terrific collaboration with Mary J. Blige, ‘911’, had him at the top of his game. At his best, his musical talent is undeniable, and the infrequent festival appearances that he’s made under his own name over the past decade or so have demonstrated that his charisma certainly translates to the stage; his slot at Woodstock ’99, in particular, had him commanding an enormous crowd with an inventive, irrepressibly fun set. He seems to have bigger fish to fry than music these days - including his well-documented political ambitions - but the latest instalment in his Carnival series, The Carnival Series, remains slated for a future release; perhaps, when it does arrive, he’ll make a long-overdue return to touring proper, too.
Joeg_67
Soul II Soul are legends in the eyes of soul and RnB fans, with the British collective being one of the few bands to crossover to the US at the end of the ‘80s. Jazzie B’s experimental RnB group, which has featured a rotating lineup, have been going since 1988 and soon after were signed to Virgin Records. After they dropped their landmark debut, Club Classics Vol. One, in 1989, a handful of follow-ups followed up throughout the ‘90s; for a while at least, their dance-laced soul pop was pretty ubiquitous. These days, Jazzie B and co regulars on the festival circuit. They are just so incredibly well suited to big, open-air main stages, especially when the sun is shining. I saw them for the first time recently on the main stage at London’s Lovebox, where the veterans had an audience of young and old dancing around in glorious sun. Jazz B still looked like the don and the band were super efficient. Obviously their massive hit ‘Back to Life (However Do You Want Me)’, which they ended on, achieved a massive sing-a-along – perhaps the biggest sing-a-long of the day. Caron Wheeler’s vocals are still impressive, even after all this years, and it was one of the festival highlights. Soul II Soul have still got it!
cliverozario
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