I'm Sorry Miss Jackson
As has been noted on numerous occasions in the annals of A Story To Tell, the 80s are big on the party scene. Not much of a secret I hear you cry, but interesting nonetheless that the cheese of yesteryear is often proving to be today's party accompanying creme de la creme. And interesting also that even amongst this phenomena for pop hits heard through rose-tinted speakers there is still space for the crate-digger, and the kudos that goes with dropping a forgotten gem on a dancefloor who would remain more than happy to lap up some old Michael Jackson and Tiffany for their 80s kicks, maybe even risking some Footloose if the time is right.
That is the job of the disc-spinner to a certain extent. Give them what they want, and then give them a little extra that they didn't know they wanted in the first place. And one seam which is a rich enough mine for all tomorrow's parties can be found in the work of Minneapolis' own Jimmy Jam and Terry Lewis, and especially their work with Janet Jackson. It has always astounded me that the work of the future Mrs Dupri has not found greater critical or party-popping favour, particularly that from 1986's Control album which is essentially a showcase of the production talents of Jam & Lewis. Control forms a magnum opus of sorts for the Flyte Time team, and offers up some of the purest examples of their urban, computerised funk and pounding bass, so important in the emergence of the New Jack Swing sound later in the decade. The hip-hop tinged feel of much of the production pretty much changed the face of R&B at that time, and their work with Janet really paved the way for aggressive and strong female voices within that genre. There is, as ever, so much to say about this production team that one entry will never suffice. But for now, next time you are at that 80s party and the usual suspects come through, why not ask the DJ if you can hear some of that Nasssty basss!!
That is the job of the disc-spinner to a certain extent. Give them what they want, and then give them a little extra that they didn't know they wanted in the first place. And one seam which is a rich enough mine for all tomorrow's parties can be found in the work of Minneapolis' own Jimmy Jam and Terry Lewis, and especially their work with Janet Jackson. It has always astounded me that the work of the future Mrs Dupri has not found greater critical or party-popping favour, particularly that from 1986's Control album which is essentially a showcase of the production talents of Jam & Lewis. Control forms a magnum opus of sorts for the Flyte Time team, and offers up some of the purest examples of their urban, computerised funk and pounding bass, so important in the emergence of the New Jack Swing sound later in the decade. The hip-hop tinged feel of much of the production pretty much changed the face of R&B at that time, and their work with Janet really paved the way for aggressive and strong female voices within that genre. There is, as ever, so much to say about this production team that one entry will never suffice. But for now, next time you are at that 80s party and the usual suspects come through, why not ask the DJ if you can hear some of that Nasssty basss!!
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