Tag Archives: Janet Jackson

Underrated Drum Tracks I have Loved 2015, Part 2: Don’t Let Go – En Vogue

En Vogue began their career in the new jack swing era, which meant that the rhythm tracks on their records were created with the use of samplers (such as the ubiquitous Roland TR-808). The typical new jack swing drum track combined layers of elements so heavily syncopated that the overall track would have been all but unplayable by a single human drummer. The aethetic of new jack swing – sonically and visually – was brash and loud, and these hyped-up, super-complex 808 tracks were a key element. They were not intended to be an undetectable replacement for a live track; the mechanistic quality was the point.

New jack swing’s moment passed quickly (by the time Michael Jackson released the NJS-influenced Dangerous, it was already becoming old hat), superseded by the more classic-sounding hip-hop soul of Mary J Blige, which relied heavily on samples from classic soul records, giving a less frenetic feel to the backing tracks and making new jack swing seem gauche in its raw energy. Hi-top fades quickly went out of style, as did the primary-colour wardrobe of NJS. Watch an episode of the Fresh Prince of Bel Air to remind yourself of the eye-popping NJS aesthetic. This was a time when grown men and women wore dungarees and romper suits

When En Vogue released their last single with Dawn Robinson on lead vocals, Don’t Let Go (from Set It Off), they were worlds away from their early sound and look: in was a piano line out of a James Bond theme and what sounded for all the world like a live rhythm section; the only holdover from their early sound was a wah-wah guitar, of which the group and their producers had apparently always been fond. The street feel of NJS had gone: the girls’ new image looked expensive, and their new song sounded expensive. There’s even an orchestral tympani.

That rhythm track was, indeed, live, played by bassist Preston Crump (with an earth-shakin’ tone) and drummer Lil John Roberts, who’s also played for Jill Scott, Monica and Janet Jackson. From the opening snare flam of his first whole-kit fill, Roberts’s performance is a monster, entirely suited to what is effectively an R&B power ballad. The groove is one of the the simplest possible: kick on one, snare on two, kick on three (played on both the fifth and sixth eighth notes in the bar) and snare on four. He gives his high-tuned snare quite a thumping, playing the whole track with rimshots, to choke the snare’s low end and create more volume and cut, but there’s lovely little details in the right hand, extra sixteenth notes and dotted notes, creating a subtle swing feel that subliminally links the song back to the group’s early hits, even as its arrangement is vastly different.

Lil John Roberts
Lil John Roberts, and his iPod-style bass drum resonant

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That’s the Way Love Goes – Janet Jackson

I wasn’t a huge fan of this when it came out. Janet Jackson has never been a particularly commanding vocalist, and with That’s the Way Love Goes being sung softly against a very prominent groove, the record didn’t seem to contain much Jackson at all. I was, what, eleven at the time, without a good stereo of my own to listen to it on, so I only heard the song on little radios and in my parents’ car; with the low end being inaudible in that context, a lot of the point of the record was lost with it. And truth to tell, the song was thematically a bit adult for the 11-year-old me to really relate to.

Now, I find myself really taken with the sexy, unhurried groove. Musically, the track still contains traces of new jack swing (of which Jackson’s producers Jam and Lewis were early pioneers, along with Teddy Riley) but crossed with the more naturalistic (often sample-based) sounds of the then-infant genre of hip hop soul. The triplet swing is still hinted at, but the drum sound is more natural, more expensive-sounding, less brash, than it would have been in the late 1980s. Early NJS had used the Roland TR-808 to program complex, layered grooves that would have been very difficult if not impossible for a single human drummer to recreate. That’s the Way Love Goes samples its drums instead, from James Brown’s Papa Don’t Take No Mess, then augments them to make them bigger (the time stretched, quantised, heavily compressed and as a result somewhat shaky Brown groove is clearly audible in the mix though). It sounds more grown-up than true NJS had done; muted earth tones rather than stark primary colours.

The drums aren’t the only signifier of adult sophistication, though. The jazzy guitar, playing lead licks in parallel fourths on what sounds like a big-bodied archtop guitar (an updated Breezin’-style George Benson kind of thing) and chord voicings with 6ths and major 7ths, does much to define the mood of the record.

But ultimately, it’s Jackson’s voice – very confident and intimate, soft and gentle without leaning too heavily on the breathy half-whisper that was already a cliché in slow jams and bedroom records – that really sells it. It deservedly won her a Grammy for Best R&B Song; she’s won six Grammys in total, but That’s the Way Love Goes is the only one to win for songwriting. All things considered, it’s probably her best single, despite strong competition from her Control hits.

janet