When an artist goes through a tragedy of any sort, the next record they record is very critical. Their artistic energy could be disrupted and the record could end up being a total disaster or they could get inspired and bring it hardcore. There's not a lot of middle ground in this situation, though.

After a five year break and the suicide of her ex, Monica came back with the atrocious After The Storm and the late Warren Zevon, diagnosed with cancer, put out his last effort in 2003 that was also one of his most critically acclaimed ever. Another case of this, although not nearly as severe, is Janet Jackson. Jackson was making this album and, while combatting several personal problems, developed a severe case of depression that caused her to be bedridden day after day. She worked through her issues (or so she says) and finished the record that some call the best of her two decade long career. This album went on to be a huge success and made all of Janet's drama seem to be the fire that lit her artistic wick. Or something.

Tracklisting:
Interlude
Velvet Rope featuring Vanessa Mae (****)
You (**** 1/2)
Got 'Til It's Gone featuring Q-Tip and Joni Mitchell (*****)
Interlude
My Need (****)
Interlude
Go Deep (**** 1/2)
Free Xone (***)
Interlude
Together Again (*****)
Interlude
Empty (**** 1/2)
Interlude
What About (*****)
Everytime (**** 1/2)
Tonight's The Night (**** 1/2)
I Get Lonely (*****)
Rope Burn (*****)
Anything (**** 1/2)
Interlude
Special (**** 1/2)

One thing you notice about the album right off is the number of singles. I personally consider six of the fourteen tracks to be singles, while I had familiarity with a couple more. Remember kids, I was in the fifth grade when I got this. Got Til It's Gone is a pure genius update of the Joni Mitchell classic, "classic" being a monster understatement, I know. The first thing I notice about the track is its rather aged atmosphere. While there's a fair amount of new school elements (the scratching, the bass), the song has a much older feel that it lets on. Maybe it's Mitchell's contribution on the chorus, the mellow keyboards or the memorable video but this hot little percussion heavy track transfers you instantly back to the 1970s. Janet's vocals are just one part of this ensemble; they know their role and don't do more than needed. Tip's flow is a bit anticlimactic but is definitely entertaining with his obvious charisma and unique voice highlighting his all too short track time. Oh, and did I forget to mention Joni f-ing Mitchell is on this track? How cool is that?

Go Deep is the track that really gets you out of the ultra serious tone of the record and into Janet's flirty, carefree normal vibe. Armed with an irresistible claptrack, mixed bag of production effects (the cowbell just isn't working for me) and a definite feel good vibe, this is one 4:42 slice of Janet dance track ecstasy. With such lyrics as I'm getting freaked from behind and/ I don't even mind, All the guys at the club/ Wanna get our backs/ We look good in black and one of Janet's most coy and informal vocal performances (her light whisper is perfect for the song's vibe), how can a self respecting soul fan such as myself not love this? Together Again is one of the two most socially conscious tracks on the record; this dreamy celebration of life and rememberance of people lost is bound to get your head bobbing as well as your heart open. Equipped with wafting percussion, deep and digitalized sax, haunting back-up and 80s-ish bassline, this is one of the tracks on the record that's instantly repeat worthy. I would print some lyrics but I know my reviews are novels anyway.

What About, at first listen, is a jaw dropping diary entry-esque track from the viewpoint of an abused woman. The soft and sensual intro is immediately transferred into a blaring, bassline-heavy anthem of questioning a relationship What about all the times you lied to me/ What about the times you said no one would want me/ What about all the isht you done to me Such passion, raw and unfiltered anger and disappointment is housed in this blazing 4:24 track that demands several listens, not just asks for them. Janet rips your heart out on this song; her vocals are stretched a bit but boy, do they ever hold up under the pressure of the track. They express so much in such a short amount of time and, combined with the intensity of the track, are enhanced more than you'll ever know. She performed this on the VH1 Fashion Awards one year and just blew the roof off, one of the reasons I first got interested in the song.

What's this? A ballad? A piano ballad? On a Janet record? You're trippin'...right? Nope. Friends, meet the stark and simply gorgeous Everytime,a lush-y piano ballad with a sweeping hook and a very reflective riff during the verses. The song gradually picks up more elements (a nonthreatening bass, latin-ish guitar, sophisticated string section) that results in a satisfying climax. Oh, wait, that's about three songs later. One problem with this song: Janet's soft and delicate voice is swallowed up during the first verse and hook. She does regain her footing and packs a wallop for the record of the song, though. I Get Lonely is a slinky, piano-rich glimpse into Janet's mindset sans all of the negatives it possessed. She makes such a bad situation into a yearning, uber passionate track. There's a lot more than meets the eye to this track. I bet you won't notice the brief horn, keyboard riff, drums, etc. during the first listen when you think it's more synth heavy than it is. Janet is simply amazing on this song; her power is updated tremendously and is actually allowed to be shown off mighty nicely. She should try it more often because her power does have a lot of untapped potential.

Ooh...here we go...Rope Burn. This track just screams orgasm ("either have one or listen to Janet have one!") and createst an atmosphere where that's all that's on your mind. From the mesmerizing and twangy bassline to the seductive keyboards to the enticing piano, this is one hot little track. It's got some appropriate lyrics for the title Take off my clothes/ No one has to know/ Whisperin' I wanna feel a soft rope burn and a breathless delivery that seals the deal...can someone pass a tissue...help a brotha out...You seems like a simple track with its tribal percussion, sneering intro from Janet and dazzling production but has a bit more depth than you think. The wavering and pulsating synth work is a definite plus while the hook is very fist clenching, Sally-Field-in-Norma-Rae-ish. Tonight's The Night,a cover of the 1976 Rod Stewart track, is one that I constantly skip. This is a good track but is nothing that I think is worth putting ahead of some of these other songs. The vibrating piano adds a sense of class while the claptrack and the rock-ish bassline add just the right amount of edge that will keep people my age interested. It reminds me a bit of a Disney theme song, no joke. Well, sans lesbolicious lyrics. Loosen up the back/ Of your pretty French gown

Anything and Special close up the album on a solid note. Off the orgasmic Rope Burn, you get a classic neo soul slow jam and a moving acoustic-meets-piano anthem of self-esteem. The prior starts out eerily like Together Again only to go the more stormy, carnal route. This quiet-before-the-storm, slightly classed up track of commands Hold me/ Kiss me/ Show me/ you wanna be with me is erotic with its pulsating bass and subdued backup. The latter is probably the most public Janet has went about her depression and the most open she gets on the record. You can really feel it in her voice, especially during the all-too-relatable hook. She converges well with both the acoustic guitar and the piano while even holding her own with the abrasive claptrack. The bass is a good way to hold the track up while the climax of the song is pure gospel.

Empty is one of Janet's most clear and precise vocal performances and the way her voice just works this track is great. This wafting, staccato-xylophone-meets-the-same-bass-in Gotta Get Thru This track is pure ear candy and mixes good elements of ballad and uptempo. My Need acts like it's going to be a big party jam during the first few seconds but this Ashford&Simpson sampled futuristic track is a midtempo and proud of it. The constant cymbal is a good addition and the cascadinng piano is even better. Free Xone is just weird. Its like an overlong, slightly confusing at times interlude. It has nothing good going for it- everything is just so beige. Janet's vocals are beige, the lyrics are beige, the music is beige, it's just beige. The track, featuring violinist Vanessa Dae, is actually kindof hot once you get used to it. Although the intro is a bit long, the soul-rock track that results is worth the trouble.

Overall, this record is one exhausting trip through her psyche. You'll laugh, cry, feel joy, feel her pain and want her to make you feel pain. The interludes are a bit annoying but otherwise, magnificent.

Great Music To Play While: wanting to feel someone sacrificing your own needs, having Joni Mitchell help you out, knowing you look good in black and getting freaked from behind, makin' em moan, feeling your heart race, loosening up the back of your pretty French gown, sitting by the phone

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Avril Lavigne- Let Go
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Recommended: Yes