Janet Jackson's Rhythm Nation 1814
Janet Jackson's Rhythm Nation 1814 | ||||
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Studio album by | ||||
Released | September 19, 1989 | |||
Recorded | September 1988 – May 1989 | |||
Studio | Flyte Tyme (Minneapolis, Minnesota) | |||
Genre |
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Length | 64:34 | |||
Label | A&M | |||
Producer |
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Janet Jackson chronology | ||||
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Janet Jackson video chronology | ||||
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Singles from Janet Jackson's Rhythm Nation 1814 | ||||
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Janet Jackson's Rhythm Nation 1814 (also simply known as Rhythm Nation 1814) is the fourth
As with Control, recording for Rhythm Nation 1814 took place at Lewis and Jam's Flyte Tyme Studios in
Rhythm Nation 1814 became Jackson's second consecutive album to top the Billboard 200 and was certified 6× Platinum by the Recording Industry Association of America (RIAA). It became the best-selling album of 1990 in the United States and has sold an estimated 12 million copies worldwide.[2][3] Due to its innovative production and lyrical exploration, critics have come to regard it as the pinnacle of Jackson's artistic achievement. Music scholars note the record garnered her a level of cross-cultural appeal unmatched by industry peers. Considered a "landmark" album, it has also been cited as an influence in the works of numerous music artists, setting stylistic trends in the years following its release.
Visuals in music videos and live performances further elevated Jackson's superstardom. The 30-minute
Background
Following the critical and commercial breakthrough of her third studio album
While discussing the origin of the title "Rhythm Nation", Jackson stated she first uttered the phrase during a conversation with her producers. "I thought it would be great if we could create our own nation" adding that it would be "one that would have a positive message and that everyone would be free to join."[5] She based the idea on the prevalence of various youth groups and organizations that are formed as a means of creating a common identity. The usage of the number "1814" represents the year the national anthem "The Star-Spangled Banner" was written.[9][10] Rolling Stone emphasized the core concept is further explored in the album's opening pledge (the first track of the recording), which states: "We are a nation with no geographic boundaries, bound together through our beliefs. We are like-minded individuals, sharing a common vision, pushing toward a world rid of color-lines."[11] Several critics noted that "R" (Rhythm) and "N" (Nation) are the eighteenth and fourteenth letters of the alphabet, though Jackson said this was coincidental.[5]
Jackson's primary goal for the record was to reach a younger audience who may have been unaware of what it means to be socially conscious individuals. She expressed: "I wanted to capture their attention through my music."[7] She was influenced by other musical acts such as Joni Mitchell, Bob Dylan, Tracy Chapman, and U2, although she felt their music appealed primarily to adults who were already invested in social change.[12] She also stated, "I'm not naive—I know an album or a song can't change the world. I just want my music and my dance to catch the audience's attention" hoping it would motivate people to "make some sort of difference".[13]
Composition and production
Rhythm Nation 1814 was recorded over a period of seven months.[13] Its production took place at Flyte Tyme studios in Minneapolis, Minnesota, with majority of the album being recorded in the winter of 1988. According to Jam, he, Lewis and Jackson chose to isolate themselves to compose the record. No one from A&M Records was invited to the studio to observe and label executives complied with their request.[14] The trio co-authored six of the album's songs: "Rhythm Nation", "State of the World", "Alright", "Escapade", "Come Back to Me" and "Someday Is Tonight". Five of the six remaining songs for the record, "The Knowledge", "Miss You Much", "Love Will Never Do (Without You)", "Livin' in a World (They Didn't Make)" and "Lonely" were penned by Jam and Lewis, while "Black Cat" was written solely by Jackson. She co-produced the album with Jam and Lewis, while John McClain served as executive producer; the song "Black Cat" was produced by Jellybean Johnson.
The LP was produced primarily through use of synthesizers and drum machines.
Jam noted it was commonplace for Jackson to sing her vocals with the base track first and then have the rest of the song built around it in order to make her voice the center of the piece.
The sequencing of the record's track list was done strategically, starting with songs that lyrically depict societal injustices and ending with those that explore love, relationships and sexuality. This decision also factored into the album's artwork and marketing, giving it an overt black and white militant imagery.
Promotion and videography
Upon the release of the album's lead single "Miss You Much", A&M Records issued a press release for the record, announcing social themes to "run throughout much of the material".[23] Jackson performed "Rhythm Nation" on several television shows internationally, including Top of the Pops and a Royal Variety Performance.[24] She also performed a controversial rendition of "Black Cat" at the 1990 MTV Video Music Awards in which she tore open her snapped blouse; although this was routine for performances of the song in concert, it was considered to have "ushered in a new age of sexual spontaneity" for the singer and viewed as the first "shocking" performance of her career.[25][26]
A thirty-minute short film, Rhythm Nation 1814, was produced as a visual companion for the album. Referred to as a "telemusical", the storyline incorporates three separate music videos: "Miss You Much", "The Knowledge", and "Rhythm Nation".[27] Jackson and director Dominic Sena developed the screenplay, which centers around two boys whose dreams of pursuing music careers are destroyed through substance abuse and drug trafficking.[28] Sena referred to the film as the "1814 Project", attempting to keep the public unaware that Jackson was filming on the streets of Los Angeles.[28] The project had a budget of $1.6 million, and was aired on MTV prior to the album's release.[27][29] A&M co-founder Jerry Moss stated that the decision to film the composite videos all at once for Rhythm Nation 1814 regardless of budget was "a brilliant way to go" allotting Jackson more time to focus her attention elsewhere.[30]
Parallel Lines: Media Representations of Dance (1993) observed that in Rhythm Nation 1814, Jackson represents a "modern good fairy" attempting to guide troubled youth to a more positive way of life. Each of the three segments serve a different purpose, beginning with affinity and companionship in "Miss You Much", followed by anger and frustration in her rooftop solo and ending with "Rhythm Nation", in which Jackson and her dancers "have become a uniformed, formidable army, whose controlled energetic moves and shouts project a disciplined resolution to inspire others through dance and music."
Five other music video were produced to promote the album's singles. While the video for "Black Cat" was taken from live footage of Jackson's concerts, those for "Escapade" and "Alright" utilized a
A video compilation, titled The Rhythm Nation Compilation, was released on VHS and LaserDisc on November 29, 1990, and has been certified two-times platinum by the Recording Industry Association of America (RIAA) for shipments of 200,000 units.[41] Excluding "State of the World", it includes the music videos for all the album's singles, including the extended cut for "Alright", as well as a prologue and epilogue.[42][43]
Rhythm Nation World Tour 1990
The Rhythm Nation World Tour 1990 was Jackson's debut concert tour. Described as "an elaborately choreographed spectacle", it aimed to recreate the award-winning, innovative music videos of Rhythm Nation 1814 and those of its predecessor, Control.
Writing for Time magazine, Jay Cocks observed the show to integrate "sleek high tech and smooth dance rhythm into an evening of snazzy soul with a social conscience."[50] Chris Willman of the Los Angeles Times remarked that Jackson's choreography "represents the pinnacle of what can be done in the popping 'n' locking style—a rapid-fire mixture of rigidly jerky and gracefully fluid movements."[51] Several critics noted Jackson lip synced portions of the show, in a similar fashion to her contemporaries.[52] Jon Pareles commented, "most lip-synched shows are done by video-era pop performers whose audiences are young and television trained. They fill arenas to enjoy a spectacle like what they saw on television—the dancing ... the stage effects and incidentally the songs."[53] Michael MacCambridge considered it a "moot point" stating, "Jackson was frequently singing along with her own pre-recorded vocals, to achieve a sound closer to radio versions of singles."[54]
The tour became the most successful debut concert tour in history, with an attendance of over two million.
Singles
Rhythm Nation 1814 produced a record-setting seven top five hit singles on the
"Rhythm Nation" peaked at number two, behind "Another Day in Paradise".[73] It peaked atop Hot R&B/Hip-Hop Songs and Hot Dance Club Songs. The single was certified gold by the RIAA.[67][68] It reached number six in Canada, two in Japanese airplay and South Africa, eleven in the Netherlands, fifteen in Belgium, the top twenty of New Zealand and Sweden, and the top twenty-five of Switzerland, Poland, and the United Kingdom.[69][70] "Escapade" topped the Hot 100, as well as the Hot R&B/Hip-Hop Songs and Hot Dance Club Songs.[67] It was certified gold in May 1990.[68] It reached number one in Canada and Japanese airplay, four in South Africa, ten in Sweden and Belgium, thirteen in the Netherlands, seventeen in the United Kingdom, and twenty-three in Germany.[69][70] The single version of "Alright" featuring additional vocals from rapper Heavy D peaked at number four on the Hot 100 and Hot Dance Club Songs, while reaching number two on Hot R&B/Hip-Hop Songs.[67] It was certified gold in June 1990.[68] It reached number six in Canada, three in South Africa, and one in Japanese airplay.[69][70] "Come Back to Me" peaked at number two on the Hot 100. It reached number three in Canada, as well as number one in Japanese airplay and South Africa, and the top twenty in Poland, Sweden, and the United Kingdom.[69][70]
"Black Cat" topped the Hot 100 and received gold certification.
Critical reception
Review scores | |
---|---|
Source | Rating |
AllMusic | [75] |
Chicago Tribune | [76] |
The Guardian | [77] |
Los Angeles Times | [78] |
NME | 6/10[79] |
Pitchfork | 9.0/10[80] |
Q | [81] |
Rolling Stone | [11] |
Slant Magazine | [82] |
The Village Voice | A−[83] |
The album received generally positive reviews, with a mixed reaction to Jackson's social and political themes.[4] Dennis Hunt of the Los Angeles Times called it "intriguing" and diverse, ranging from "social commentary to lusty, sensual tunes, from dance music to songs laced with jazz and Brazilian textures."[78] Vince Aletti of Rolling Stone likened Jackson's themes to a politician, "abandoning the narrow 'I' for the universal 'we' and inviting us to do the same."[11] Aletti complimented Jackson's balance of "despair with optimism, anger with hope", incorporated within its theme of social progress.[11] Andy Ellis-Widders of Keyboard considered it "a powerful statement on racial integration, social accountability, and personal integrity."[84] In his review for The Boston Globe, Steve Morse compared its success to that of Aerosmith and Billy Joel, declaring it "a dance record with a ruthlessly frank social conscience that addresses drugs, homelessness, illiteracy and teen runaways. She's reached far beyond dance music's fluffy image to unite even serious rockers and rappers who usually look the other way."[28] Michael Snyder of the San Francisco Chronicle considered it a worthy successor to Jackson's previous album Control, adding "a little sociopolitical substance" as she "bounces between the two extremes of romance and generalized, politically correct topicality."[85]
Writing for The New York Times, Jon Pareles viewed Rhythm Nation 1814 as having been "thoroughly calculated" for massive commercial success, noting that, as with Pink Floyd's The Dark Side of the Moon (1973) and Guns N' Roses' Appetite for Destruction (1987), consumers might find that "[b]uying the album can mean endorsing an attitude ... the album becomes a cause without a rebellion."[20] Pareles commended its musicality and vocals, stating "[t]he tone of the music is airless, sealing out imprecision and reveling in crisp, machine-generated rhythms; Ms. Jackson's piping voice, layered upon itself in punchy unisons or lavish harmonies, never cracks or falters."[20] Robert Christgau wrote in his review for The Village Voice, "Her voice is as unequal to her vaguely admonitory politics as it was to her declaration of sexual availability, but the music is the message."[83]
In 1990, the album earned
Retrospective reviews continue to assess the album favorably. Eric Henderson of Slant Magazine declared the album a "masterpiece".[82] Henderson also praised its diversity, stating: "She was more credibly feminine, more crucially masculine, more viably adult, more believably childlike. This was, of course, critical to a project in which Janet assumed the role of mouthpiece for a nationless, multicultural utopia."[82] Though referring to Jackson's voice as "wafer-thin", Alex Henderson of AllMusic applauded Jackson's spirit and enthusiasm, praising the album's numerous "gems".[75] Henderson regarded it "an even higher artistic plateau" than her prior album, adding: "For those purchasing their first Janet Jackson release, Rhythm Nation would be an even wiser investment than Control—and that's saying a lot."[75] Alexis Petridis of The Guardian described the album as a more "grandiose" counterpart to Control, "tough, funky and driving – the second of a perfect pair."[77]
Accolades
Organization | Country | Award | Year | Ref. |
---|---|---|---|---|
Parents' Choice Foundation
|
United States | Parents' Choice Award | 1989 | [89] |
American Music Awards | Favorite Dance Artist, Favorite Pop/Rock Female Artist, Favorite Soul/R&B Female Artist, Favorite Dance Single ("Miss You Much"), Favorite R&B Single ("Miss You Much") | 1990– 91 | [90][91] | |
Billboard Music Awards
|
Top Hot 100 Singles Artist of the Year, Top Selling Album of the Year, Top Selling R&B Album of the Year, Top Selling R&B Albums Artist of the Year, Top Selling R&B Artist of the Year, Top Dance Club Play Artist of the Year, Top Hot Dance 12" Singles Sales Artist of the Year | 1990 | [92] | |
Billboard's Tanqueray Sterling Music Video Awards | Best Female Video Artist, Black/Rap, Best Female Artist, Dance, Director's Award, Black/Rap (Rhythm Nation 1814), Director's Award, Dance ("Alright"), Tanqueray Sterling Music Video Award for Artistic Achievement (Rhythm Nation 1814 Film) | [93] | ||
MTV Music Video Awards
|
Best Choreography ("Rhythm Nation"), Video Vanguard Award | [40] | ||
Grammy Awards
|
Best Music Video, Long Form (Rhythm Nation 1814 Film) | [94] | ||
Rolling Stone | "Women Who Rock: The 50 Greatest Albums of All Time" — #26 | 2002 | [95] | |
Quintessence Editions Ltd. | United Kingdom | 1001 Albums You Must Hear Before You Die | 2003 | [96] |
Rolling Stone | United States | The 500 Greatest Albums of All Time — #275 | 2003 | [97] |
Rolling Stone | The 500 Greatest Albums of All Time — #277 | 2012 | [98] | |
Rolling Stone | The 500 Greatest Albums of All Time — #339 | 2020 | [99] | |
Entertainment Weekly | The 100 Best Albums of the Past 25 Years — #54 | 2007 | [100] | |
Slant Magazine | "Best Albums of the '80s" — #43 | 2012 | [101] | |
Spin | "The 300 Best Albums of the Past 30 Years (1985–2014)" — #54 | 2014 | [102] | |
Pitchfork
|
"The 200 Best Albums of the 1980s" — #30 | 2018 | [103] | |
Cleveland.com
|
"The 80 greatest albums of the 1980s by Rock Hall Inductees" (ranked 58) | 2020 | [104] |
Commercial performance
The album debuted at number twenty-eight on the
Internationally, the album reached number one in Australia, where it was certified double platinum by the Australian Recording Industry Association (ARIA), and South Africa.[69] In Canada, it entered the top five and was certified platinum.[109] The album peaked at number four in the United Kingdom, receiving a platinum certification. It also entered the top ten of Japan and New Zealand, where it was certified double platinum and gold. It reached the top twenty-five of Sweden, as well as the top thirty in the Netherlands and Germany. It also received gold certifications in Switzerland and Hong Kong.[110] It has sold an estimated 12 million copies worldwide.[2] The Rhythm Nation 1814 video compilation and its reissue were each certified double platinum in United States.[111]
Legacy
The commercial success of Rhythm Nation 1814 was an unexpected achievement for mainstream pop music. Although Jackson was told focusing her album's theme on social consciousness would negatively impact sales, it was "a prediction soon proved wrong when the album was certified multi-platinum" and subsequently topped the pop, R&B and dance music charts.
Aside from its commercial performance, the album's composition has continued to receive acclaim for its sonic innovation. Upon its 25th anniversary, music critic and scholar
Jackson's handwritten lyrics to "Rhythm Nation" have been preserved by the Rock and Roll Hall of Fame's "Women Who Rock" exhibit, which Kathryn Metz describes as "the perfect platform to talk about song structure" for the museum's "Women Who Rock: Songwriting and Point of View" course, in which students analyze music written by female songwriters.[125] The Hall has also preserved her military styled "Rhythm Nation" uniform.[126] Rolling Stone observed the song's Rhythm Nation 1814 (film)|music video]] "set the template for hundreds of videos to come in the Nineties and aughts."[127] Mike Weaver remarked the "innovative, one-of-a-kind, funk-and-groove choreography was unlike anything seen in the history of pop music."[128] Although music historian Ted Gioia considered the song to be an "awkward chant" he commented that "Rhythm Nation" became "one of the most riveting videos of the era, a kind of sensual steampunk for MTV viewers."[129] In 1990, Jackson received MTV's Video Vanguard Award for her contributions to the art form.[130] That same year, she received a star on the Hollywood Walk of Fame in recognition of her impact on the recording industry and philanthropic endeavors, including her Rhythm Nation Scholarship fund.[131] With her contractual obligations to A&M fulfilled in 1991, she signed with Virgin Records for an unprecedented multimillion-dollar deal, becoming the world's highest paid musician at the time.[132]
Sal Cinquemani noted her popularity had eclipsed Michael Jackson's, "as she would continue to do for more than a decade".[133] Music scholars John Shepherd and David Horn wrote that as a crossover artist on the pop and R&B charts, she emerged "the most dominant female performer of the 1980s" behind Whitney Houston.[15] Dan Rubey observed that she presented herself as a role model for black women and as a creative intellect whose work advocated the advancement of black people.[39] Joseph Vogel stated that her rising popularity towards the end of the decade was important for several reasons, "not the least of which was how it coincided with (and spoke to) the rise of black feminism".[65] At a time when radio airplay and MTV primarily catered to white rock musicians, her album and its predecessor garnered widespread critical acclaim alongside other "unprecedented breakthroughs" by black women—including Alice Walker's The Color Purple (1982), Toni Morrison's Beloved (1987) and Patricia Hill Collins's Black Feminist Thought (1990)—musically capturing the spirit of the movement and presenting an alternate model on both womanhood and feminism to that of Madonna. Regarding her diverse appeal among youth, he also stated: "Janet didn't have the vocal prowess of Whitney Houston, or the poetic subtlety of Kate Bush; she didn't have Annie Lennox's penchant for the avant-garde or Madonna's predilection for shock. But none of these artists achieved the cross-racial impact (particularly on youth culture) of Janet. And none of them had an album like Rhythm Nation 1814."[65]
'I had this great epiphany
And Rhythm Nation was the dream
I guess next time, I'll know better'
"Shoulda Known Better", Unbreakable
Jackson herself would comment on the album's legacy on her 2015 album Unbreakable. In the song "Shoulda Known Better", she reflects on her optimistic wish that Rhythm Nation 1814 could have profoundly changed the world, noting that there are many, deeper issues to fix and that broad strokes aren't enough. The chorus includes the line, "Cause I don't want my face to be / That poster child for being naive"; and Rhythm Nation's title is referred to as "an epiphany", with Jackson mentioning that "next time, I'll know better". Album co-producer Jimmy Jam told the BBC: "When you're young, you feel like: 'I can change the world! I'm going to lead the revolution!' And then you look 25 years later and you go: 'OK, I should have known better. The same problems still exist but there's a different way to go about tackling it. It still involves mobilising people, but I can't do it by myself.' It's just a wiser, more mature look at the reality of trying to make a positive change, a social change."[134] In 2021, the Library of Congress announced it had selected Janet Jackson's Rhythm Nation 1814 for preservation and inducted it into the National Recording Registry.[135] The album is one of 25 recordings inducted into the registry's class of 2020 that are considered to be "audio treasures worthy of preservation for all time based on their cultural, historical or aesthetic importance in the nation's recorded sound heritage."[136]
Track listing
All tracks are written by and produced by
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
1. | "Interlude: Pledge" | 0:47 | ||
2. | "Rhythm Nation" | 5:31 | ||
3. | "Interlude: T.V." |
| 0:22 | |
4. | "State of the World" | 4:48 | ||
5. | "Interlude: Race" |
| 0:05 | |
6. | "The Knowledge" |
| 3:54 | |
7. | "Interlude: Let's Dance" |
| 0:03 | |
8. | "Miss You Much" |
| 4:12 | |
9. | "Interlude: Come Back" |
| 0:21 | |
10. | "Love Will Never Do (Without You)" |
| 5:50 | |
11. | "Livin' in a World (They Didn't Make)" |
| 4:41 | |
12. | "Alright" | 6:26 | ||
13. | "Interlude: Hey Baby" |
| 0:10 | |
14. | "Escapade" | 4:44 | ||
15. | "Interlude: No Acid" |
| 0:05 | |
16. | "Black Cat" |
|
| 4:50 |
17. | "Lonely" | 4:59 | ||
18. | "Come Back to Me" | 5:33 | ||
19. | "Someday Is Tonight" | 6:00 | ||
20. | "Interlude: Livin'...In Complete Darkness" |
| 1:07 | |
Total length: | 64:34 |
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
1. | "Interlude: Pledge" | 0:47 | ||
2. | "Rhythm Nation" | 4:38 | ||
3. | "State of the World" | 4:53 | ||
4. | "The Knowledge" |
| 4:01 | |
5. | "Miss You Much" |
| 3:53 | |
6. | "Love Will Never Do (Without You)" |
| 5:48 | |
7. | "Livin' in a World (They Didn't Make)" |
| 4:36 | |
8. | "Alright" | 5:27 | ||
9. | "Escapade" | 4:48 | ||
10. | "Black Cat" |
|
| 4:50 |
11. | "Lonely" | 4:59 | ||
12. | "Come Back to Me" | 5:32 | ||
13. | "Someday Is Tonight" | 6:01 | ||
14. | "Interlude: Livin'...In Complete Darkness" |
| 1:06 | |
Total length: | 61:19 |
No. | Title | Length |
---|---|---|
1. | "Miss You Much" (Shep's house mix) | |
2. | "You Need Me" (B-side to "Miss You Much") | |
3. | "Skin Game" (B-side to "Come Back to Me") | |
4. | "The 1814 Megamix" (full version) | |
5. | "Come Back to Me" (instrumental) |
No. | Title | Director(s) | Length |
---|---|---|---|
1. | "Prologue" | Dominic Sena | 3:16 |
2. | "Miss You Much" | Sena | 5:27 |
3. | "Rhythm Nation" | Sena | 4:53 |
4. | "Escapade" | Peter Smillie | 5:04 |
5. | "Alright" (extended version) | Julien Temple | 9:05 |
6. | "Come Back To Me" | Sena | 5:43 |
7. | "Black Cat" | Wayne Isham | 5:23 |
8. | "Love Will Never Do (Without You)" | Herb Ritts | 5:38 |
9. | "Epilogue" | Jonathan Dayton and Valerie Faris | 1:42 |
Notes
- The original vinyl release does not list the interludes as separate tracks, they are instead located at the beginning of the next track.
Personnel
- Herb Alpert – trumpet, horn, brass
- Julie Ayer – violin
- Stephen Barnett – conductor
- Steve Barnett – conductor
- David Barry – electric and 12-string guitar
- Lee Blaske – arranger
- Chris Brown – bass
- Carolyn Daws – violin
- Hanley Daws – violin
- David Eiland – programming
- Rene Elizondo– background vocals
- Richard Frankel – art direction, cover design
- Brian Gardner – mastering at Bernie Grundman Mastering, Hollywood, CA
- Johnny Gill – percussion, special effects, finger snaps
- James Greer – background vocals
- Guzman (Constance Hansen & Russell Peacock) – photography
- Steve Hodge – background vocals, engineer, mixing at Flyte Tyme Studio D, Edina, MN
- Peter Howard – cello
- Janet Jackson – arranger, keyboards, vocals, background vocals, producer
- Jimmy Jam – percussion, piano, drums, keyboards, programming, producer
- Jellybean Johnson – guitar, drums, vocals, background vocals, producer
- Jesse Johnson – guitar
- Lisa Keith – background vocals
- Kathy Kienzle – harp
- Joshua Koestenbaum – cello
- Jamila Lafleur – background vocals
- Terry Lewis – bass, percussion, arranger, background vocals, producer
- Tshaye Marks – background vocals
- John McClain – background vocals, executive producer
- Tamika McDaniel – vocals
- Tarnika McDaniel – background vocals
- John McLain – guitar, background vocals
- Shante Owens – background vocals
- Amy Powell – vocals
- Randy Ran – background vocals
- Nicholas Raths – guitar, classical guitar
- Sonya Robinson – background vocals
- Clarice Rupert – background vocals
- Warlesha Ryan – background vocals
- Tamas Strasser – viola
- John Tartaglia – viola
- Reshard Taylor – background vocals
- Romuald Tecco – concert master
- Anthony Thomas – background vocals
- Hyacinthe Tlucek – concert master
- Steve Wilson – background vocals
Charts
Weekly charts
|
Year-end charts
All-time chart
|
Certifications and sales
Region | Certification | Certified units/sales |
---|---|---|
Australia (ARIA)[160] | 2× Platinum | 140,000^ |
Canada (Music Canada)[161] | Platinum | 100,000^ |
Hong Kong (IFPI Hong Kong)[162] | Gold | 10,000* |
Japan (RIAJ)[164] | Gold | 500,000[163] |
Netherlands (NVPI)[165] | Gold | 50,000^ |
New Zealand (RMNZ)[166] | Gold | 7,500^ |
Switzerland (IFPI Switzerland)[167] | Gold | 25,000^ |
United Kingdom (BPI)[168] | Platinum | 300,000^ |
United States (RIAA)[169] | 6× Platinum | 7,000,000[108] |
Summaries | ||
Worldwide | — | 12,000,000[2] |
* Sales figures based on certification alone. |
Region | Certification | Certified units/sales |
---|---|---|
United States (RIAA)[170] | Platinum | 100,000^ |
^ Shipments figures based on certification alone. |
See also
- List of best-selling albums by women
- 1001 Albums You Must Hear Before You Die
- The 500 Greatest Albums of All Time
References
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Producers Jimmy Jam and Terry Lewis spun Jackson a dark, almost metallic blend of intense funk...
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- ^ ISSN 0021-5996
- ^ Ritz, David (March 1990). "Janet's Nation". Essence.
- ISSN 1074-7109
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- Beaver County Times, p. C.8
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- ^ a b Westbrook, Bruce (September 17, 1989), "Janet Jackson has a winner with 'Rhythm Nation'", The New York Times, p. 31
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After Janet Jackson did a series of TV spots for Japan Airlines last year , her Rhythm Nation 1814 album sold more than 500,000 copies , a huge total for a foreign artist
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External links
- Rhythm Nation 1814 Video Page at Janetjackson.com Archived July 20, 2011, at the Wayback Machine
- Rhythm Nation 1814 (Adobe Flash) at Radio3Net (streamed copy where licensed)