getxxxx said:

Janet Jackson's Unbreakable not only debuted at No. 1, but also put BMG's recorded music division on the map... in a big way. BMG's label operation has been on the come-up in recent months, thanks to hit releases from Alabama and Iron Maiden. But Jackson's Billboard 200-topping debut, with 121,000 units moved (including 109,000 in album sales) for the week ending Oct. 8, was indeed sweet for BMG.

"We always believed that if Janet and Rhythm Nation became a part of the BMG family, it would take BMG to the next level, and be a great success both financially and creatively," BMG executive vp of recorded music Jon Cohen said in a statement. "We could not be more pleased with the success of Unbreakable, especially with the album becoming Janet's seventh No. 1 record, and the initial song "No Sleep" spending eight weeks at the No. 1 position on the Adult R&B chart. It is our first No. 1 in the US... [which is] the definition of having the ability to play with the big boys."

While some reports have questioned whether Jackson’s sales were kosher, Unbreakable's No. 1 was accomplished in accordance with rules determined by Billboard's charts department, which insure that the consumer makes a deliberate action to purchase an album. It is common nowadays for artists to try and generate more revenue with each purchase, and one of the ways that is accomplished is through bundling merchandise or concert tickets with records/downloads/etc. But in order for those sales to count, the customer must choose to buy the album by opting-in -- in this case by choosing to pay $10 over the price of a concert ticket in order to receive a copy of Unbreakable.

That was but one component of the marketing plan put together by Rhythm Nation, which is managed by JDJ and Sterling Winters Company. Jackson management worked in conjunction with partners Live Nation, Sales Force and My Music VIP to set up the album and tour. The Jackson team "have created a music owners loyalty experience at each concert," Cohen said. "This is unique to the industry, and is truly a testament to the out-of-the-box concepts Janet and her management team are capable of creating and implementing to perfection. The program fosters engagement and loyalty, resulting in the purchase of digital and physical music."

The success of the Jackson album is the culmination of a strategy launched after BMG parent Bertelsmann ended one chapter of its history in the music business. When BMG was revised by Bertelsmann in Octber 2008 -- right after it had sold its original music operations to Sony Corp in a two-stop process that began in 2004 and culminated on Sept. 30, 2008 -- the newly re-launched BMG company initially focused on building a music publishing business, even though it held out and retained ownership to some 180 albums from the sale of the original BMG assets.

Over the last few years BMG has acquired the assets of Sanctuary and Mute and the labels Vagrant, Infectious Music, and Rise, as well as powering up a recorded music operation, signing artists in the process. In September, BMG’s label operation began flexing its muscles when Iron Maiden’s Book of Souls hit No. 4 on the Billboard 200 with sales of about 74,000 units. It followed that up with Alabama’s Southern Drawl, which came in No. 2 on the Billboard country album chart with 21,000 scans (No. 14 on the Billboard 200) for the week ending Sept. 24, according to Nielsen Music. With the success of those albums, sources say that BMG is projecting its recorded music operation will see sales approaching $50 million in the U.S. over the next 12 months, and global sales approaching $100 million. With its publishing operation added in, BMG will have total revenue over half a billion dollars, making it a company well on its way to major label status (again). Alas, the label of "major" is one that BMG CEO Hartwig Masuch eschews, who considers it to carry negative connotations for many artists. Instead, Masuch insists that BMG will take a friendly approach to artists. That philosophy is visible it how its record labels deal with artists; while BMG owns the catalogs it has acquired, it provides new signings a range of options.

"We have tremendous flexibility, and will construct deals suited for how each artists wants to work," BMG U.S. president of creative and marketing Laurent Hubert tells Billboard. "We can do joint ventures, or split revenues 75/25 (in favor of the artists); or pay out in the traditional royalty structures. But typically we license the records for a period of time, and again that period depends on what kind of deal" the artist wants to construct. In the case of Jackson, BMG reached out, knowing it could rely on "the genius of Janet, Jimmy [Jam] and Terry [Lewis]" to deliver a great record and the marketing might of her management team JDJ Entertainment and Sterling Winters, the latter a kathy ireland [sic] Worldwide company. "We did not shop Janet’s project," according to a statement issued by Jackson’s management team (Jason Winters, Jaime Mendoza, Jessica Davenport and Stephen Roseberry). "There was only one meeting and it was with BMG."

Those executives add that a "tremendous amount" of research was conducted -- for several years -- to find the perfect home for Jackson and Rhythm Nation. "When we met with BMG, we knew this was going to be the right creative environment for Janet's future endeavors, including Unbreakable and her own company, Rhythm Nation." Moreover, they add, "The deal was negotiated with Janet's management team, legal team and BMG executives only.

Reports of Janet's husband being involved financially are fabrications, meant to distract from the couple's independent and successful global careers, as well as the beautiful love they share." One of those future endeavors might include some holiday music from Jackson, according to sources. But Jackson isn’t the only thing BMG has on its upcoming release slate.

Currently, BMG has dozens of distribution deals around the globe, sources say, because of its philosophy of wanting to accommodate artists and allowing them to choose what distributor they want to work with; and due to deals that were in place when label acquisitions were made. But sources say that its distribution set-up is proving to be unwieldy so BMG recently has put out a RFB -- request for bid -- to about four or five distributors, including INgrooves, Sony Music Entertainment and Universal Music Group, the latter is distributing the Janet Jackson album. Sources further say that the bids should include flexibility that would allow BMG to issue some albums through another distributor in the same market, if it should so choose. Meanwhile, Rise BMG's label operation remain separate, but both label components can tap some BMG shared services. Moreover the creative functions, like A&R and synch staffers, are integrated and serving both the BMG label and publishing operations. "I can’t underline the importance of having a really integrated publishing and recorded music team, just for the volume of business the synch team can generate," says Cohen. "But its also great to have arguably the biggest rock and pop writers in the business under our roof for those artist who want to collaborate with outside writers. That’s an incredible resource."

Kathy STRAIGHT set Roger Friedman DOWN on Twitter last week, about a VERY negative article he wrote. That downplayed "Unbreakable's" success.

She was NOT playing! I BOW DOWN to her now in everyway. It is a MUST read for ANY JTribe fan...

getxxxx said:

Tommy Parker on The Kelly Alexander Show

He talks about: -Influences in music which included the Jacksons, MJ, and Janet (even before they worked together) -What he considers his first big break (co-writing Janet's "Make Me") -How one of his credit names (McClendon) of his 3 (McClendon, Parker, and Lumpkins) was because Janet thought he should honor his mother who passed away -About first meeting Janet in 2009 -How he got involved with Unbreakable -His songs on Unbreakable (Unbreakable, Night, Dream Maker/Euphoria, 2 B Loved, Gon' B Alright, and Love U 4 Life) -What his favorite songs from the album are -The writing experience with Janet and Jimmy Jam & Terry Lewis -Believes her being overseas the last few years is why the album is dedicated to the fans because she saw the love she was getting while she was away -What he learned by working with Janet -How Janet takes her time with songs rather than rushing them -The production process with Janet, Jimmy Jam, and Terry Lewis and what it was like witnessing the Janet, Jimmy Jam, and Terry Lewis process -That Janet actually recorded a lot of work for this album but it was narrowed down to what would make the album sound the most cohesive -How Janet told him that she wanted to make an album that said something and that people could look up to not what many of the females now make. -How modest Janet is about her impact/influence even though everybody who has worked for her, know her, and are fans of her see it and have told her about it -How Janet doesn't really like to use social media (why she only post things now and then) because Janet came from an era when an artist was mysterious/you didn't know much about them -What it feels like to be apart of a #1 album

Great informative interview!!

Ellie said:

Still haven't heard it. I tried to buy tcikets to her concert for the London date but was forced to buy the CD with tickets, therefore I didn't buy either.

I'll get it one day. Maybe.

You had the option to opt out of buying the CD.

There was a drop down menu allowing you to buy only tickets for the 02 London show - just as I did.

No one was forcing you to buy the album - just a little navigation and you'll get there next time.

mancabdriver said:

Ellie said:

Still haven't heard it. I tried to buy tcikets to her concert for the London date but was forced to buy the CD with tickets, therefore I didn't buy either.

I'll get it one day. Maybe.

You had the option to opt out of buying the CD.

There was a drop down menu allowing you to buy only tickets for the 02 London show - just as I did.

No one was forcing you to buy the album - just a little navigation and you'll get there next time.

exactly. people are listening to the media, you do not have to buy the cd in order to buy a ticket. of course she is using the tour to help sell the cd but nobody is forced to buy it and it is not bundled sales, you will be charged the 10$ for the cd on top of the ticket or merchadise prices if you chose to buy it.

lowkey said:

here's the radio edits of Unbreakable (stream)

http://musicpleer.info/#5...7556980782

[Edited 11/2/15 4:05am]

BlackCat1985 said:

Is anyone else having trouble posting in the Janet tour thread?

They automatically close after two months. I think this thread will suffice!

Cinny said:

Cool interview.

SEANMAN said:

getxxxx said:

How Janet Jackson took control again with Jam and Lewis



Jimmy Jam knows Janet Jackson well enough to know what works. Their first few albums, including "Control" (1986) and "Rhythm Nation" (1989), were basically three-person operations: Jackson, Jam and coproducer Terry Lewis working without interference or input from anybody else.

When talk turned to Jam and Lewis rejoining Jackson in the studio for what would become her latest studio album, "Unbreakable" (Rhythm Nation/BMG), the producers stipulated one condition.

"We insisted that had to be that process again — just us, no record company, no A&R or anything like that," Jam says. "Let us make the record we want to make. It felt like 'Control' again. It was a rediscovering of that, except her voice has matured and our chops in the studio have gotten better."

It's no coincidence that "Unbreakable" is Jackson's best and most focused work since the '90s, back when she was regularly working with the Minneapolis duo, and debuted at No. 1 on the pop album chart. For most of the last decade, Jackson worked with different collaborators and bottomed out in 2008 with her previous studio album, "Discipline," recorded with a bevy of contemporary hitmakers. Only months after releasing the album, it drifted off the charts and Jackson parted ways with her record label.

Then Jackson's personal life got complicated. Her brother Michael Jackson died in 2009, then she broke off a romantic relationship with producer Jermaine Dupri, scrapped an album she was working on with Rodney Jerkins, and married a Qatari businessman, Wissam Al Mana. Two years ago, the singer reconnected with Jam and Lewis. In an interview, Jam described how that relationship was rekindled. Here are few excerpts from that conversation:

Q: How did you and Terry get back to producing Janet Jackson albums after so many years apart?

A: A couple years ago we had a catch-up lunch. We talked about family, life, not music. But she said that time will come. Later, her manager called and said, "Let's get you guys together and see what happens. If a record happens, great, if it's just a bunch of dinners and hanging out, it's fine too." We started trading ideas long distance or through email about a year ago. We decided to meet in New York, sit in a room together and see what we came up with. We got three, four ideas that we thought were kinda cool. We're not talking about what the album should be yet, but confirming our desire to work together. We give Janet a comfort zone to try things, where there really are no bad ideas, just ideas that won't get used. You can't undo the 30 years we've been working together, and she had things she wanted to say. On the albums from "Control" (1986) to "All for You" (2001), they were done in a vacuum with us. The first three were done in Minneapolis, where we were left alone, we picked singles, sequenced the album, and there was no input from anyone else. That was the combination that made good records. More recently, there were a couple (Jackson) records that weren't like that because there were too many cooks in the kitchen, and those records weren't as successful as ones that came before. They didn't have the continuity that the first five albums we did with her had. We all wanted to get back to that.

Q: What took so long to get back together?

A: A lot of it was just life taking its natural turns. I've always been a big believer you make records when you have something to say, and going back, we never made a Janet record where she didn't have anything to say. … Later on there was an album where she said to Terry, "You do the lyrics, I don't have any ideas," and I said to management that this is a total red flag to me. But so much happened after "Discipline" came out — her brother passing, that's a life changer, and she also fell in love and got married and moved to the other side of world to live. All that went into this record.

Q: It's extremely rare in pop and R&B these days to see just one set of producers working on an entire album with an artist, instead of a bunch of producers all vying to create singles. How were you guys able to cut against the grain?

A: It's timing and opportunity. When we did "Control," she had already done two albums before with multiple producers. With "Control," we got an opportunity to make a whole album with her, without scrutiny, because no one was saying, "I can't wait for the new Janet record." So we were left alone. There's a little of that vibe here. The aim is to make a complete album. You don't have to make singles, you just make songs, and arrange them in an order that tells a story or a feeling, a continuity. And out of that there will be certain songs that will raise their hands: "I wanna go first!" It's a whole different mindset. … It's fun to do a project where you come in to work on one track. But there's nothing like getting into a project for the duration. I always felt our best work with Janet or someone like New Edition or Alexander O'Neal was when it was all of us working on the whole album together.

Q: What songs set the tone for this record?

A: The first song we recorded was "After You Fall," one of the most intimate and strongest vocals on the record. It happened organically. I had this idea, played it for Terry, and sent it to her. She called right back, "Oh my God, what is this?" I said I think it should be called "After You Fall," but I don't know what it's about. She sent it back the next day with the lyrics totally done. … Once she sang it, we played it back, and she never gives herself credit, but for this one she goes, "I don't mind that." That was our starting point.

Q: This is a warmer-sounding, more intimate album for her in contrast to some of the more contemporary dance-oriented stuff she was dabbling in on the last few albums. Was that by design?

A: The idea of the record sounding warm, that was just the way we were all feeling. There are some dance tracks, because she loves to dance, but it's also important to pay attention to lyrics. It's the strongest album she's done lyrically because she's writing from a standpoint of maturity and perspective that she didn't have before. "Broken Hearts Heal" is about her brother, which is the first time she opened up about that. And "The Great Forever," a lot of (oppressed) communities have already embraced that as their anthem.

Q: The previous album, "Discipline," sounded desperate to keep up with pop trends. This one sounds like it was made without that sort of agenda. How much do you pay attention to what's trending in pop?

A: There was really no concern about what is going on today. It wasn't about reintroducing her, because her fans are there. We wanted to make a record for those fans who have been there. What would they like that next album to sound like? We were aware of what's out there, and we always play records we love before we start recording. She loves Brazilian music, Gilberto Gil and artists like that — we listened to a ton of that. We love Basement Jaxx, then Azealia Banks, Big Sean, and I went to Coachella because I wanted to see FKA Twigs. We want to soak everything up, and then shut it down and make our own album. If it sounded like it was forced, or we're chasing something, that's not what we're trying to do. We did isolate ourselves. Our partners in BMG did not know what the album would sound like till we finished. She's an indie artist with her own label, which is cool, because it allows her to make an album without pressure or expectations of sales. That was refreshing.

Q: How tough was it to record the song about her brother, "Broken Hearts Heal"?

A: It was more a celebration of his life. It's a short song with few words, and the rest is feel, like you're leaving room for everyone to have their own memory of Mike. When we worked with Michael and Janet on (the 1995 single) "Scream," as soon as the music came on, Michael started dancing, stomping his feet, snapping his fingers, jangling his jewelry. He was off mic when he sang. He broke every studio rule. Janet, on the other hand, is very disciplined in the studio. You never have to change mic position because she walks in and nails it every time. But on the second verse of that song, she started snapping her fingers while she was singing and she would say, "Oh, man, I know you don't want that in there." But it fits. It's cool. That's exactly how your brother records. It was almost like his spirit had gotten in her.

Q: Do you feel her career was unfairly tainted by the "wardrobe malfunction" at the Super Bowl in 2004 or has that been overblown?

A: If anything the unfairness of it has been underblown. The attention to it was overblown. To me, it's about an African-American female being swept under the rug, and that's the travesty. We, I say that collectively, have no desire to bring it back up again. It's a blip on a 40-year career. … You see a woman's body part for two seconds and it becomes this major issue? It's sexist, it's racist. … If you live long enough, eventually you get measured by the deeds you do throughout your life. I think it's wonderful that Janet has persevered. "Come a long way, got a long way to go," as she says in the song "Well Traveled." You never stop learning, growing, that's the thing she always did. Even in the firestorm after the Super Bowl, she got better at her craft, she became a better singer, songwriter, dancer. That's the culmination of what you see on "Unbreakable."

Greg Kot cohosts "Sound Opinions" at 8 p.m. Friday and 11 a.m. Saturday on WBEZ-FM 91.5.

http://www.chicagotribune.com/enter...jam-terry-lewis-ott-1030-20151026-column.html

BlackCat1985 said:

This article is for all of the folks who keep saying Janet doesn't write her own music. Jimmy set the record straight.

Yep. Jimmy said it was a red flag when Janet asked Terry to write the lyrics too... that means they compose the tracks and she writes lyrics.

Cinny said:

BlackCat1985 said:

This article is for all of the folks who keep saying Janet doesn't write her own music. Jimmy set the record straight.

Yep. Jimmy said it was a red flag when Janet asked Terry to write the lyrics too... that means they compose the tracks and she writes lyrics.

Which album do you think he's referencing there? 20 Y.O.?

sexton said:

Cinny said:

Yep. Jimmy said it was a red flag when Janet asked Terry to write the lyrics too... that means they compose the tracks and she writes lyrics.

Which album do you think he's referencing there? 20 Y.O.?

It's gotta be because they weren't on Discipline, and they were doing things like covering "Lookout Weekend".

sexton said:

Cinny said:

Yep. Jimmy said it was a red flag when Janet asked Terry to write the lyrics too... that means they compose the tracks and she writes lyrics.

Which album do you think he's referencing there? 20 Y.O.?

it was damita jo

lowkey said:

sexton said:

Which album do you think he's referencing there? 20 Y.O.?

it was damita jo

they worked on DAMITA JO & 20 YO they had no input on Discipline

getxxxx said:

lowkey said:

it was damita jo

they worked on DAMITA JO & 20 YO they had no input on Discipline

jimmy once said when they were about to start working on an album janet told terry to write the lyrics because she didnt have anything to say, they told her if she dont have nothing to say she shouldnt make an album and she need to go and live some life. she eventually came around and its been said that album was damita jo, that was also the longest it ever took them to make an album.

lowkey said:

Strangely, I fucking love Damita Jo.

Cinny said:

Strangely, I fucking love Damita Jo.

Damita Jo is awesome! It's not in my top 5 of her albums, but it's one of her best from the last 15 years. It only gets a bad rep because of nipplegate I think.

thekidsgirl said:

Cinny said:

Strangely, I fucking love Damita Jo.

Damita Jo is awesome! It's not in my top 5 of her albums, but it's one of her best from the last 15 years. It only gets a bad rep because of nipplegate I think.

It is top 4 for me.

Cinny said:

KCOOLMUZIQ said:

Cinny said:

Strangely, I fucking love Damita Jo.

That reminds me of when I first met Kanye. I discussed with him his work with Janet on "Damita Jo". He was very pissed but honest that he did a lot more work on that album. But didnt get credit for it. He told me new producers rarely get credit. Because of being unknown. I GUESS THATS WHERE GHOST WRITING COMES FROM.

He was credited for "Strawberry Bounce" "My Baby" and "I Want You". I would not be surprised if it is Kanye's fingerprints on "Island Life" and "Like You Don't Love Me", now that we are more familiar with his sound.

Cinny said:

KCOOLMUZIQ said:

Cinny said:

He was credited for "Strawberry Bounce" "My Baby" and "I Want You". I would not be surprised if it is Kanye's fingerprints on "Island Life" and "Like You Don't Love Me", now that we are more familiar with his sound.

I wanted to ask him which songs.But didn't think to ask. The single "I Want You" was newly out then. Which I told him he did an excellent job on. He was very humble about it.Yet pissed at the same time about the ommision. You may be right about those tracks you listed.

Some of that sound... Avila Brothers and Flyte Tyme have not done before or since Damita Jo, but they are the only ones in the credit. I remember thinking "dat ain't right". I think Kanye's producer credit was also more of a CO- credit, when clearly he was able to produce by then.

Cinny said:

Strangely, I fucking love Damita Jo.

me too, its totally underrated.

Cinny said: