Recorded for the soundtrack to Damon Wayans comedy Mo’ Money, this duet with Luther Vandross sounds like new love.

She sounds in her element throughout, all giggles and effervescent “oohs”, while Jam and Lewis encase her pure pop vocals in an early 80s glitterball.

Gliding around a sample of Evelyn “Champagne” King’s 1981 disco-funk classic I’m in Love, the immaculate R&B Junkie was another victim of Jackson’s post-Super Bowl blacklisting. It’s tempting to wonder what the label made of this, the album’s decidedly low-key lead single, a mellow, J Dilla-inspired ode to taking nothing for granted that fused a Joni Mitchell sample with a Q-Tip verse, and that was purposefully made chart ineligible in the US. Got Til It’s Gone (1997)Ī year before 1997’s personal opus The Velvet Rope, Jackson signed a record-breaking $80m deal with Virgin. Like 1997’s Together Again, it heals pain through the freedom of pop. Opening as a delicate ballad before blossoming into a dance behemoth, Shoulda Known Better finds Jackson asking for global unity while also touching on how little has changed since she posed similar questions on 1989’s Rhythm Nation (“I don’t want my face to be a poster child for being naive”). “Maybe we’ll meet at a bar, he’ll drive a funky car,” she coos, lost in the possibility of brand new love. Over a sampled riff taken from 70s rock band America’s sun-dappled Ventura Highway and a web of splintering synths, All for You’s second single is Jackson at her most straightforwardly goofy best. The lascivious Strawberry Bounce – co-produced by then-newcomer Kanye West, who creates the song’s backbone out of a chopped up Jay-Z sample and a glockenspiel – showcases Strawberry, who promises to be a lover’s sex-focused playground. Strawberry Bounce (2004)ĭamita-Jo saw Jackson not only experiment with her sound – Richard X, the DFA and Basement Jaxx were approached for sessions – but also her alter egos.

“Strobe lights make everything sexier,” coos Jackson, clearly not with a sticky-floored provincial club above a Wetherspoon’s in mind. Created specifically for her gay fans, this throbbing dancefloor anthem from Discipline – co-written by Ne-Yo – could easily have nestled on X, Kylie’s similarly minded album released the previous year.

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