main/news + bio+ discography + media + fans + guestbook + club LaToya Jackson 1980 Boosted heavily by the presence of renowned players like Ray Parker, Jr., Patrice Rushen, Stevie Wonder and Emilio Castillo, LaToya Jackson became the fifth family member to record solo with this generally satisfying 1980 LP. She does best with uptempo numbers, with the straightforward romp "If You Feel the Funk" and the peppy "Save Your Love" serving as highlights. "If You Feel the Funk" is a well-chosen opener, with its enticing vocal arrangement, sturdy rhythm patterns and a memorable guitar solo from Parker seeping into the brain instantly; "Save Your Love" picks up the pace a little but is more concentrated melodically. Another primer is "Nighttime Lover," a softly seductive, simultaneously kinetic number produced by brother Michael. Otherwise, there aren't any other equally strong moments, though the snappy "Are You Ready," co-written and also recorded by Billy Ocean, is fairly impressionable. Vocally, Jackson doesn't have a lot of weight, but she has an obvious enthusiasm for the songs that comes through consistently. That factor, along with the strong cast of musicians and some memorable tunes, makes this an overall enjoyable set. The filler material is worth skipping past to soak in the finer moments. by Justin Kantor   My Special Love 1981 Though her voice isn't particularly strong, Jackson makes up for what she lacks in power with an energetic, uninhibited approach to the music. Benefiting from solid RB-funk arrangements and the well-rounded production of Ollie E. Brown, her sophomore album is a flavorful mixture of lively uptempo romps and smooth-sailing slow jams. Jackson isn't quite up to task on the emotive ballad "I Don't Want You to Go," but her performances otherwise are contagious. There's an unmistakeable chemistry between her and the backing musicians and vocalists on the potent, highly danceable "Stay the Night" and "Fill You Up." And her enthusiasm on the downtempo "Camp Kuchi Kaiai" (co-written with sister Janet Jackson) and "Summertime with You" is delightful. Without question, this is the defining album of Jackson's career. by Justin Kantor   Heart Don't Lie 1984 Despite a very mild public response to her first two albums, Jackson showed no signs of giving up, moving to Private I and recording this album of youthful, highly danceable material. Whereas most of the instrumentation on the earlier albums was live and authentic, drum programming and overdubs entered the picture in a big way here — but not to the total exclusion of the real thing. The title track, which became the most successful entry, is the most gimmicky. Even with cameos from Howard Hewett and Musical Youth, it's a bit too produced to offer any real substance. More believable and alluring are the sprightly, soulful "Bet'cha Gonna Need My Lovin'" and "Think Twice," the latter featuring a surprisingly colorful trumpet solo. Amir Bayyan's production gets a bit repetitive on occasion, resulting in a few sound-alike tunes, and Jackson's presence isn't as distinguishable as on previous output. But a handful of guilty pleasures here that are, if not much else, very catchy, making this a wise investment for anyone curious about the music of the Jackson family "outcast." by Justin Kantor   Imagination 1986 On her early '80s albums for Polydor, Jackson was able to make up for what she lacked in vocal talent with an energetic, youthful approach to the music — in part inspired by able, live backing musicians. As the '80s rolled on and synthesizer arrangements became the standard, however, she seemed to lose that touch. Tracks here like "On a Night Like This" and "Baby Sister" are too cute and overdone to be taken seriously. And "Love Talk" is a weak attempt at being a midnight-hour, come-hither slow jam. The album's lone notable track is the catchy "How Do I Tell Them," which, with its instantly memorable chorus and gripping rhythmic structure, is hard to resist. Otherwise, it's mostly disposable material.  by Justin Kantor   La Toya 1988 After leaving her father's production company in 1986, Jackson released this set of producer-driven R&B and dance tracks in 1988. The production team of Full Force has always been capable of surrounding limited vocalists with the right machinery: clever background riffs, samples and special voice effects that can stray the listener from a singer's lack of interpretation and even a weak song. Their contributions, "You Blew" and "Such a Wicked Love," are clever jams which position Jackson as a street-hip artist. Even with the gimmicks, the overall sound is ultimately somewhat vacuous. Meanwhile, the Steve Harvey-produced "Does It Really Matter" is a genuine, insinuating club/house cut, and the Stock, Aitken & Waterman track, "Just Say No," is an easily digested anti-drug anthem that brings out the best of Jackson. by Justin Kantor   Bad Girl 1989 Latoya Jackson gets no respect -- you can purchase this CD for less than $5 at most online shops, and it's not exactly a dinosaur. Many say she's the least talented Jackson sibling, but how can you say that Tito, Jackie, or Marlon is better? This isn't a bad CD; Latoya's problem is that she's in the wrong era. Latoya's voice would have fared better in the late '70s, when disco divas were anointed weekly. Her light, wispy voice is comparable to, but not as good as, Sylvia Robinson's ("Pillow Talk") sexy whisper. The songs, more than Latoya's voice, are the main culprit here; even Whitney or Chaka couldn't have done much with this batch. The most engaging tracks are "Playboy" (not the Marvelettes song), "You and Me," "You Keep My Restless Heart," and "Bad Girl." by Andrew Hamilton   No Relations 1991 Even with all the publicity her controversial 1991 autobiography generated, Jackson was unable to find commercial success with her recordings of the same time. This set, one of many she recorded for relatively unknown, independent European labels, attempted to hit directly on that note: the album's title signifying her estrangement from the rest of the Jackson family. A far cry from that concept, the content is concentrated in light lyrics and melodies typical of the singer's catalog. One-night stands with the potential for something deeper are the concern of "Sexbox" and "Could This Be Love We're Making," while dancing and fun are the pivot points of "Reggae Nights" and "Let's Rock the House." But Jackson does make an apparent allusion to her rebellious streak on "Wild Side." The song is a nifty, pop-funk mid-tempo number that benefits from understated melodies atop a percussive, frugally produced dance track. It's precisely this vein that serves the limited vocalist well on further cuts such as the mellow houser "To Prove My Love" and the catchy, pop-club outing "Could This Be Love We’re Making." Not overly ambitious in scale, the songs here are spacious enough to complement the artist's thin delivery — and simultaneously, the production is fun and doesn’t overpower her. Offering a healthy dose of danceable, memorable ditties, No Relations certainly doesn't match the vigor of 1981's My Special Love, but it is Jackson's most consistently enjoyable, full-length effort from the '90s. by Justin Kantor   From Nashville To You 1993 Despite many attempts, Jackson has never been able to score a bona fide hit in America. Making a country album proved to be a step in the wrong direction. This unriveting, bland assortment of "songs" starts off weak, and doesn't get any better. Jackson does not have the range or the versatility to cover country classics like Patsy Cline's "Crazy," and her clear misunderstanding of the genre only makes the nauseating originals worse. The heavily clichéd "I've Got to Be Bad" and drawn-out "Break a Leg" are prime sufferers of this syndrome. Though not particularly proficient in any musical style, Jackson's R&B and pop output is much stronger than this feeble effort. by Justin Kantor