Jackson has a
soprano vocal range.
[204] Over the course of her career, she has received frequent criticism for the limits of her vocal capabilities, especially in comparison to contemporary artists such as Whitney Houston and Mariah Carey.
[205] In comparing her vocal technique to Houston and
Aretha Franklin, vocal coach Roger Love states that
"[w]hen Janet sings, she allows a tremendous amount of air to come through. She's obviously aiming for a sexy, sultry effect, and on one level that works nicely. But actually, it's fairly limited." He adds that while her voice is suitable for studio recording, it doesn't translate well to stage because despite having "great songs, incredible dancing, and her star like presence, the live show is still magnificent. But the voice is not the star."[206]Biographer David Ritz commented, "on Janet's albums—
and in her videos and live performances, which revealed a crisp, athletic dance technique [...] singing wasn't the point," saying emphasis was placed on "her slamming beats, infectious hooks, and impeccable production values."[46] Eric Henderson of
Slant magazine claimed critics opposing her small voice "somehow missed the explosive 'gimme a beat' vocal pyrotechnics she unleashes all over 'Nasty' ... Or that they completely dismissed how perfect her tremulous hesitance fits into the abstinence anthem 'Let's Wait Awhile'."
[207] Classical composer Louis Andriessen has praised Jackson for her "rubato, sense of rhythm, sensitivity, and the childlike quality of her strangely erotic voice."[208] Several critics also consider her voice to often be enveloped within her music's production. Music critic J. D. Considine noted "on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis."[209] Wendy Robinson of PopMatters said "the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to."[210] Matthew Perpetus of
Fluxblog suggested Jackson's vocal techniques as a study for
indie rock music, considering it to possess "a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks." Perpetus added: "Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities."
I've never even seen her talked about on this board.
