Reception
| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| Allmusic | |
| The Miami News | (favorable) |
| NME | |
The Miami News described the three "right on target" Stock Aitken Waterman songs as being "pop gems that display Jackson at her best." "Just Say No" was commended as a "bouncy tune that glosses over" the anti-drugs slogan while Allmusic wrote that "Just Say No" brought "out the best of Jackson." David Quantick, writing in NME, lauded the LP's hip-hop side with Full Force "a-nicking and a-sticking in full sample effect." However Quantick slammed the SAW-produced tracks on Side B, characterizing "Just Say No" as Marvin Gaye's "What's Going On" rammed up the nose of Abba's "I Have a Dream".
The Miami News opined that pop "with a bit of funk and soul" best suited Jackson but criticized her voice as being drowned out on the Full Force songs. On the other hand, the San Jose Mercury News asserted that tracks "You Blew" and "Such a Wicked Love" "bristle with the torrid funk of Full Force." Allmusic described the Full Force tracks as "clever jams which position Jackson as a street-hip artist" but while also being "somewhat vacuous." "Does It Really Matter" was complimented as "a genuine, insinuating club/house cut."
Read more about this topic: La Toya
Famous quotes containing the word reception:
“He’s leaving Germany by special request of the Nazi government. First he sends a dispatch about Danzig and how 10,000 German tourists are pouring into the city every day with butterfly nets in their hands and submachine guns in their knapsacks. They warn him right then. What does he do next? Goes to a reception at von Ribbentropf’s and keeps yelling for gefilte fish!”
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“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
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“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own; which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it.”
—Jonathan Swift (1667–1745)