A Moment’s Pleasure (1979), 10th studio album from Millie Jackson, the artist skilfully blends soul and disco, delivering personal stories through catchy, moving melodies
Released in 1979, this album features such landmark tracks as Never Change Lovers in the Middle of the Night and Kiss You All Over, which illustrate Jackson’s mastery of emotional expression. It explores themes of love, desire and complicated relationships, underpinned by rich musical arrangements…
About the reccord
A Moment’s Pleasure demonstrates Millie Jackson’s musical evolution, incorporating disco elements that reflect the times. The intense, often autobiographical lyrics reveal a powerful vulnerability. Although the album was less acclaimed than its predecessors, it remains an essential work for soul fans, demonstrating Jackson’s ability to touch the hearts of her listeners. It also highlights the growing importance of disco in black music, paving the way for new sounds. By revisiting this album, we can question the impact of disco music on contemporary artists and the way it has shaped the current musical landscape.
She have the same initials as Mahalia Jackson, but their life are completely different. If Mahalia sung in churches in the name of God, Millie found her way in luxury… I’ve few records from her, and its always a great moment to listen to them. I often take this one in my Dj Bag, huge effect ! And lets remember the unforgettable collaboration with Isaac Hayes that spun off the single, Do You Wanna Make Love.
About Millie Jackson
From Scaruffi : « (…) Millie Jackson’s career was entirely dedicated to love paranoia of one form or another. Millie Jackson (1972) contained the pop ballad Ask Me What You Want but revealed her gospel-like roar. Hurts So Good (1973) was another pop tune, but on Caught Up (1974), a concept album (produced by Brad Shapiro) based on a dramatic analysis of adultery, she blended angry raps and erotic whispers: Jackson played the « wife » on the first side, and the « lover » on the second. The saga continued on two more albums, while Jackson’s lyrics (and stage act) became more and more explicit, even obscene in Phuck You Symphony (1979). She repeated that routine year after year, but her songs were banned from the main radio stations. The quality of her singing remained impressive, but the songwriting was mediocre at best. Even Hard Times (1982) and Extra Sexual Persuasion (1984), the best albums of the 1980s, sounded like parodies. It took Between The Sheets (2000), a quarter of a century after her revelation, to revitalize her career (…) »
i like Millie jacksons music. she is one tough woman.