seeking fame via salacious outlandishness." Kalefa Sanneh of The New York Times stated: "Ms. Jackson long ago established herself as one of the greatest and most consistent performers [...] – she hasn't released a dud album in 20 years," adding Damita Jo "continues that streak". Sanneh concluded, "Jackson has spent the better part of two decades using that whispery voice and that shy smile to keep some small part of herself hidden, even when she seems to be exposing herself. Maybe that's why she can still cause such a fuss. And maybe that's also how she's managed to last so long." Neil Strauss of Rolling Stone called the album "all things to all pop fans", ranging from "whiffs of classic Eighties Janet, teeny-bopper pop, a Nelly impression, old-school funk, push-button rock & roll, even a little country & western." Mikael Wood of The City Paper declared it Jackson's "most sonically sumptuous album" and an "explosion of finely finessed sound". Los Angeles Times praised its balance between "assembly-line product" and innovation in "more inspired commercial pop". Its production was said to span "decades of pop-music romance" by Blender, ranging from the "Motown sound" to "hip-hop's latest throwback beats". Wood defended Jackson's lyrical content: "the album's songs aren't any more moralistic than those by the frequently philandering male stars who get away with exposing their nipples all the time." However, Wood deciphered the album to be "more about love than lust", likened to "a nuzzle on the ear" and familiar comfort. Cromelin observed Jackson's vocal inflections to convincingly deliver "serviceable personas"; ranging from "haughty stripper to a wide-eyed kid who loves long walks on the beach." The album's vocal production received prominent recognition. Jackson's layered "breathy harmonies", built upon "little countermelodies" and overdubbed "nonverbal asides", were considered an inventive technique; providing a "plush romance". Jackson's approach to "shrouded" harmonies were also thought to produce intimacy and comfort; which "makes even a relatively raw number like "Sexhibition" feel like a private moment between you and the owner of history's most downloaded breast." LA Weekly called Jackson's multilayered vocals her "calling card and primary weapon", backed by the album's lyrics as metaphorical "bullets". Robert Christgau regarded the "synth-dance" productions enhanced by "sensual background murmurs". Its vocals were described as "lovely" and "quite graceful", containing an "unassuming flutter and grit"; ultimately displaying a progression, saying "Jackson has grown into her voice along with the rest