For "Got 'til It's Gone", Jackson opted for a less polished sound which resulted in an authentic blend of R&B, pop, and hip hop with traces of reggae influences.

"Got 'til It's Gone" was met with mostly positive reviews from music critics, with most praising its fusion of Jackson's pop style with hip hop, and for its revealing theme.

Internationally, "Got 'til It's Gone" reached the top 20 in several European markets, including France, Germany, Ireland, Italy, Switzerland, and the United Kingdom.

[3] Jimmy Jam was aware of Jackson's depression during the writing of the album, noticing how she would spontaneously cancel recording sessions and appear constantly troubled.

[4] Jackson discussed "Got 'til It's Gone" and The Velvet Rope album during an interview with Rolling Stone, saying: Singing these songs has meant digging up pain that I buried a long time ago.

[5] The song's music video and promotional photos were the first glimpse of the new image Jackson developed for The Velvet Rope campaign, which combined elements from Gothic and African cultures and consisted of red hair, nasal and body piercings, and several tattoos.

[5] In an interview with Dotmusic, she commented how she was a fan of Joni Mitchell's work, and that she knew she wanted a rapper on this album, but didn't know who and on what song she could do that, until she found Q-Tip was the "perfect person" for "Got 'til It's Gone".

[6] "Got 'til It's Gone" was serviced to multiple airplay formats, including pop, urban, rhythmic, and adult contemporary/jazz, on September 2, 1997, as the lead single from The Velvet Rope.

[11] "Got 'til It's Gone" was written by Jackson, Jimmy Jam and Terry Lewis, René Elizondo Jr., Q-Tip and Joni Mitchell, and features guest vocals from the latter artists.

[12] For "Got 'til It's Gone", Jackson opted for a less polished sound, the song itself is a blend of various genres such as R&B,[13] pop,[14] and hip hop;[15] it also has influences of reggae.

[17] Jam spoke of the song's crossover potential, commenting, "Janet has always been one of those artists that bridges R&B and hip-hop and pop and rock".

When discussing the song with Jet magazine, Jackson stated, "In my life, I try to take nothing for granted, even if I don't always succeed".

Des'ree later said that her "aim wasn't to get money out of her", but it was purely for justice, as she wanted Jackson to recognize that she had "borrowed" from her work and not given her credit.

Billboard magazine said that the song displays "finesse" and "marked maturity", saying, "Apparently, 'tis the season for pop divas to explore edgy hip-hop territory" and "this jam is a deftly structured study in subtle vocal styling and raw keep rhythms".

During the review they also noted the departure from Jackson's upbeat pop and dance style might confuse listeners at first, though was ultimately a wise decision.

Fitzpatrick also praised the song's simple production, adding the "revolutionary use of space and dynamics worked wonders on the radio and in clubs".

[14] Jet magazine commented, "Janet has her fans up on the dance floor with the album's first hit Got Til It's Gone", calling Q-Tip's guest verse "street smart".

[19] Elysa Gardner from Los Angeles Times also gave the track a positive review, saying the "cool, breezy hip-hop" of the single "cannily intertwines a Joni Mitchell sample and a seductive guest rap by Q-Tip.

They added, "Jackson's most untypical single to date, this loosely woven groove steals a sample from Joni Mitchell's Big Yellow Taxi and throws in a Q-Tip rap for good measure to subtly work its magic.

[13][33] A reviewer from People magazine praised the track as "an understated, hip-hop pastiche that features the unlikely but inspired pairing of rapper Q-Tip and a sampled Joni Mitchell".

[34] Martin Johnson from San Francisco Weekly classified it as "a clever pastiche" which blended well with Jackson's vocals and Q-Tip's "low-key rapping".

[48] In France, the song also peaked at number 11, and was certified Gold by the Syndicat National de l'Édition Phonographique (SNEP).

Joni Mitchell commented: "From the time [music] video began well into the late eighties there was a monstrous image of females being perpetrated without much exception.

Jackson wears "vintage wide-lapeled brown leather jacket, men's tailored trousers, a printed halter top and individually-sectioned pigtails that bring to mind "the higher the hair, the closer to God", according to Soulbounce website.

Images shown throughout the video include a cigarette lighter flicking by a man's groin, a young child peeking behind a man as if he had been magically birthed, a one-eyed boxer posing, a couple presses up as if simulating rear-entry sex, children jump on mattresses, a lone figure walking outside, and Jackson's shadow crawling up a wall like a stalking animal.

[57] Joni Mitchell appears on a TV screen throughout the video, and Sudanese model Alek Wek also makes a cameo.

The video ends with bottles thrown at Afrikaan segregation signs, which represents a rebellion against discrimination and racism and a celebration of freedom and embracing unity.

Set in South Africa during the time of apartheid, the video is a celebration of the music and rhythms that helped sustain black culture under the weight of segregation.

It also received the most nominations at the seventh annual MVPA Awards, winning "Pop Video of the Year" and "Best Art Direction".

Billboard magazine noted that "the biggest surprise was that Janet Jackson's "Got 'Til It's Gone" clip was completely shut out" of winning Video of the Year, despite receiving the most nominations.