She is the coolest diva on the world!
Kingston, Jamaica (born)
Paris, France (currently)
Style: Disco, Dub, Downtempo, Synth-Pop, New Wave
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"I'm Not Perfect (But I'm Perfect For You)" and "Love Is The Drug"
"Slave To The Rhythm"
Arranged By - Duke Williams/ (tracks: 04 -06) /Backing Vocals - Sweethearts Of Sigma/ Bass - Wilbur Bascomb/ Congas - Larry Washington/Drums - Allen Schwatzberg/Electric Piano [Fender Rhodes] - Ron "Have Mercy" Kersey/Guitar - Bobby El, Cliff Morris , Lance Quinn/ Keyboards, Piano - Carlton "Cotton" Kent/Mastered By - Jose Rodriguez/Recorded By, Mixed By - Arthur Stoppe , Jay Mark/ Strings, Horns - Don Renaldo's Strings And Horns/Tambourine - Moto/Vibraphone, Arranged By [Strings, Horns], Conductor [Strings, Horns] - Vincent Montana, Jr.
Producer, Mixed By - Tom Moulton
01 Send in the Clowns
02 What I Did for Love
04 Vie en Rose
06 That's the Trouble
07 I Need a Man
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"'Portfolio' is Grace Jones's debut album.It is comprised of seven tracks-six of which are based in mid 70's broadway disco,in other words the covers of show tunes done up in a very campy,stereotypical cartoon disco style.Now the first three cuts are nothing but that-"Tomorrow" and "Send In The Clowns" are embarrassing songs done in an embarrassing way.The compisitions are well mixed by Tom Moulton.But Grace Jones is not a real singer-she has no range,a very awkward vibrato and is sometimes off key.The only thing she does have is a lot of soul and expressive power and that's about all that saves the first three songs from being pretty stupid.The next set of songs are much better-"La Vie En Rose",sung and spoken parcially in French is a pleasant loungey groove with a good arrangement and more of Grace's personality."Sorry",That's The Trouble" and "I Need A Man" are far more credible disco tunes with much better singing on Grace's part and much stronger compositions.You could enjoy "Portfolio" as a cusionary example of music-as camp or kitch if you'd like.But there are some elements towards the end that are very enjoyable and even though everything here is unashamadely dated to the extreme it's still a joy to hear some of it to bring back at least some happy little guilty pleasures.Mind you-this is also Grace's debut. "
"Grace was the leading light of disco in the late 70s, along with the Bee Gees and Donna Summer. Disco had soul and personality which are lacking in techno today. It's not just nostalgia, but this album has lost none and gained a lot of appeal for me when compared to modern dance music, including House. I love the way Grace discofied clasics like Sondheim's Send In The Clowns, the Broadway hit Tomorrow and Edith Piaf's La Vie En Rose. I Need A Man was considered quite risqué way back. All the songs are melodic, hummable and danceable. I also like Grace's later more avant garde "rock" work, but this album will forever remain a disco classic. "
"Former fashion model Grace Jones became disco royalty with the release of 'Portfolio' in 1977, and the anthem 'Do Or Die' is a certified classic. The 1st side of the album features songs that are performed as a medley of sorts, and this is quite interesting. IMO 'Portfolio' borders on campy fun, but it is pretty interesting listening to Grace's take on a few standards (1. Send In The Clowns, 2. What I Did For Love, 3. Tomorrow, and 4. La Vie En Rose!!). Grace Jones brought something unique to the table back when Donna Summer & The Bee Gees ruled the Disco Universe, so give her the upmost credit for that. Following 'Portfolio', Grace released 'Fame' (1978) & 'Muse' (1979), which would complete her awesome DISCO TRILOGY of albums. Sadly, 'Fame' & 'Muse' are no longer in print, and you'd be lucky to have BOTH of these albums on a single CD (like me!). Hearing Grace's 1st 3 albums in succession illustrates her growth as an artist/singer, and remember, 'Portfolio' is only part of the story! Grace Jones fans deserve all 3 albums from 1977-1979, POINT BLANK! "
Arranged By, Keyboards - John Davis / Backing Vocals - Barbara Ingram ,Carla Benson ,Evette Benton /Bass - Jimmy Williams /Drums - Keith Benson /Guitar - Craig Snyder/ Percussion - Jimmy Walker,Larry Washington /Strings, Horns - Don Renaldo/ Tambourine - Moto
Producer - Tom Moulton
01 Do Or Die
04 Autumn Leaves
05 All On A Summer's Night
06 Am I Ever Gonna Fall In Love In New York City
07 Below The Belt
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"This 1978 follow-up to her debut album Portfolio didn't provide Grace with any huge hits on the pop charts but Do Or Die and Fame were massive disco successes. The album follows the same formula as the debut, with classic 1970s dancefloor tracks as well as some brooding ballads like the poignant Am I Ever Gonna Fall In Love In New York City. The Piaf number on this one, like La Vie En Rose on Portfolio, is Autumn Leaves, sung partly in French and English. Do Or Die, Pride and Fame are the primary dance tracks. The music is typical Tom Moulton, with strings, horns, keyboards, drums. base, various percuission instruments and even a violin solo on Autumn Leaves, whilst backing vocals are by The Sweathearts of Sigma: Carla Benson, Barbara Ingrim and Yvette Benton. The beautiful sleeve design and illustration are by Richard Bernstein. The third album in this early Grace Jones trilogy was called Muse, but seems to not be available as of this writing. These three established Jones as a disco diva and then she changed direction into New Wave and Torch. Fame and Muse are classic Moulton/Jones disco, but not as immediately appealing as Portfolio."
"Grace's sophomore album hit the stores in 1978, and it was a hit on the club charts. Her debut album the year before presented her to legions of fans, and she even managed to pile of some songs that have become classics over the years, such as: I Need a Man, That's the Trouble and of course, La Vie en Rose. Her second album was also produced by Tom Moulton. Fame continues the tradition of a medley on Side A, and this time is no different. The nearly twenty-minute long medley on Fame starts with the lead single of the album Do or Die and ends with the second single Fame, with Pride stacked in between. Both Do or Die and Fame reached number #3 on the Dance charts. By this time, Grace ruled as the Queen of Gay Discos, and she was even the first performer to sing live at the prestigious Studio 54 in 1977. Fame is without a doubt an improvement of Portfolio, with stronger vocals and overall stronger songs, such as the dreamy: Am I Ever Going to Fall in Love in New York City? The hopelessly romantic All on a Summer's Night and the Rocky-influenced Below the Belt (you have to see a live performance of this song to understand what I'm saying, it's just awesome). Grace would further improve on her skills as a disco entertainer, and she would reach her disco peak in 1979 with the stunning album Muse. "
Arranged By - Thor Baldursson (tracks: 01-04, 05,06, 08) /Artwork By - Grace Jones ,Richard Bernstein /Backing Vocals - Barbara Ingram (tracks: 05-08) ,Carl Helm (tracks: 01-04) , Carla Benson (tracks: 05-08) , Evette Benton (tracks: 05-08) , Phil Hurtt (tracks: 01-04) , Ron Tyson (tracks: 01-04) /Bass - Jimmy Williams /Drums - Keith Benson /Guitar - Craig Snyder/ Keyboards - Thor Baldursson/ Percussion - James Walker , Larry Washington /
Producer - Tom Moulton
Vocals - Thor Baldursson
03 Repentence (Forgive Me)
05 Atlantic City Gambler
06 I'll Find My Way To You
07 Don't Mess With The Messer
Arranged By - John Davis
08 On Your Knees
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"Grace Jones’ last disco outing came in 1979 titled: Muse; once again produced by disco pioneer Tom Moulton. Ever since her debut in 1977 she had improved with every record, further evolving her vocal and musical vision. “Muse” is a fine piece of work; everything is thoroughly worked through, her vocal has improved and the instrumentals are utilized even better than her last two efforts. The lead single from the album is “On Your Knees” which was a club hit in 1979, the song doesn’t really do the album justice; “I’ll Find My Way to You” is stunning and “Atlantic City Gambler” was the only song Tom Moulton ever wrote himself. Her outrageous stage shows were groundbreaking; performing onstage with lions and other exotic animals. She was a club legend. Side one of “Muse” is a non stop medley; going through “Sinning” to the gospel influenced “Saved” in which Grace delivers a stunning vocal performance. “Suffer” to “Don’t Mess With the Messer” everything all adds up; Muse is perhaps her most appealing album to date, and that includes even her later work with Sly Dunbar and Robbie Shakespeare. Shame it hasn’t been issued on Compact Disc yet, but the day will come – we just don’t know when."
"Grace's Muse LP suffered from the disco backlash, it is rarely seen and remains her only album never re-issued on CD. While the music wasn't as much fun as Fame (1978), it is still very worthwhile. The medley on side 1 is good, my favourite track being "Suffer" ("Take that! (whip) and that!") but the songs weren't as strong and catchy as on "Fame". The camp is still there, though - listen to Grace going gospel on "Saved" ... "On Your Knees" was the only single lifted from the album, the 12" featuring a splendid drawing by the one & only Mr. Bernstein of a blindfolded Grace. The track ought to have been a bigger hit, it was co-written by D.C. Larue (of "Let Them Dance" and "Ca-The-Drals" fame). The very enjoyable B-side "Don't Mess With The Messer" was included in a long version on the 12". In short, Muse is worth seeking out if you stumble across a copy."
WARM LEATHERETTE (1980)
Bass - Robbie Shakespeare (from Black Uhuru and Sly & Robbie/Drums - Sly Dunbar (from Black Uhuru and Sly & Robbie)/ Engineer [Assistant] - Harold Dorsett , Kendell Stubbs /Guitar - Barry (White) Reynolds, Michael (Mao) Chung/Keyboards - Wally Badarou (from Level-42)/Lead Vocals, Backing Vocals - Grace Jones/Percussion - Uzziah (Sticky) Thompson/ Producer, Engineer, Mixed By - Alex Sadkin
Producer, Mixed By - Chris Blackwell
01 Warm Leatherette
02 Private Life
03 Rolling Stone
04 Love Is the Drug
05 Hunter Gets Captured by the Game
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"This was a bit of a shock when I first heard it way back because I loved her disco albums like Portfolio, Fame and Muse. But I soon learnt to appreciate it, since I liked punk too. She couldn't have done a more radical departure and so also gained critical respectability amongst the rock crowd with this album. Warm Leatherette is a most ominous song [I tracked down the original 7" single by The Normal on Mute Records, with TVOD on the B-side], with its climax line of "let's make LUURVE/before we die," Private Life (written by Chrissie Hynde) rolls along nicely, and The Hunter ... is a chilling ballad. Pars continues a tradition from her earlier work of having one French song on every album, another slow ballad. Every track is different and enjoyable and she deserved the accolades for this album. It's in the songs, her voice and the menacing delivery. It's a classic."
"In the late 1970's Grace Jones became something of a Disco Diva as she burst onto New Yorks club scenes with Disco hits such as I Need A Man and Do Or Die. However in 1980 following a new record deal with Island Records, home to various Reggae acts, Jones achieved further mainstream recognition with the superb Warm Leatherette album.
Grace Jones shifted musical direction for the Warm Leatherette (1980) project, divulging into a diverse blend of sounds and styles ranging from Reggae, Rock, New Wave, Funk and Soul. The finished results were some of Jones most compelling recording work.
This album was not least aided by the excellent production skills of Chris Blackwell and Alex Sadkin as well as the startling muscians behind her with Sly Dunbar on drums, Robbie Shakespeare on bass guirtars, Barry Reynolds and Michael Chung alternating on guirtars, Wally Badarou assuming keyboard duties and Uzziah Thompson jamming away on that pounding percussion. Jones inserts effectively through all eight of these inventive recordings as well as providing her own backing vocals.
The title track Warm Leatherette is an electric affair combining a striking mixture of Rock, New Wave and Reggae. Jones sounds even a little playful on the tracks chrous consisting of thrashing guirtar riffages.
Jones fantastic cover version of The Pretenders, Private Life is given a more definitive and unique working over where Jones seemingly scowls through the duration of each verse whilst then singing gently in that raw (though narrow) vocal style she became accustomed to on her next pair of albums. Private Life, encapsulating Reggae and New Wave vibes, deservedly became one of Jones' biggest hit singles in the U.K where it climbed its way to No.17 on the main U.K Top 40 Charts.
The bouncy, Funk-driven A Rolling Stone (which Jones co-wrote) featured Jones delivering a surprisingly more soulful performance whilst her rocking interpretation of Bryan Ferrys' Love Is The Drug is masterful with Jones delivery strong and assertive.
Jones' cover of an old Motown track The Hunter Gets Captured By The Game is instantly infectious with a sturdy lead by Jones and contagious musical arrangements that makes this one of the projects highlights.
Bulls*** is a little bland and silly and is the only real let down of the album though Jones does manage to slightly redeem it by delivering a spirited performance though of far stronger musical merit was the mellower tone of Breakdown, where Jones delivery is seemingly cradled with mixed emotions shifting from shining self-assurance to points of dispair and moments of vulnreability.
Pars conveys the more breathy, seamless quality in Jones voice that rarely surfaced on a lot of her earlier work at Island Records. The mood is more mellow and atmospheric with Jones becoming immersed into the swirling orchestrations.
Warm Leatherette (1980) alongside her subsequent release Nightclubbing (1981) contains some of her the very best tracks Jones ever recorded in her relatively short and somewhat erratic recording career and incidentally also became one of her biggest sellers. Without doubt, essential Grace Jones to fans of this extraordinary and off-the-wall Diva. "Ian Phillips
Grace Jones: Lead and backing vocals /Sly Dunbar: Drums and Syndrums/ Barry (White) Reynolds: Guitar /Michael (Mao) Chung: Guitar /Wally Badarou: Keyboards /Uzziah (Sticky) Thompson: Percussion /Robbie Shakespeare: Bass Guitar /Tyrone Downie: Keyboards and backing vocals/ Mel Spiller: Percussion and backing vocals/ Monte Browne: Rhythm Guitar/ Jack Emblow: Accordion /Jess Roden, Masai Delon: Backing Vocals
Producer - Alex Sadkin , Chris Blackwell
01 Walking in the Rain
02 Pull up to the Bumper
03 Use Me
05 Art Groupie
06 I've Seen That Face Before (Libertango)
07 Feel Up Jones
08 Demolition Man
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"This is THE best Grace Jones album which I first heard courtesy of my black stocking-clad friend Sarah Collins back in London UK in early 80's and it epitomises the dramatic world brought into view in 'Master and Servant' and 'shiny shiny leather' fetish clubs....Grace is ominous, parisienne, evocative and dangerous and makes other female singers look and sound like Barbie.. From the outrageously visualised androgyne look on the cover to the non stop darkness of tracks.. the percusion on this album is superb like Zang Tum Tumb clicks and bells and night 'cicada' sounds... Grace paints mind pictures here which long presaged her sinisterness in the Bond movie.. she remains to this day truly mad, bad and dangerous to know and musically distinct from a smothering sea of vacuous bland female vocalists... for many years I ran my 'Open Channel D' radio show with clips of Grace as my virtual on air 'co-driver' on 'missions'... I can imagine GC as being good company in a fight or a fetish club...we need more women like this... Buy this CD and shake up ur brain... she's as unique a voice and character as David Sylvian, Brian Ferry, Bert Jansch, David Bowie or similar unique talents..no one else like her and this is her best... spies and agents in Parisian smog, cruising cars, gloss lipstick, shiny bodywork and guns girls and a bulletproof heart... Grace must have seen the Bond film coming what a shame they pitched her against a suited woos like Roger!!..she should have been in The Matrix!! One of my favourites here is Libertango - (I've seen this face before) where Grace relates the tale of her shadowy parisienne stalker... ha, that's me - I was that black clad gumshoe in turned up collar coat under the pale art-deco lamplight.. when Grace sings and snaps at you in French..zut alors...you know when you've been Tango'd !"
"In 1981, Grace Jones returned to the music scene with what was perharps her very best studio album, Nightclubbing. The Nightclubbing album certainly gained wide recognition from critics and was even voted as Album Of The Year by New Musical Express Magazine. Again Grace returned to the startling format of combining Reggae, Rock, New Wave, Funk and R&B. The diverse, atmospheric arrangements are utterly compelling on all of these recordings. Nightclubbing opens with the hypnotic, trance-like Walking In The Rain. Grace speaks and scowls through the entire recording and bizarre as it is, it still emerges as totally compelling with its blend of New Wave and Reggae. This leads into what is her ultimate classic with the fantastic, driving R&B/Funk tune, Pull Up To The Bumper. Grace Jones delivery is highly effective on this track and has such immediacy and an infectious feel. Pull Up To The Bumper eventually became a Top 20 seller in the U.K. Use Me is a catchy, highly effective reggae tune where Grace ignites the recording again with her diverse vocal approach whilst the title track, Nightclubbing is a bizarre cover of a David Bowie track. Synchronised sounds are combined with Graces stark delivery which surprisingly combine well together. Art Groupie is more dated sounding though still works whilst the subtle mixture of French jazz, new wave and reggae on the startling, I've Seen That Face Before is another compelling, though blatantly weird affair. She conveys such spirit, fire and passion on her inspired re-working of Stings, Demolition Man. The strong Jamacian vibes on the interestingly experimental, Feel Up is another cracking affair but the ultimate surprise on the album is served with the late-night jazz number, I've Done It Again. This lush, exotic number is given life by Graces exuberant delivery where I have honestly never heard her sing in such a soft soprano and sound so effeminate as on I've Done it Again. Grace Jones, Nightclubbing became a Top 40 seller in the U.K. and stands as her best"
LIVING MY LIFE (1982)
Bass - Robbie Shakespeare/ Drums, Electronic Drums - Sly Dunbar/ Guitar - Barry Reynolds ,Mikey Chung/ Keyboards - Wally Badarou /Percussion - Uzziah Thompso
Producer - Alex Sadkin ,Chris Blackwell
01 My Jamaican Guy
02 Nipple to the Bottle
03 Apple Stretching
04 Everybody Hold Still
05 Cry Now, Laugh Later
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One of Jones' best post-disco albums, recorded in Nassau, Bahamas, with a truly remarkable studio band, including the legendary reggae rhythm team of Sly Dunbar and Robbie Shakespeare, along with Marianne Faithful collaborator Barry Reynolds on guitar (who co-wrote most of the songs here with Jonesherself). The songs are generally arranged in an innovative, ahead-of-their-time way (echoey yet spare, with lots of deep bass) that owes a bit to dub and in any case provides a perfect backdrop for Jones' Queen of the Undead vocals. Highlights include "Everybody Hold Still", a funny litany of urban horrors that's as close to straight rock as Jones ever gets) and a satisfyingly funky cover of Melvin Van Peeble's proto-rap "The Apple Stretching".
"The third and final release in the Island trilogy with Sly Dunbar and Robbie Shakespeare. This time around, Grace chose less covers and actually wrote or co-wrote all of the material on the album. The arrangements on this album are top notch, and the production is equally as impressive. The album opens with the infectious "My Jamaican Guy" which has been sampled by various of rap artists over the years, and continues by recycling the bouncy-rhythm of her 1981 hit "Pull Up to the Bumper" on "Nipple to the Bottle." All of the songs on Living My Life were crafted by some of the finest musicians in Jamaica; with Walla Badarou on keyboards, to Uziah "Sticky" Thompson on percussion duty, the arrangements couldn't have been any better. Grace only chose to include a single cover (which is a wonderful cover of Melvin van Peebles "The Apple Stretching"). No matter how people may want disregard Jones for her vocal inadequacies, her imitable vocal prowess can be heard on the glorious ballad "Inspiration," which proves that Grace could belt with the best of them. There is not a single weak track on the album; from the narrative of Jamaican jail time (Cry Now, Laugh Later) to the everyday drama of "Everybody Hold Still," to the glorious free-fall of love on "Unlimited Capacity for Love." Living My Life would have been complete if the title track had been included, but it wasn't, and was instead released a single in 1983. Excellent record."
"While probably not all will agree, this album is Grace's finest. It is also Sly and Robbie's greatest collaboration. It was the last in a string of three great albums ( Warm Leatherette, Nightclubbing and Living My Life ) which featured Jamaican rhythms and settings of rock songs from the likes of Sting, Roxy Music and Chrissie Hynde. While all three are good, this one was the most sophisticated and the most consistent with no weak tracks. I dont know if it was Chris Blackwell's idea to put together the band that featured throughout this trio of albums, but if it was, it was the best idea he ever had. In my opinion, it was and still is a peerless line-up of quality players. The unsung hero is Barry Reynolds ( Marianne Faithfull's musical director for a number of years ) whose driving guitar adds the dynamic which counterpoints the rock solid rhythm section. Grace talks her way through and doesnt do too much singing but where she does as on the album's highpoint "The Apple Stretching and Yawning", she is more than adequate. After this classic, she teamed up with Trevor horn and co for the flawed 12 inch single Slave to the Rhythm and the album of the same name which is effectively an album of remixes of the title track and then on to relative obscurity. This is a short album (compared to today's standards) but it is sheer quality throughout."
"Here Grace really turned into an "avant garde" singer, utilising a variety of innovative rhythms to great effect. I like My Jamaican Guy with its yelping chorus and the social commentary of Nipple To The Bottle, but the real jewel is The Apple Stretching ["the apple stretching and yawning/New York putting its feet on the floor] a real atmospheric classic. Everybody Hold Still and Unlimited Capacity ... are also catchy songs, whilst Inspiration is a lovely ballad. I liked her disco period in the 70s too, but on Living My Life her 80s Sly & Robbie direction really extended the boundaries of her art."
SLAVE TO THE RHYTHM (1985)
Arranged By - Richard Niles/ Bass Guitar - Luis Jardim /Drums - Ju Ju/ Featuring - Gary Maughan , Glenn Gregory , John Sinclair , Stephen Lipson , Strictly Unreasonable Zang Tuum Tumb Big Beat Colossus, The /Guitar - J.J. Belle /Keyboards - Andy Richards , Bruce Woolley/ Percussion - Little Beats , Shorty Tim
Producer - Trevor Horn
01 Jones the Rhythm
02 Fashion Show
03 Frog and the Princess
05 Slave to the Rhythm
06 Crossing (Ooh the Action...)
07 Don't Cry -- It's Only the Rhythm H
08 Ladies and Gentlemen: Miss Grace Jones
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"Grace Jones was without doubt one of the most memorable characters of the 80's. Her outrageous image, her legendary temper and of course the stunning trilogy of music she created at Island Records under the supervision of Island founder Chris Blackwell. Her appearances in blockbuster hits such as: "Conan the Destroyer" and "A View to a Kill" only further improved her already immense popularity, and even though her erratic behaviour eventually clouded her musical output, her music is still highly influential, even today. She "left" Island records after "Living My Life," and spend the next three years as a movie actress and being a TV personality. In 1985, Trever Horn approached Grace with the idea of making an autobiography, testing his new ideas about layering and juxtaposing instruments into one mass; he had already had success experimenting this new concept, producing Frankie Goes to Hollywood's first two albums. He called upon some big names such as: Steve Lipson (engineer) and Bruce Woolley (guitar, bass and keyboards), to create this new project. There's a lot of names behind this project (I actually counted around 40 musicians; producers and engineers), an awful a lot of names for one song. The album is built around one song, divided in 8 pieces; from the striking opening of "Jones the Rhythm" to the quiet hush of "The Crossing (Ooh the Action)." The album ranges from striking r'n'b grooves to soft New Age music, intertwined with interview cuts about Jones' highly fascinating life. In the end, Slave to the Rhythm isn't really that much about Jones. She provides the vocals, with her almost operatic voice, but one doesn't really notice her. The album is more a display of Trevor Horn's amazing capability as a producer. "
"Sometimes an artist/producer relationship is meant to be.So after Sly And Robbie Grace Jones went for none other then Trevor Horn-80's sound painter extrondinaire.The results?Well 'Slave To The Rhythm' is unlike anything Grace Jones had done before.Many of the songs are an involved,dancable song cycle.Musically it all works but as it's function this CD is Grace Jones' biography set to music.The songs are constructed into and around an interview with Grace Jones about her life and career experiences-one of the the most compelling tracks here is "The Frog And The Princess".As pure music "Ladies & Gentleman-Miss Grace Jones" and the title track are superb.Just for a soni sound attack "Operattack" fits the bill with harsh echos of distored vocals and sound clippings.Although it contains some recognizable pop music such as the title song and "Fasion Show" this functions more as a whole-a biographical sound collage with a strong pop music underpinning.It is part of what Trevor Horn did so well and it is fit perfectly to Grace Jones' persona and musical sense.The perfect musical/audio visualization of an artist and their sense of self expression. "
"How can you NOT check out this CD? This is one of the best works that Grace presented. I'm surprised that when this was first release I was preadolescent. I guess America wasn't ready for state of the art creation. Sometimes America can be so stubborn at times. If you are looking for a creative journey into Grace's artistic mind you should check this CD out! "
Composed By - Bruce Woolley ,Grace Jones
Producer - Nile Rodgers
01 I'm Not Perfect (But I'm Perfect for You)
02 Hollywood Liar
03 Chan Hitchhikes to Shanghai
04 Victor Should Have Been a Jazz Musician
05 Party Girl
07 Barefoot in Beverly Hills
08 Scary But Fun
09 White Collar Crime
10 Inside Story
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"This is a fantastic 80's pop/dance CD/LP - Produced by Chic maestro Nile Rodgers the album opens with the belter "I'm not not perfect", side 1 goes along at a blistering pace with the quality upbeat "Hollywood Liar", the fantastic mid-temp "Chan hitchikes to shanghai", the jazzy "Victor......" and side 1 stops with the pop/dance monster "Party girl".
Side 2 is also good stuff but not as good as side 1 - However, you still get the uptempo "Crush", and the interesting "scary but fun" & "Inside Story" - Side 2's standout track as to be "White Collar Crime" - a great tune!
This LP should appeal to all lovers of great pop/dance and not just Grace fans (they should also lap it up aswell though) - its has a very fresh and "alive" feel do it - Apparently Jones and Rodgers did not get on whilst making this album but it certainly does not show and the only mystery is why it never became a monster hit - BUY IT YOU WILL LOVE IT!!!!"
"On this album, Grace moved away from the Sly & Robbie style to create an album of tuneful, melodic pure pop songs that will stand the test of time. Almost everything here could have been a hit: from I'm Not Perfect But I'm Perfect For You, Hollywood Liar, Barefoot In Beverly Hills, Scary But Fun to the incredibly beautiful and rousing Inside Story with its religious undertones. It's also true that here she SINGS again (instead of growling, talking or chanting)and my, how great it sounds! If "Portfolio" is her best Disco album, "Nightclubbing" her best Torch Song album and "Living My Life" her best Avant Garde album, then this is far and away her best Pop album. Its lack of commercial success is a mystery."
"This 1986 studio effort from the outrageous Diva, Grace Jones, marked her debut on the Manhatten label and saw her immediately teamed with hot R&B master, Nile Rodgers, one half of the 1970's disco group, Chic, and who had produced classics for the likes of Soul music legend Diana Ross and the Queen of Pop, Madonna. Allegedly Nile Rodgers and Grace Jones did not get on at all well and the recording sessions for Inside Story were a little intense.
Following on from her Reggae/Funk/Rock/New Wave infused albums such as the excellent Warm Leatherette (1980) and the critically-acclaimed Nightclubbing (1981), Inside Story (1986) divulged Jones into a far more commercial sound. Inside Story was a mixed concoction of Pop/Dance/Funk/R&B with subtle hints of jazz on one particularly awful track, Victor Should Have Been A Jazz Muscian.
I'm Not Perfect (But I'm Perfect For You)was the premiere single. Fairly infectious, the track showcased Jones raw (and rather narrow) vocal style than most of her previous singles had where she seemingly scowled through the lyrics as opposed to actually singing. I'm Not Perfect went onto become one of her biggest hits in the States whilst crawling quietly into the lower reaches of the U.K Top 75.
Hollywood Liar continues the already tried and tested formula of I'm Not Perfect. The limitations of her thin vocals do show up on this particular track but somehow it manages to redeem itself and becomes quite infectious after a couple of listens.
The atmospheric and driving Chan Hitchikes To Shanghai is far better. Jones inserts herself effectivley into the sparse production and this scores as one of the more favourable album tracks.
The painfully dated Victor Should Have Been A Jazz Muscian, contains a rather flat vocal performance that simply lacks the spark to ignite this ponderous effort. Curiously this was another track to be swiped from the album and lifted as a single though unsurprisingly sank without trace.
More upbeat was Party Girl, a song that was undoubtedly written especially for and about Grace Jones. Nile Rodgers thoughts and perceptions of Grace Jones are reflected on recordings such as Party Girl which with its breezy, inventive musical arrangements, emerges as another catchy number. Party Girl was also released as a single though it too rapidly slid into the dumper.
The Pop/Light Rock tone of Crush swerves into more commercial terriotry though more bland and forgetable is the unimaginative Barefoof In Beverley Hills.
Jones delivers a nice, breathy and surprisingly seamless performance on the mellow, late night Pop/R&B track, Scary But Fun, another song that was something of a personal reflection. After all Grace Jones image was all about being scary but through her music she got occasional chances to show off her more fun side albeit in the most weird, off-the-wall manner - you have to view her extraordinary A One Man Show (1982) to know what I mean!
White Collar Crime continues the bubbling formula of commercial flavoured Pop/R&B where Jones delivers a rich and compelling performance. Incidentally White Collar Crime sounds vaguely similar to her 1985 Trevor Horn produced classic, Slave To The Rhythm.
The title track, Inside Story, closes the album on a high. With a spiritual and poignant edge, this track does emerge as another of the projects highlights.
Not one of her best albums, nor was it a great commercial success though this remains one of her most commercially visible albums. "Ian Phillips
BULLETPROOF HEART (1989) (2004 Special Edition)
Artwork By - Jean-Paul Goude /Backing Vocals - Curtis King , Frank Simms , Janice Pendarvis , Vaneese Thomas
Producer - Chris Stanley and Grace Jones
01 Driving Satisfaction
02 Kicked Around
03 Love on Top of Love
04 Paper Plan
05 Crack Attack
06 Bulletproof Heart
07 On My Way
08 Seduction Surrender
09 Someone to Love
10 Amado Mio
12 Don't Cry Freedom [featuring Chris Stanley]
13 Love on Top of Love/Killer Kiss [Garage House Mix] (Bonus track)
14 Amado Mio [The Brazilian Mix] (Bonus track)
Link to download:
"Grace Jones co-produced most of the tracks on this 1989 album. Bulletproof Heart contains an amalgam of her styles and although not a classic, it is a strong work that will please her fans. With its funky rhythm, Driving Satisfaction has just a hint of her classic Pull Up To The Bumper and lovely swirling percussive patterns.
Kicked Around is closer to vocal pop, whilst Love On Top Of Love has a bouncy beat and innovative vocal arrangement. Crack Attack is a polyrhythmic dance number and the title track has a jerky rhythm and some marvellous sax. There are also beautiful tuneful ballads like Paper Plan, Someone To Love and Amado Mio. Her voice really soars on Someone To Love, a rousing ballad with a wonderful melody and some romantic French lyrics.
Amado Mio is the album's torch song and a fine example of her mastery of the genre. It has lovely accordion, a Spanish flavor and some French infusions. These aforementioned two songs should have been big bits and are amongst the highlights of her career.
This CD re-issue of Bulletproof Heart includes four additional tracks, of which the garage-house remix of Love On Top Of Love and the Brazilian mix of Amado Mio are the best. Bulletproof Heart may not be Jones most innovative work but it remains a good album that has stood the test of time very well."
"Grace Jones' final studio album to date is of a mixed bag of pure pop genius, but at the same time, also a victim of the 80's love for synthesizers and soulless percussion work. Grace Jones was somewhat of an Icon in the 80's, and her work with Sly Dunbar and Robbie Shakespeare of the early 80's is highly regarded, and her epic "Slave to the Rhythm," produced an envisioned by Trevor Horn, is every bit as influential and stunning. She left Island Records in the mid-80's, and after spending several of years dabbling in acting, returned to the music scene in 1986 with "Inside Story." The album spawned off one of her biggest hit singles in the US with "I'm Not Perfect (But I'm Perfect for You) but generally failed to establish the high ground she ruled in the early 80's. On this final studio album, Grace enlisted several of the greatest producers of the 80's: David Cole & Robert Clivilles; Jonathan Elias & Chris Stanely, Jones even served as a producer on many of the tracks. If the album sometimes seems hampered, it might have something to do with the overproduction. Jonathan Elias (who worked with Grace on the movie "Vamp"), produced three of the tracks on the album, and in usual Jonathan fashion, he brought a sense of relief on an otherwise dated, and often cheesy effort from Grace Jones. In fact, the best track on the album was produced by Elias; Amado Mio is a stunning rhythmic track that manages to blend everything that's exciting about Grace into one concoction; the European flavour and cool iciness, mixed with the rhythmic instrumentation of Elias own personal vision of Grace. David Cole & Robert Clivilles produced the album's hit, Love on Top of Love, and a remix of the song even managed to reach number one on the Billboard Dance Chart. Where the albums fails is in its dated use of drums and percussion, songs like "Paper Plan" and "Kicked Around" are embarrassing, and "Crack Attack" is no less accomplished. Something went horribly wrong during the production of the album, it might be the overproduction, or it might be its excessive use of drums and percussion, but either way, the album only succeeds when both issues agrees on which direction to take. "
SEX DRIVE (1993)
01 Sex Drive [Hard Drive Mix]
02 Sex Drive [Sex Pitch Mix]
03 Sex Drive [Dominatrix Mix]
04 Typical Male [The Real Mix]
Link to download:
"Absolutely blinding single co-produced by Ms Jones and Sheep On Drugs waaaay back in 1993 - thing is, it still sounds amazing: there's a house mix, an RnB mix, and a full throttle techno mix, as well as one of La Jones' greatest-ever tracks, "Typical Male", in which she excoriates every single male on the planet as a sexed-up neanderthal (UK's NME awarded this track alone a 10/10, as well as single of the month). I never tire of this treasure, and it should have been a huge hit. Buy it, you will not be disappointed. "
""Sex Drive" is one of the best singles Grace Jones ever released. Unfortunately, very few people know this... "
From the album Zance - A Decade Of Dance From ZTT
Producer - Trevor Horn/Producer [Assistant] - Steve Lipson/Songwriter - Bruce Woolley , Simon Darlow , Steve Lipson , Trevor Horn
01 Slave To The Rhythm (Love To Infinity Classic Paradise Edit) (4:28)
02 Slave To The Rhythm (Original 7 Inch) (4:22)
03 Slave To The Rhythm (The T-Empo Grace In Your Face '94 Overture) (8:29)
04 Slave To The Rhythm (Love To Infinity Classic Paradise 12" Mix) (7:44)
05 Slave To The Rhythm (Blooded) (8:26)
06 Slave To The Rhythm (Ollie D House Mix) (5:37)
07 Slave To The Rhythm (Ollie D Gyro Disney Dub) (6:25)
08 Slave To The Rhythm (D Monster Mix) (9:51)
09 Slave To The Rhythm (D's Vocal Dub) (5:24)
Link to download:
01 Love Bites (7 Inch Fright Night Mix)
02 Love Bites (12 Inch Dark Night Mix)
03 Love Bites (12 Inch Fright Night Mix)
04 Love Bites (12 Inch Deep Into the Night Mix)
05 Love Bites (7 Inch Fright Night Instrumental)
06 Love Bites (7 Inch Deep Into the Night Mix)
Link to download:
PRIVATE LIFE : THE COMPASS POINT SESSIONS (1998)
01 Private Life (Long Version) (6:17)
02 Private Life (Dub Version) (8:04)
03 Love Is The Drug (Long Version) (8:38)
04 Breakdown (5:29)
05 Warm Leatherette (Long Version) (5:35)
06 The Hunter Gets Captured By The Game (Long Version) (6:44)
07 I've Done It Again (3:50)
08 Pars (Long Version) (5:41)
09 Pull Up To The Bumper (4:33)
10 Use Me (Long Version) (6:10)
11 She's Lost Control (Long Version) (8:23)
12 She's Lost Control (Dub Version) (8:38)
Link to download:
01 Walking In The Rain (4:28)
02 Cry Now, Laugh Later (5:01)
03 Nightclubbing (5:04)
04 The Apple Stretching (7:05)
05 Nipple To The Bottle (12" Version) (6:54)
06 My Jamaican Guy (12" Version) (7:01)
07 Feel Up (4:02)
08 I've Seen That Face Before (Libertango) (4:30)
09 Demolition Man (Long Version) (4:56)
10 Unlimited Capacity For Love (5:44)
11 Ring Of Fire (Demo) (3:56)
12 Man Around The House (4:12)
13 Living My Life (7" Version) (3:31)
14 Slave To The Rhythm (Hot Blooded Version) (8:18)
Producer - Trevor Horn
Link to download:
"Private Life: The Compass Point Sessions is a two disc anthology released by Island Records in 1998.Grace Jones recorded three albums with Sly & Robbie during the period of 1980-1982. Private Life: The Compass Point Sessions contains long and extended version of her hits, although the CD booklet claims that these haven't been issued before, most of them have in fact appeared on numerous CD re-issues around the world. Other tracks were very obviously remixed or re-edited by the PolyGram/Universal Music engineers in 1998 for this particular compilation - this instead of using the many existing long or extended versions by original producers Chris Blackwell and Alex Sadkin that were mixed and released on vinyl in 1980-1982. Also the track "Living My Life" appears as an edited remix by Paul "Groucho" Smykle - dating from 1987, which the liner notes fail to mention. To make matters worse and for one reason or another (read: sales) "Slave To The Rhytm" concludes the "Compass Point Sessions" album while the track actually, and to most Grace Jones fans' knowledge, was recorded in 1985, in London and with British producer Trevor Horn. Also the mix used, here renamed "Hot Blooded Version", is again an alternate 1998 re-mix/re-edit of the original 12" version entitled "Blooded".On the other hand, this compilation does offer two previously unreleased songs from the "Living My Life" sessions: Man Around The House and a demo recording of Johnny Cash's classic Ring of Fire."
"This is one of those CDs you can listen to over and over and it still feels fresh each time. Maybe it's just me but these tracks for the most part highlight Sly and Robbie and the whole compass point sound at its finest. It mixes rock, r'n'b, dub, reggae and funk in a perfect mix.
Some may ask if you really need 2 versions of most songs, and I say, yes! For all I know Ms. Jones may have been essential to these recordings, but in the end it is really about exploration of the interaction between music and rhythm. So the mostly instrumental dub versions are perfect. And if you like this set try "Island Life" which has a few songs from Ms. Jones' early period not on here. "
01 Pull Up To The Bumper (Airplay Mix) (3:23)
02 Pull Up To The Bumper (Funk's Extension Mix) (6:26)
03 Pull Up To The Bumper (Funk's Drive It In Between Dub) (6:27)
04 Pingüino (4:55)
Link to download:
"It's incredible how this Funkstar can continue coming up with such great remixes... Once again he has accomplished remixing an old song as if the song never appeared any differently. This song is so much better than 'the real Grace Jones'. The groovy beats and funky music makes this one of his best tracks. All the way up there with 'Sun is Shining'. Let us all be blessed with more music like this from the Funkstar. I can't wait to buy his album very soon to be released..."
01 On your knees (Long Version)
02 Pull up to the bumper (Extended Mix)
04 Feel up (Danny Tenaglia Mix)
05 Warm Leatherette (Club 69 & Danny Tenaglia Remix)
06 Nipple to the bottle (12" Version)
07 Livin’ my life (John O. Williams Mix)
08 Slave to the rhythm (Love to Infinity Classic Paradise 12" Mix)
09 I´m not perfect (But I´m perfect for you) (Nile Rodgers Perfec
10 Party girl (12" Inch Version)
01 Victor should have been a Jazz Musician (12" Inch)
02 Love On Top Of Love (The Funky Dred Club Mix)
03 Crack attack (The Dont Do It Mix)
04 Amado Mio (The Brazil Mix)
05 7 Day Weekend (Club Remix)
06 Sex drive (Final Master Race Mix)
07 Typical Male (The Real Mix)
08 Electryfly (Tribal Mix)
09 Hurricane (Danny Tenaglia Mix)
10 Pull up to the pumper F. Funkstar De Luxe (Funk´s Extension Mix)
Links to download:
I'VE SEEN THAT FACE BEFORE (Libertango) - Hell Interpretations (2005)
Producer - Alex Sadkin , Chris Blackwell
Remix - DJ Hell
01 I've Seen That Face Before (Berlin Mix) (8:14)
Remix - Jochen Schmalbach
02 I've Seen That Face Before (Vienna Mix) (7:52)
Remix - Patrick Pulsinger
Link to download:
THE ULTIMATE COLLECTION (2006)
01 La Vie en Rose" - 7:29
02 Send In the Clowns" - 7:35
03 I Need a Man" - 3:24
04 Do or Die" [Album Version] - 6:29
05 All on a Summer's Night" - 4:14
06 Fame" - 5:34
07 Am I Ever Going to Fall in Love in New York City" - 5:27
08 Don't Mess with the Messer" - 4:53
09 Sinning" - 5:06
10 Saved" - 5:00
11 Private Life" - 6:18
12 Love Is the Drug" - 8:41
13 Warm Leatherette" - 5:37
Links to download:
01 The Hunter Gets Captured by the Game" - 6:45
02 I've Seen That Face Before (Libertango)" - 4:29
03 Pull Up to the Bumper" - 4:42
04 Nightclubbing" - 5:05
05 Walking in the Rain" - 4:20
06 Demolition Man" - 4:03
07 Nipple to the Bottle" - 5:57
08 The Apple Stretching" - 7:08
09 Inspiration" - 4:35
10 My Jamaican Guy" - 6:02
11 Slave to the Rhythm" [Album Cut] - 6:13
12 I'm Not Perfect (But I'm Perfect for You" - 3:59
13 Victor Should Have Been a Jazz Musician" - 4:44
14 Love on Top of Love" - 6:16
Link to download:
CD 3 (Bonus CD)
01 Pars" [Long Version] - 5:42
02 Private Life" [Dub] - 8:06
03 Use Me" [Long Version] - 6:11
04 She's Lost Control" [Long Version] - 8:25
05 Nipple to the Bottle" [12" Version] - 6:54
06 My Jamaican Guy" [12" Version] - 7:02
07 Ring of Fire" [Demo] - 3:58
08 Man Around the House" - 4:13
09 Living My Life" [7" Version] - 3:33
10 Slave to the Rhythm" [Hot Blooded Version] - 8:19
11 Sex Drive" [Edit] - 3:58
Link to download:
"The Ultimate Collection feautures newly remastered songs from her disco period (1977-1979), most noticeable the album version of her 1978 hit Do or Die, which is available on compact disc for the first time in over a decade. The Ultimate Collection is not intended to be a singles collection, as several single releases are missing (most notably "On Your Knees", the only single from the album Muse)."
"It's amazing how many compilations Universal Music have in store for this lady. There are ten compilations available on the market, and even though The Grace Jones Story is the only comprehensive anthology; the Ultimate Collection is a three-disc compilation and perhaps the one that truly lives up to its title. The Ultimate Collection starts with a trip through her disco years, produced and conceived by disco pioneer Tom Moulton, much of the material obviously dates back to the late 70's. Many of these tunes captured the glitter and ferocity of the late 70's nightclubbing, and Grace managed to get herself the title of "Queen of Gay Discos". "I Need a Man" was a huge club hit back in 1977 and "Do or Die" and "Fame" were equally as successful, both reaching number three on the US Dance Chart, and her rendition of "La Vie en Rose" has almost become legendary over the years. All of her staple songs are here: "Pull Up to the Bumper, " "My Jamaican Guy," "Private Life" and of course her epic collaboration with Trevor Horn on "Slave to the Rhythm." There's also a bonus disc with extended and 12" versions of the songs. Many of these track are available elsewhere, and the packaging is sparsely done, but all of the songs are remastered in a 32-bit sound and they all sound better than ever. Fans may not see the need for another compilation, although the album version of "Do or Die" might be worth the purchase for some, the Ultimate Collection is an affordable and palatable purchase for the casual admirer of this mysterious, but creative artist. "
ALBUMS & the producers
produced by Tom Moulton (http://www.myspace.com/tommoulton and http://discomuseum.com/TomMoulton.html)
Portfolio (Island) 1977 US #109
Fame (Island) 1978 US #97
Muse (Island) 1979 US #156
produced by Chris Blackwell (http://en.wikipedia.org/wiki/Chris_Blackwell)
Warm Leatherette (Island) 1980, US #132, US Dance chart #20
produced by Chris Blackwell and Alex Sadkin (http://en.wikipedia.org/wiki/Alex_Sadkin)
Nightclubbing (Island) 1981 US #32
Living My Life (Island) 1982 US #86
produced by Trevorn Horn (ZTT records /The Buggles/The Art Of Noise) (http://www.trevorhorn.com/ and http://www.soundslogic.com/fisonic/_legacy/tchstuff.html) Slave to the Rhythm (Manhattan/Island) 1985 US #73
produced by Nile Rodgers (Chic) (http://www.nilerodgers.com)
Inside Story (Manhattan) 1986 US #81
produced by Grace Jones,Chris Stanley
Island Life (Island) 1985 - compilation US #161
Island Life 2 (Universal International) 1996 - compilation
Private Life: The Compass Point Sessions (Island) 1998 - compilation 20th Century Masters - The Millennium Collection: The Best of Grace Jones (Island) 2003 - compilation
Universal Masters Collection (Universal) 2003 - compilation
The Collection (Spectrum) 2004 - compilation
The Grace Jones Story (Island Cat # 9833286) 2006 - Compilation
Ultimate Collection (CCM) 2006 - Box Set Compilation
Corporate Cannibal (Label: Unknown) 2007- New Studio Album (not released yet)