The Definitive Grace Jones

Following the excellent Warm Leatherette (1980) album, her debut on the Island Records label which saw her rewarded with more commercial acceptance, the outrageous and off-the-wall diva, Grace Jones returned to the recording studios in early 1981 for the unforgetable Nightclubbing project.

Grace Jones second album on Island Records is possibly the greatest of her considerably short recording career and captured Jones at her artistic peak. It features a series of remarkable recordings, encapsulating a multitude of styles such as New Wave, Reggae, Funk, Jazz and Soul. She was again aided by the fabulous production skills of those reggae kings, Sly Dunbar and Robbie Shakespeare.

Nightclubbing (1981)begins with the curiously compelling, Walking In The Rain, which sets a dark, atmospheric tone for the duration of the project. The hypnotic, trancey arrangements are ignited by a compelling performance from Jones who literally inteprets the lyrics into an interesting spoken interlude. This is one of her most bizarre and off the wall recordings, yet there is something fascinating about this recording despite its blatant weirdness.

Jones then delivers what's possibly her very, very best recording ever - Pull Up To The Bumper. This funk-driven track, complete with spiralling rythms, is totally infectious. The lyrics are scattered with double entendres . In the U.S, Pull Up To The Bumper catapulted to No.5 on the Black music singles whilst shooting to No.2 on the Club Play listings. In the U.K Pull Up To The Bumper fell just outisde the top 50 charts though on its re-issue in 1986 zoomed in at No.12.

Her cover of Bill Withers ,Use Me has a striking musical arrangement and holds a surprisingly strong and assertive vocal performance from Grace. Her unique version of Iggy Pop's Nightclubbing is a total contrast to the original, flowing with strange, synchronized sounds that was way ahead of its time.

The New Wave sounds of Art Groupie is another interesting concoction, but the music steadily steers direction, driving into jazz on the eccentric but undeniably brilliant, I've Seen That Face Before in which Grace delivers both English and French spoken passages.

The disappointment of the album comes in the lacklustre version of Feel Up - the reason being was that she did a far better version in her A One Man Show (1982).

However the album soon gets back on track with the stomping rock track, Demolition Man which is ignited by tough, thrashing musical arrangements and a red blooded, ferocious performance from Jones who conveys a lot of spirit and fire.

The album gradually winds down with a surprise in the jazz-soul number I've Done It Again. This number allows you to appreciate the surprisingly soothing qualities of her voice. Never have I heard her sound so effeminate as she does on this track.

Nightclubbing is an ESSENTIAL Grace Jones album. It raced to No.9 on the black music album charts, whilst gliding into the U.K and U.S Top 40 album Charts. It was also voted album of the year by New Musical Express magazine.

Ian Phillips

June 2006