2020. 2. 16. 12:05ㆍ카테고리 없음
09 I've Done It AgainLink to download:'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.
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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. X-TREME (2004) (Ultimate Remix Collection)CD 101 On your knees (Long Version)02 Pull up to the bumper (Extended Mix)03 Bullshit04 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 Perfec10 Party girl (12' Inch Version)CD 201 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.
Disco had sashayed well past its sell-by date by the time Grace Jones’ third album Muse arrived in September 1979. The final instalment in her high-gloss New York trilogy, Muse, like Portfolio and Fame before it, portrayed Jones as the decadent diva still swanning around Studio 54, but no amount of sumptuous Tom Moulton production could disguise the fact that disco had already faded from fashion. Punk and its mutant offspring had wiped off the glitter and a backlash was underway, its mooted US flashpoint the infamous ‘disco demolition night’ at Comiskey Park, the home of the Chicago White Sox, in July ’79.
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There, thousands of disenfranchised rock fans turned up to a baseball game and stormed the pitch to smash and burn Village People and Bee-Gees records – an isolated, brainless event that quickly made headlines.Record sales also fell with disco’s decline in the States, down 11 per cent year-on-year from 1978. “I thought we were in a bit of trouble after the third album.
It didn’t sell very well,” notes Chris Blackwell, Jones’ Island Records boss, in the singer’s memoirs, published last year. His solution was to invite Jones – pregnant with her son Paolo – to his Compass Point studio complex on the tiny island of Nassau in the Bahamas in a bid to push her in a new direction that would draw attention to her irresistible force and gender-bending qualities, an idea that seemed quite natural at the time but with hindsight proved both prescient and radical. On the cusp of the 1980s, this new decade needed a striking star with a modern, uncompromising sound. Jones, familiar yet unknowable, might fit the bill.As part of his plan, he and fellow producer Alex Sadkin, who manned the mixing desk, had assembled a crack squad of session musicians who, under Blackwell’s guidance, would interpret recent cult hits and compose new material for Jones. Factory Records’ funk outfit A Certain Ratio were in the running to be the backing band, but it soon became clear that Blackwell’s team of players, dubbed the Compass Point All Stars, had developed extraordinary chemistry when the tape began to roll. Impressed by recent Island signings Black Uhuru, Blackwell recruited bassist Sly Dunbar and drummer Robbie Shakespeare, the backbone of countless dub and reggae grooves, who could claim to be the finest rhythm section in the world.
Alongside percussionist Uzziah ‘Sticky’ Thompson and guitarists Mikey Chung and long-time Marianne Faithfull cohort Barry Reynolds, suave Parisian keyboardist Wally Badarou brought European flair to the mix. The group had never played together but gelled almost instantly, producing in these sessions enough material for Warm Leatherette and its more admired successor Nightclubbing.Warm Leatherette is often considered a rehearsal for Nightclubbing but in some ways it’s the most radical of the pair, because it unveiled to a shocked audience the new-look Jones, presented on the sleeve in stark black and white as a kind of sinister Pierrot by her partner Jean-Paul Goude. Shaded from the Caribbean sunshine, the projected mood is cold, hard and cynical after the gaiety of the disco years.
This post-punk menace is all over the music, too, epitomised by Blackwell’s calculated choice of “ Warm Leatherette” by The Normal as the first song to be covered. The grubby DIY electro of Mute boss Daniel Miller’s fetishised hymn to JG Ballard’s Crash is a world away from the designer luxe Jones was accustomed to, yet out of this collision between neurotic European new-wave and unflappable Jamaican groove she emerges a changed woman: the diva as Terminator.She dominates The Pretenders’ “ Private Life” and Roxy Music’s “ Love Is The Drug”, extending and dubbing-out Chrissie Hynde’s song to make it her own. “When I first heard Grace’s version I thought, ‘Now that’s how it’s supposed to sound’,” Hynde said, no doubt pleased this also became Jones’ first UK hit. Renditions of The Marvelettes’ “ The Hunter Gets Captured By The Game”, written by Smokey Robinson, and Tom Petty’s “ Breakdown” illustrate the breadth of the material covered, while of the original songs, Barry Reynolds’ “Bullshit” has a certain insouciance. Having waded through the numerous 12-inch mixes and alternative versions stacked up on CD2 – all previously released – a dub mix of this synth-heavy cut would be a treat.
The key tracks on this disc are the three echo-chamber dub versions of her freaky cover of Joy Division’s “ She’s Lost Control”, which should have been on the album in the first place. Nor should the irony of that title go amiss, because after Warm Leatherette Grace Jones was very much in charge. Q&AWally Badarou, Compass Point All Stars keyboard playerHow easily did you all gel as a band for Warm Leatherette?I suppose when we all realised we were not in for the regular assignment – ie reggae musicians doing reggae, and pop/rock musicians doing pop/rock – we felt there was a challenge to be won, to gain mutual respect and not to disappoint those who had faith in our ability. Chris Blackwell’s enormous charisma was key.
He dreamed of the project, got us together, and let us go with no verbal explanation of what he was looking for. I guess he was as surprised as we were because he wouldn’t tire of telling us how the end results far exceeded his expectations. Things were not clear until we did “Private Life”: then and only then, the ever-growing mutual respect helped everything gel.Had you met Grace before embarking on these sessions?No, we met in Nassau. She came down to the studio with Chris and it was the first time I saw those two.
I was busy setting up the keyboards, so I don’t recall having been formally introduced either to Chris or Grace. By the time Sly’s drums were ready, Chris played the “Warm Leatherette” cassette and we started working out arrangements – no further conversation.What made the Compass Point Allstars special?Chris Blackwell’s spirit, period. Without much explanation, he managed to get the best out of each of us. Then the bass and drums’ fantastic drive could meet the rock guitars and the sophisticated keys in a very special way: powerful and sober, thanks to Alex Sadkin’s philosophy of making everything sound pristine from the word go. Things never got overproduced, because it all sounded like it was mixed before we ever finished the overdubs.INTERVIEW: PIERS MARTIN.