Grace Jones Albums (9)
What The Critics Say
'80s funk/dance done "Grace-fully." ~ Bil Carpenter, All Music Guide
What The Critics Say
Chic's Nile Rodgers produced this Grace Jones album as part of a new deal she signed in the late '80s with Manhattan. Unfortunately, she didn't remain on the label very long, even though this was among her better LPs and included a fine single in "(I'm Not Perfect) But I'm Perfect For You." There were rumors that Jones and Rodgers didn't get along, and perhaps they didn't, but the album wound up being one of her most commercially viable. ~ Ron Wynn, All Music Guide
'Slave to the Rhythm'
Release Date 1/1/1985
Tracks 8
Label ZTT/Island
See Album Tracklist and Review
What The Critics Say
An audio biography of Grace Jones, produced by Trevor Horn, it's a sonic treat along the lines of Yes's 90125 or Frankie Goes to Hollywood's first album (both produced by Horn). The music ranges from slick R&B runaway grooves to striking audio montages, interrupted occasionally by conversation about Jones's life. Serious ear candy. ~ Scott Bultman, All Music Guide
What The Critics Say
Grace Jones essentially retired from music after this album and became a film actress for three years. The album followed her definitive Nightclubbing and was a commercial disappointment, although it had some nice material and excellent production and arrangements. But she often sounded distant and detached, and not even the great support could totally overcome Jones' less than enthusiastic performances. ~ Ron Wynn, All Music Guide
What The Critics Say
By all means a phenomenal pop album that hit number nine on the black albums chart and crossed over to penetrate the pop charts at number 32, Nightclubbing saw Grace Jones working once again with Sly Dunbar, Robbie Shakespeare, and the remainder of the Compass Point team. Nightclubbing also continues Jones' tradition of picking excellent songs to reinterpret. This time out, the Police's "Demolition Man," Bill Withers' "Use Me," and Iggy Pop's "Nightclubbing" receive radical reinterpretations; "Nightclubbing" is glacial in both tempo and lack of warmth, while both "Use Me" and "Demolition Man" fit perfectly into Jones' lyrical scheme. Speaking of a lyrical scheme, "Pull Up to the Bumper" (number five black singles, number two club play) is so riddled with naughty double entendres -- or is it just about parallel parking? -- that it renders Musique's "In the Bush" as daring as Paul Anka's "Puppy Love." Drive it in between what, Grace? It's not just lyrics that make the song stick out; jingling spirals of rhythm guitar and a simplistic, squelching, mid-tempo rhythm make the song effective, even without considering Jones' presence. Sly & Robbie provide ideal backdrops for Jones yet again, casting a brisk but not bristly sheen over buoyant structures. Never before and never since has a precisely chipped block of ore been so seductive. ~ Andy Kellman, All Music Guide
What The Critics Say
Grace Jones teamed with the great reggae production duo of Sly Dunbar and Robbie Shakespeare on this '80 album, and made the transition from straight dance and club act into quasi-pop star with reggae and urban contemporary leaning. The single "Private Life" was one of her best, and the overall album had more energy and production gloss than previous LPs that had been aimed completely at the club market. It helped that Jones seemed enthused about the session and really put herself into the songs. ~ Ron Wynn, All Music Guide
What The Critics Say
A fine dance and club album, Grace Jones was still essentially a disco act when she recorded this album at the end of the '70s. The campy tendencies and flat vocals were subordinated to the array of cross-rhythms, textures, and production devices buttressing the tracks. Jones did some outstanding numbers during this era, but seldom utilized her voice beyond either a decorative or supporting role. She wasn't (and still isn't) a soulful or great singer, but future albums would demonstrate that she could do more things than mouth lines and insert herself into rhythm tracks. ~ Ron Wynn, All Music Guide
What The Critics Say
Original, Euro-style disco. ~ Bil Carpenter, All Music Guide
What The Critics Say
Broadway-styled disco. ~ Bil Carpenter, All Music Guide
