GRACE JONES, page part 2 of 2: The More Interesting Years (1980-89)
Jones, resuscitation with the aid of boyfriend/quasi-manager Jean-Paul Goude, about it completely transformed herself from disco diva into outrageous, androgynous sultry chanteuse with 1980′s “Warm Leatherette”, which consisted mostly of ’70s covers (the title track originally done by The Normal, Roxy Music’s “Love Is The Drug”, The Pretenders’ “Private Life”) done in a mildly reggae-tinged New Wave style. This was a grand stylistic leap for Jones, and the result is that the momentum gained with this album, along with the greater success of her similarly styled next album (1981′s “Nghtclubbing”), brought Jones a popular following across Europe and somewhat across America. “Warm Leatherette” was also the first of Jones’ three successive LPs produced at the legendary Compass Point Studios in the Bahamas.
“Inside Story”, from 1986, was co-produced by the influential Nile Rodgers, and while the album has funky touches, it’s more interesting for the same reasons that her early disco records have entertainment value — because the songs are purely weird. How could songs with titles like “Victor Should Have Been A Jazz Musician” be anything but weird? The album is a perfect soundtrack for the lives of people who don’t pay any attention to music (which they mostly only half-listen to anyway).
I haven’t had the chance to listen to 1989′s “Bulletproof Heart” yet, but after all I’ve said about the above albums, wouldn’t you be curious too?