Album Title
Grace Jones
Nightclubbing (1981)
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Track List
01) Walking in the Rain
02) Pull Up to the Bumper
03) Use Me
04) Nightclubbing
05) Art Groupie
06) I've Seen That Face Before (Libertango)
07) Feel Up
08) Demolition Man
09) I've Done It Again

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(4 users)

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First Released

1981

Genre

R&B

Mood

Gritty

Style

Urban/R&B

Theme

---

Tempo

Medium

Release Format

Album

Record Label Release

Island

World Sales Figure

0 copies

Album Description
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Nightclubbing är på alla sätt ett fenomenalt popalbum som nådde plats nio på den svarta albumlistan och gick över till att penetrera poplistorna på plats 32. Grace Jones arbetade återigen med Sly Dunbar, Robbie Shakespeare och resten av Compass Point-teamet. Nightclubbing fortsätter också Jones tradition att välja utmärkta låtar att tolka på nytt. Den här gången får The Police's "Demolition Man", Bill Withers "Use Me" och Iggy Pop's "Nightclubbing" radikala nytolkningar; "Nightclubbing" är glacial i både tempo och brist på värme, medan både "Use Me" och "Demolition Man" passar perfekt in i Jones lyriska schema. På tal om lyriskt schema, "Pull Up to the Bumper" (nummer fem svarta singlar, nummer två klubbspelningar) är så full av fräcka dubbelkommentarer - eller handlar det bara om parallellparkering? -- att den gör Musique's "In the Bush" lika vågad som Paul Anka's "Puppy Love". Kör in den mellan vad, Grace? Det är inte bara texten som får låten att sticka ut; jinglande spiraler av rytmgitarr och en förenklad, squelching, mid-tempo-rytm gör låten effektiv, även utan att ta hänsyn till Jones närvaro. Sly & Robbie utgör återigen en idealisk bakgrund för Jones och kastar ett snabbt men inte borstigt skimmer över livliga strukturer. Aldrig tidigare och aldrig senare har ett exakt flisat malmblock varit så förföriskt.



User Album Review
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.


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