Ladies and Gentlemen: Miss Grace Jones. This is the original title for the song better known as Slave to the Rhythm and the very words that open every Grace Jones concert these days. Or so I believe. But does that name still sound familiar to people? I somehow doubt that, and it appears to me she would be more recognizable if she changed her name to “Strange, I’ve seen that face before” or something to that effect, because Libertango sounds just as mysterious.
Grace Jones is an interesting artist. With her distinctive contralto voice, amazingly bizarre clothes and hats, her make-up and hair, and most of all, her eccentric demeanor, she’s easily one of the most unique singers I know. Simply put, she’s absolutely unmistakable. And despite all that, her popularity has shrunk significantly since the 80s. It is in no small part due to her nineteen-year hiatus in releasing albums, which took place between 1989 and 2008. Another reason that I consider crucial is that, unlike other former 80s stars, she does not follow popular trends in order to retain her “hot” status. She never has been. All of her albums have a unique sound to them, and she, as a performer, leaves no room for comparison. While pop stars, in general, keep getting accused of copying others, and rightly so in most cases, who would people dare compare Grace Jones to? Josephine Baker? Yes, Josephine Baker was great, but it makes no sense to compare them. Madonna? I like some of her 80s songs, which quite frankly are guilty pleasures of mine, but I find her image pretty distasteful. She lacks the authenticity and natural talent that Grace possesses, and thus appears drastically over-sexualized and superficial. The sexualization of Madonna’s image seems forced and redundant, whereas in Grace Jones’ case it manifests itself naturally, as it is a part of her personality rather than a cheap promotion device. Moreover, judging by what I have heard, Madonna’s music is of atrocious quality these days. She seems to be immensely preoccupied with staying in the charts, which is tantamount to a radical decline in artistic value of produced music, considering the sorry state of contemporary pop. As opposed to Grace, it has always been very questionable to me whether her music was about art in any way. However, I shall finish with this matter before I turn this piece into a “why I don’t particularly like Madonna” rant. The comparison was, notwithstanding, useful in proving why Grace Jones is not a typical pop star.
Another, even more important point is that in 2008, nineteen years after the release of her previous LP, Grace recorded the album that, in my opinion, is her best work ever. Hurricane, in recording of which she was greatly assisted by the producer Ivor Guest, is without question one of my favorite pop-oriented records: there are great harmonies and bass lines, the rhythms are really dance-inducing (the drumming is exquisite), and I find the lyrics thought-provoking. Although Hurricane is very different from Grace’s past albums, it is distinctly her style. It is thanks to Ivor Guest’s understanding of her as an artist, and also his devotion and deep respect for her, which are very apparent throughout the album. Moreover, he was the person who convinced her to make another record in the first place, even though she had insisted on not recording new music at all.
There are some subtle references to Grace’s 80s Compass Point reggae-influenced albums (Grace is Jamaican) on Hurricane, but they did not essentially serve as guidelines for this project. The album is definitely darker and, I would risk saying, more ambitious than anything she had done before: it has a warm, electronic/trip-hop sound as a result of Ivor Guest and Brian Eno’s collective effort (Eno offered production consultation and recorded some keyboards and backing vocals). Furthermore, as rarely as she collaborates with anyone, the title track was enhanced by Tricky of Massive Attack. However, despite the distinct electronic vibe, the record’s great advantage is that it was mostly played on real instruments, including the string parts. It is also worth mentioning that Grace penned some great lyrics, which can only be compared with the finest pieces from her 80s albums, such as Unlimited Capacity for Love and Slave to the Rhythm. In short, Hurricane, due to its excellent quality, has immediately become an unquestionable highlight of Grace Jones’s discography next to Nightclubbing and Warm Leatherette. How many artists record their best albums at 60? Not many, I suppose, but Grace is unlike anyone else.
I think Grace Jones’s live performances are more interesting than they used to be from the musical point of view as well. She has a full live band now that consists of great, experienced musicians who certainly give the impression they are sincerely into the music they play. As a tidbit, I can add that Grace’s son Paulo who plays percussions is a member of her live line-up. I also consider an improvement that they are really successful at recreating the album versions of songs in the live environment without making them sound dull and lifeless; quite the opposite, actually. And since Grace herself has such a great stage presence, it’s simply impossible not to be in awe of her concerts. I saw Miss Jones live in 2011, and if you’re into disco music, and you miss the late 70s parties, such as those the legendary STUDIO54 in New York used to host, you should go and see her when you get a chance. She somehow manages to bring that 70s atmosphere back during her live shows, except for the drugs maybe. Not that I can remember what these parties were like, as I was born more than a decade after the golden era STUDIO54 closed due to *surprise, surprise* the excessive use of drugs by, well, everybody… Anyway, Grace Jones’s concert was the best party I have ever been to. Not that I’ve been to many, but you have probably figured out by now that I’m a somber loner who hates parties because of the hideous music choices that blemish the vast majority of them. Ah well. At a Grace Jones show, however, you will feel the irresistible urge to dance when you hear the very first notes of Nightclubbing. Then, you will find yourself further compelled to dance like a psychopath during the very STUDIO54-like Pull Up to the Bumper until you’re unable to catch your breath or feel your legs. Finally, she will announce she’s the Demolition Man and use her superpowers to turn your brain into a piece of bloody pâté. Alright, I admit I have no idea what brand of offal she will end up turning you into, but I can assure you this is what happened to me.
As for Grace’s clothes, I really appreciate that she cares tremendously what she looks like on stage; the themes of her songs are often reflected in the attire she chooses. The first example that comes to mind is the live performance of the song Hurricane. Also, I’m certain everybody who likes Grace is familiar with her habit of constantly changing headdress: she never ceases to make sure that she wears something else for every song. Funnily, all of her hats and masks are equally eccentric and thoroughly impractical; their somewhat peculiar design seems to also suggest that Grace doesn’t care much about gravity. Another thing that’s extremely hard to miss is that she tends to perform half-naked, and it would surely bother me if it weren’t Grace Jones doing that. I said earlier that nakedness and the emphasis on her sexuality seem to come out naturally as a part of her personality, so I am inclined to think it would be completely weird if she suddenly became a prude. Therefore, I don’t feel disgusted by her image at all.
Considering how the daring clothes, or lack thereof, clearly imply there’s a very strong, nonconformist personality behind her image, many have labeled Grace as “scary.” I don’t necessarily agree she’s “scary” in any way, but the perception of “scariness” varies depending on what people feel intimidated by. Personally, after watching and reading dozens of interviews with her, I think she’s a woman of an immensely strong character, but she’s hilarious and friendly as well, provided you respect her and give her the acknowledgment she demands. Otherwise you are likely to experience Grace’s mighty wrath that Russell Harty famously fell victim to, and I have no sympathy for him! So, is there really a reason to be afraid of Grace Jones? Sadly, I’ve never met her, so I honestly don’t know what I’m talking about, but I would say no. To me, she’s one of the coolest people in the universe. Just tell me how many over 60s look so great that they can easily get away with performing half-naked? I sort of wish someone told Iggy Pop he was not one of them…
There is some exciting news from Grace Jones as well. Firstly, she is going to release a memoir next fall, and I can’t even begin to imagine the awesome and wild stories she’s going to tell. The bigger news is, however, that she’s recording her new album at the moment, and I think it will be out next year, too. I was very pleased to learn that the new record will be produced by Mr. Guest (you can follow his tumblr; he updates on the album from time to time), whom I admire greatly for his approach towards Grace’s music and, of course, his skills. Plus, Anna fans might find it interesting that Dave Okumu of the Invisible is recording the guitars for this project. This certainly seems exciting, and I’m curious how it’s going to sound. I’m also wondering whether this album will be released through the indie label Wall of Sound just like Hurricane. I hope so, unless Grace gets signed to Domino. Which is so ridiculously improbable, it is actually pleasant to contemplate.
