The song is probably the most accessible one on Hurricane, but it also makes the best use of dynamics. Again, Jones celebrates her mother, this time paying homage to the musical and nonconformist tendencies the elder Jones ( nee Williams) passed down to her daughter. The best track here, though, is “Williams Blood”. “I’m Crying (Mother’s Tears)” is Jones’ tender, naked ode to her mother, while “Well Well Well” addresses the proverbial Going Home. These caricatured moments are juxtaposed with some disarmingly personal statements. “You won’t hear me laughing / As I terminate your day,” Jones says, as the heavy-handed music sounds for all the world like a Flight of the Conchords-type parody. “Corporate Cannibal” takes a too-obvious swipe at heartless CEOs. “This is a voice, these are the hands / This is technology mixed with a band,” Jones says on “This Is”, as if the concept had just occurred to her. Tracks like “This Is” and “Corporate Cannibal” play far too much into Jones’ persona as the over-the-top, slithering, hissing she-devil who did the voiceover on Arcadia’s “Election Day”. Guest’s production, featuring playing by much of Jones’ old gang, including Sly & Robbie, allows Jones to sink in and simmer. Then again, you have to wonder what kind of trainwreck might have resulted had Jones been hooked up with an of-the-moment dance-pop production team. So, yes, the sound is a bit of a look backward. #SLY AND ROBBIE ALBUMS TORRENT FULL#It’s full of dense, slow-moving, reggae-inflected trip-hop, with the type of “hard-rock” guitars Massive Attack showcased on their Mezzanine album in 1998. It was all newly-recorded by producer Ivor Guest in 2007, but still has a late ’90s vibe. Hurricane had its origins as far back as 1997. #SLY AND ROBBIE ALBUMS TORRENT SKIN#At times it escapes embarrassment by the skin of its teeth. Take a step back, though, and it is far from perfect. Namely, it’s good enough to warrant the inevitable “return to form” and “comeback” labels, good enough to make you appreciate Jones all over again. The ass-kicking -diva behavior, eccentric sartorial getups, and the rock-solid physique were all still there, and this from a woman who was fast approaching 60.Īlso, Hurricane is quite good. That’s quite possibly because Jones hadn’t changed a bit. Hurricane‘s initial appearance prompted a fondness many people probably never knew they had. But by the late ’80s, Jones’ music career had gone wayward, and relatively few noticed when she disappeared for 19 years. Her initial post-disco albums with reggae producers Sly & Robbie are the high points, with the Trevor Horn-helmed Slave to the Rhythm (1985) also of note. The quality of her albums has largely depended on who produced them. But, like all true pop culture icons, Jones is a icon first, and a model/actress/music-maker second. From Studio 54 gay disco heroine to androgynous New Wave dominatrix, from Andy Warhol girl to the world’s scariest Bond Girl, she is one of the last survivors from an era whose stars were not subject to the whims of reality television, internet trends, or targeted marketing. As an added incentive, a disc of dub versions of each of the album’s nine tracks has been appended to the original album. It has finally been picked up for North American release. Hurricane was released in Europe in 2008. Jones has always done things on her own time. Yes, it has been a long time, but then again, Ms. How long has Grace Jones been away from the music industry? Well, the single from her last album was produced by C&C Music Factory.
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