Grace Jones ¦ Nightclubbing

CHF 31.00 inkl. MwSt

LP (Album)

Nicht vorrätig

GTIN: 0042284236812 Artist: Genres & Stile: , , , ,

Zusätzliche Information








Veröffentlichung Nightclubbing:


Hörbeispiel(e) Nightclubbing:

Nightclubbing auf Wikipedia (oder andere Quellen):

Grace Jones - Nightclubbing.jpg
Studio album by
Released11 May 1981
StudioCompass Point, the Bahamas
Grace Jones chronology
Warm Leatherette
Living My Life
Singles from Nightclubbing
  1. "Demolition Man"
    Released: February 1981
  2. "I've Seen That Face Before (Libertango)"
    Released: May 1981
  3. "Pull Up to the Bumper"
    Released: June 1981
  4. "Use Me"
    Released: June 1981
  5. "Feel Up"
    Released: July 1981
  6. "Walking in the Rain"
    Released: October 1981

Nightclubbing is the fifth studio album by Jamaican singer and songwriter Grace Jones, released on 11 May 1981 by Island Records. Recorded at Compass Point Studios with producers Alex Sadkin and Island Records' president Chris Blackwell, as well as a team of session musicians rooted by rhythm section Sly and Robbie, the album marked her second foray into a new wave style that blends a variety of genres, including reggae, art pop, dub, synth-pop and funk. The album has cover versions of songs by Bill Withers, Iggy Pop, Astor Piazzolla, and others, and original songs, three of which co-written by Jones.

The album received positive reviews upon its release, including being voted best album of the year by writers of the UK music magazine NME, and continues to be praised by critics, with reviewers commending the singer's unique sound and organic fusion of genres. The album entered in the top 10 in five countries, and became Jones' highest-ranking record on the US Billboard mainstream albums and R&B charts. Six singles were released from the album, including the hits "Pull Up to the Bumper" and "I've Seen That Face Before (Libertango)".

Critics and scholars have noted the album's influence on popular music, especially how its unique sound has been emulated by both pop and alternative acts, and how the persona Jones adopted – deeply influenced by art and fashion – has had an enduring influence in modern female pop singers. Around the time of the album's release, she adopted her characteristic androgynous look which would become popular in fashion. Nightclubbing is now widely considered Jones' best studio album[1] and the record that cemented her pop icon status.

Background and production

"When we were in the studio with Grace, there was a big picture of her – a big picture, going right across – on the wall of the studio, then she'd be standing there singing, so when we were playing and getting a groove all we could see was her. We took it on that reggae kind of trip, but always with Grace in mind."

— Drummer Sly Dunbar (of Sly and Robbie), Fact, 2014[2]

Jones was a popular fashion model and Studio 54 habituée before starting her recording career.[3] Her first three albums "were heavily influenced by disco and cemented her presence in the club scene."[4] These records "operated around the camper end of the spectrum," and built a large gay cult following around the singer.[3][5] According to Pitchfork, these albums "were fun but somewhat facile, cover-filled reflections of the druggy hedonism of the disco era". T. Cole Rachel writes: "For someone whose very image was seen as somehow deeply transgressive, Jones' music had not yet caught up."[6] When her 1977 rendition of Edith Piaf's "La Vie en rose" was an international hit, she caught the interest of Chris Blackwell, the founder of Island Records.[3] After Jones' 1979 album Muse found little success in nightclubs and charts, he took over as her producer.[7] He sought to "treat her not as a model, but to involve her as a musician", and wanted "her to feel as though she were a member of a band, and record her the way bands used to make albums, with the singer and the players doing their thing all at once."[7] Blackwell assembled a sextet of studio ringers at his Nassau studio, Compass Point, pulling together a band that included Sly and Robbie (consisting of bass guitarist Robbie Shakespeare and drummer Sly Dunbar), French keyboardist Wally Badarou,[8] guitarists Mikey Chung and Barry Reynolds, and percussionist Uziah Thompson. Jones has described the group as "the united nations in the studio".[6]

As the disco backlash began in earnest, Jones veered towards the contemporary new wave style.[9] Blackwell had been impressed by Black Uhuru's 1980 album Sinsemilla and, along with engineer Alex Sadkin, decided that Jones' new sound should take elements from that record's sonority.[2] Besides reggae, the band also incorporated dance music. Sly Dunbar said, "We loved dance music, we'd listen to everything, because we were always working and wanting the reggae we did to move a bit forward, so anything that we could drag to it, we would bring that – as ideas, or as musicians coming to play with us."[2] Ditching the camp quality of Jones' previous work, Blackwell realised new forms around the likes of The Pretenders' "Private Life", Roxy Music's "Love Is the Drug" and The Normal's "Warm Leatherette"; Ian Wade of The Quietus writes: "Nightclubbing was where all these ideas coalesced into perfection."[3] The band Blackwell assembled later became known as the "Compass Point Allstars", taking up residency in the Bahamian studio and animating hits by Tom Tom Club, Robert Palmer, Joe Cocker and Gwen Guthrie, among others.[2][7]

The recording sessions "moved with disarming speed and ease"; Blackwell recounts: "If Grace or the group hadn't nailed a song by the third take, it was dropped and they'd move to the next number." Although the band was initially called upon in early 1980 to work on a single album, they ended up recording far more material than could fit one LP. As a result, these sessions resulted in two studio albums: Warm Leatherette – released in 1980 – and Nightclubbing. Final overdubs and additional songs were recorded during 1981. Wally Badarou has recognised Jones' active role in the sessions, stating: "Grace was there even during most instrumental overdubbing sessions. She was a part of the sound and the spirit that came out almost from nowhere. We all knew we were in for something quite experimental."[2]



"I wanted a rhythmic reggae bottom, aggressive rock guitar, atmospheric keyboards in the middle, and Grace on top."

— Producer Chris Blackwell, The Pitchfork Review, 2015[7]

Continuing the orientation of Jones' previous release Warm Leatherette, Nightclubbing is a pop album that forays into new wave[9][10][11] and dance,[2][12] while in terms of rhythm it is, ostensibly, a reggae record.[13] John Daniel Bull of The Line of Best Fit felt the album "[pinpointed] the peak of [Jones'] Jamaican influences, by way of reggae rhythms blended with R&B beats."[14] However, Treble writes: "in terms of atmosphere and melody, there's nothing roots or rude-boy about it."[13] The magazine also considered Nightclubbing to be an important exponent of sophisti-pop, placing it "somewhere between art-pop and dub"; it also described its sonority as "a lush landscape of surrealist synth-pop."[13] The Style Con's Erich Kessel felt the album was an influential exponent of art-pop.[15] Nightclubbing also incorporates elements of electro, and New York club music.[2]

A post-disco album,[16] Nightclubbing features a distinct and unprecedented sound that also incorporates rock, funk and post-punk music.[9][10] The Rolling Stone Album Guide (1992) reads: "Leavening their sprung riddims with a salty dash of funk, Sly and Robbie hipped Jones to rock's new wave on Warm Leatherette and Nightclubbing."[17] According to John Doran of BBC Music, Nightclubbing is a "post-punk pop" album that, "delved into the worlds of disco, reggae and funk much more successfully than most of her 'alternative' contemporaries, while still retaining a blank-eyed alienation that was more reminiscent of David Bowie or Ian Curtis than most of her peers."[18] The influence of David Bowie (Who co-wrote the title track) was also noted by Joe Muggs of Fact.[2]

The "languid reggae-influenced" tracks allowed Jones to showcase her singular vocal style, characterized by low alto singing and a Jamaican style of vocal delivery – "that of 'chatting' over onto tracks" – within a framework of androgyny.[12] This style of delivery has been likened to that of The Velvet Underground's Lou Reed, Blondie's Debbie Harry, the New York City punk scene, and Gil Scott-Heron in "The Revolution Will Not Be Televised".[12] Pitchfork described Jones' voice as a "flat monotone speak-singing."[9] T. Cole Rachel, writing for the same publication, argued that Jones succeeds not by the power of her voice, but by the power of her persona, writing: "As she would go on to prove in later efforts, it was the monolithic force of her personality—imperious, feral, queer in the truest sense of the word—that would make these songs so compelling. She is, to put it simply, impossible to ignore."[6]


The original version of "Libertango" was discovered by Jones's boyfriend at the time, artist Jean-Paul Goude, and the video for the song was filmed on the outdoor terrace of Jones's penthouse apartment on 16th Street in New York. The song also features a verse sung in French: the text was translated for Jones by Blackwell's girlfriend, actress Nathalie Delon, for which Delon received a writing credit.[19] Two of the album's tracks, "I've Done It Again" and "Demolition Man" were written specifically for Jones to record on Nightclubbing.[20] The latter song was written by Sting and would also be recorded in a more uptempo style by his band the Police for their album Ghost in the Machine, released six months after Nightclubbing.

The remaining three new compositions on the record were all co-written by Jones. "Pull Up to the Bumper" began as an instrumental track by the Compass Point Allstars rhythm section Sly and Robbie (credited on the track under their collective alias "Koo Koo Baya"), and provisionally called "Pour Yourself Over Me Like Peanut Butter". Jones's friend, singer Dana Mano, came up with the song's new title, which inspired the two women to write a set of suggestive lyrics for the track.[21] Despite this, Jones denied that the lyrics were explicitly sexual, insisting that she felt the words were just written to suit the music, but stated that she was happy to accept whatever interpretation someone might put on the lyrics, saying, "I don't want to sing sweet things, though I don't mind sweetness so long as it has a little sour meaning underneath". Jones admitted that "Art Groupie" was highly autobiographical as many of her boyfriends had been artists and she was attracted to the whole art scene.[22]



Nightclubbing's iconic artwork is a 1981 painted photograph titled Blue-Black in Black on Brown, created in New York by Goude.[23] This was the singular image that accompanied the original LP, as it "was concealed in a plain, black inner sleeve, no lyrics and with no photo on the back cover."[24] Composed by right angles, the photograph shows Jones cut to waist, bare chested, and dressed in an Armani man's wide shouldered suit, with an unlit cigarette aiming downward from her lip. She is shot with her signature flat top haircut and her chest bones showing; her dark skin confers upon the image a violet, blue-black colour.[12][24][25] The image is noted for its androgyny, with Jones not only "[unpicking] some of the boundaries of unconventionality, but [choosing] to confuse such boundaries."[12] Rick Poynor writes: "Goude admired Jones for her mixture of beauty and threat, and the Nightclubbing portrait expresses this duality with absolute composure and no false histrionics."[26] Piers Martin of Uncut felt the cover was "arresting", and wrote: "the indigo mood, cool gaze and cigarette suggested Marlene Dietrich, the gender-bending a touch of Bowie."[10]

In 2015, Dazed included the album cover in an article dedicated to their "favourite Armani cult crossovers." Biju Belinky wrote:

Although Armani became known for deconstructing the suit, removing the over-the-top padding and offering a relaxed option to formalwear in American Gigolo, the cover for Grace Jones' iconic 1981 album Nightclubbing plays up with the angles like nothing else before it. Hailed as a pioneer of the androgynous look, with a cigarette dangling from her mouth and a flattop haircut, complemented by the padded shoulders of an Armani jacket, the avant-garde singer's album cover became known for years to come.[27]

Writing for DIY, Simon Russell Beale listed the album cover as one of the greatest of all time, highlighting Jones' "smouldering noir-bisexuality".[28] Graphic designer Storm Thorgerson included the picture in his 1999 book, 100 Best Album Covers.[29] Moreover, American Photo placed it in its list of The 30 Best Album Covers.[30] NME included it in its list of 20 Original Album Covers That Are Actually Works of Art, with the entry reading: "Can any other artist boast as many iconic album covers? Grace is a work of art herself, as are the covers for Island Life, Slave to the Rhythm and Living My Life, but best of all is the louche image of Nightclubbing by Jean-Paul Goude, part Tretchikoff's Green Lady, part the best advert for smoking you've ever seen."[31] Time Out listed the image as one of the "sexiest album covers of all time", with Brent DiCrescenzo writing: "[Grace Jones] was a work of art, a statue."[32] According to i-D, "it was a series of consistently stellar album artwork that helped propel [the singer] from musician to icon."[33] The artwork was held in display at the Padiglione d'Arte Contemporanea in Milan, Italy, as part of the 2016 So Far So Goude exhibition, focused on the French artist.[34]


According to Barry Waters of The Pitchfork Review, "Jones' singular appearance and meticulously crafted presentation made her a natural fit for the burgeoning music video medium, especially in its early, experimental days."[7] Jean-Paul Goude directed the music videos for "I've Seen That Face Before (Libertango)" and "Pull Up to the Bumper", as well as the celebrated 1982 VHS release A One Man Show. The latter – a montage of still photography, concert footage and music videos – "asserted [Jones] as an astute visual artist" and was nominated for Best Long Form Music Video at the 26th Annual Grammy Awards.[7][35] Nelson George, reviewing the release for Billboard in early 1983, called it "one of the more fascinating and defiantly visual concert videos yet produced."[36] According to Ernest Hardy of CraveOnline, the film "seamlessly blends cabaret, performance art and underground nightclub cool."[37]


Nightclubbing became Jones' chart breakthrough and remains one of the greatest commercial triumphs of her entire career. It entered the top five in no less than four countries, and became the singer's highest-charting record on the US Billboard mainstream albums and R&B charts. The album brought Jones from being a former disco diva with a loyal cult following but dropping sales figures to an international star with mainstream chart success. It later formed the basis of her groundbreaking concept tour A One Man Show.

Universal Music Group re-released the album on vinyl in 2009.[38]

Release of a two-disc deluxe set, containing most of the 12" single versions of singles, plus two unreleased tracks from the Nightclubbing sessions, occurred on 28 April 2014, and Jones enjoyed a UK top 50 chart placing the following week – her first since 2008.

To promote the album, Jones appeared on various TV shows in 1981, including the French Palmarès,[39] the Spanish Esta noche, [40] and Aktuelle Schaubude in West Germany.[41]


The lead single from the album was "Demolition Man". The single was not a commercial success and did not chart, although would later become one of Jones' signature songs. "I've Seen That Face Before (Libertango)" was released as the second single and became one of the most commercially successful songs in Jones' repertoire. It secured top 20 positions in several European countries and became another signature song for Jones.

The R&B-dance track "Pull Up to the Bumper" was a quick follow-up to "Libertango". It met with a great success on the US club market, but turned out a modest hit in Europe upon original release. The song would re-emerge in Europe in 1985 as a major success, especially in the UK, where backed with "La Vie en rose" it became one of Jones' highest-charting singles in that country.

"Use Me" and "Feel Up" were then released as singles, but were unsuccessful in the charts. The final single off Nightclubbing, "Walking in the Rain", was a minor chart success.

Critical reception

Professional ratings
Review scores
AllMusic4.5/5 stars[8]
Christgau's Record GuideB−[42]
Mojo5/5 stars[43]
Q4/5 stars[44]
Record Collector4/5 stars[5]
Record Mirror4/5 stars[45]
The Rolling Stone Album Guide3.5/5 stars[17]
Smash Hits8/10[46]

In the UK Adrian Thrills of NME said, "I spent an otherwise-miserable weekend afternoon with the sound of Grace swirling around my little earphones, grooving on songs effortlessly sung but put together with a jeweller's eye for detail", and stated that the musicians "combine to etch out a shifting, soulful surface, an exotic ice-water backdrop for Grace's vocal veneer", noting that "the only times Grace seems ill-at-ease are as she swops Trenchtown patois with, presumably, the sharp-lipped Sly and then tries to rock out on Sting's 'Demolition Man'".[20] Roz Reines of Melody Maker called it "an album with something for everyone: reggae, electronics, disco, blues – even a snatch of salsa funk. The incredible thing is that it all gels together so well – the common denominator is the danceability, which lasts all the way through: changes in tempo and pace only help to sustain the energy level."[47] Deanne Pearson of Smash Hits said that Jones' voice has "neither range nor power", but "the arrangements and production almost make up for this."[46] Record Mirror critic Simon Ludgate found that Jones transcends her vocal limitations through "her character and sense of the surreal".[45]

Andy Kellman of AllMusic praised the album in a retrospective review, stating: "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."[8] Mark Coleman wrote in The Rolling Stone Album Guide that Sly and Robbie's introduction of new wave rock to Jones and the "throbbing polyrhythmic" covers of rock songs suited her better than the Edith Piaf-meets-Barry White routines" of her records.[17] Robert Christgau was less enthusiastic. He was unmoved by Jones' own songs and said while the covers on Warm Leatherette were superior to the originals simply because of her "weird force of personality", she could not match "Use Me" and the title track.[42]

Nightclubbing continued to gather favorable reviews with the release of the deluxe edition in 2014. Andy Beta from Pitchfork labeled the album's reissue as "Best New Reissue", describing the album as "the record that further cemented her iconic status in pop culture". He also stated: "She treats each cover not as a singer tackling a song, but as an actor inhabiting the skin of a role".[9] Mojo called it "probably the greatest of Grace Jones' Compass Point trio".[43] Uncut's Piers Martin called Nightclubbing "the album that came to define Jones as the complete performer, in her own way, as singer, muse, actress, alien and androgyne. Its sound, a sublime mix of reggae, funk, new wave and disco, was as arresting as its cover image... No one had seen or heard anything quite like this".[10] In Record Collector Kris Needs said that "Nightclubbing still sounds like nothing else released during the 80s, though its colossal influence repeatedly reveals itself".[5] John Harris of Q wrote that "the music on Nightclubbing is as stripped-down and full of space as Jones's froideur demanded. Then again, when it evokes more emotional qualities, it also triumphs."[44]


Jones performing at the West Coast Blues & Roots Festival, 2011.

Nightclubbing's distinctive amalgamation of rock, funk, post-punk, pop and reggae set Jones apart from other musical acts of the 1980s. It is considered one of the early convergences of "fashion, art, and music".[15] According to Pitchfork's Andy Beta, it "altered the face of modern pop". He further argued that the album's musical and visual influence is easily palpable in the musical landscape of the 21st century, specially among female musicians such as Lady Gaga, Rihanna, Nicki Minaj, M.I.A., Grimes and FKA Twigs, among others.[9] Other acts influenced by the record include Róisín Murphy, Janelle Monáe, Azealia Banks and Adam Lambert.[15] Beyond pop music, the template set by Jones and her Compass Point backing band was also influential to alternative music, including Massive Attack, Todd Terje, Gorillaz, Hot Chip, and LCD Soundsystem – who "emulate those rubbery yet taut grooves of Sly & Robbie and cohorts".[9] In Q, John Harris wrote: "The fact that this music was first released 33 years ago beggars belief: it showcases great minds alighting on the future, and points the way to Madonna, Björk, Lady Gaga, Gorillaz, M.I.A. and more."[44] According to Molly Beauchemin, Jones "pioneered the way for Shamir, Stromae, and countless other dance mavericks of today – not just with her bewitching candor but through her use of androgynous innuendo".[7] Polari Magazine considered Nightclubbing to be "a defining moment in the history of pop music".[24]

The album further cemented Jones' pop icon status.[9] According to Erich Kessel, "[the singer's] performances were a source of rich critiques on race, gender, and blackness."[15] Her pioneering androgynous aesthetic – conceived alongside Jean-Paul Goude – had a strong impact on the pop culture of the 1980s; for example, it was a precursor to Annie Lennox's persona.[9][12] According to Abigail Gardner, "Jones was an androgynous audiovisual experience, one who sat comfortably within the context of early 1980s pop, where image had become even more central to pop performance through the emergence of MTV."[12] She further argued that the singer "problematises ideas of black feminine in performance art that contributed to a reconceptualisation of Afrocentric culture and identity."[48] Miriam Kershaw positioned Jones "not as a singer or a diva, but as a piece of art", and argued that she "worked to destabilise racist and sexist clichés as she charted a dynamic course through the history of the Black diaspora, to celebrate its vibrant contemporary form."[48] The singer's gender-bending and unrestrained sexuality also won the acclaim of the gay community,[7][18] being included in Out's "The 100 Greatest, Gayest Albums of All Time" and Attitude's "Top 50 Gay Albums of All Time".[49] i-D writes: "Jones transcended definition in almost every realm of her life. She is often referred to as a queer icon. [...] She rejects all labels of sexuality, and her musical output is similarly fluid, switching from pop and disco to dub and reggae without hesitation."[33]

In The Village Voice's Pazz & Jop critics' poll of 1981, Nightclubbing placed at number 31, while "Pull Up to the Bumper" was voted the year's 11th best single.[50] It also appeared in the year-end lists of Sounds,[51] Rockerilla, OOR, The Face, Melody Maker and NME – the latter considering it the best album of 1981.[49][52] Slant Magazine listed Nightclubbing as the 40th best album of the 1980s, with Henderson writing it "performs double duty, building up the singer's legend even as it makes attempts at deconstructing it."[53] NME included the album in its list of The 500 Greatest Albums of All Time, with its entry stating: "A glimpse into the sordid disco depravities behind the velvet rope at Studio 54, Nightclubbing and its standout smash "Pull Up to the Bumper" shunted new wave, reggae and disco firmly into the seductive neon '80s with a single arse/car metaphor."[54] The Guardian listed Nightclubbing as one of the "1000 albums to hear before you die".[55]


The information regarding lists including Nightclubbing is adapted from Acclaimed Music, except where otherwise noted.[49]

Studio BrusselsBelgiumThe 500 Greatest Albums of All Time, Nominations2015*
Christophe BraultFranceTop 20 Albums by Year 1964–200420069
Gilles Verlant300+ Best Albums in the History of Rock2013*
Rock & FolkThe 250 Best Albums from 1966 to 19911991*
Musik Express/SoundsThe 50 Best Albums from the 80s200324
RoRoRo Rock-LexiconMost Recommended Albums2003*
TempoThe 100 Best Albums from the 80's198917
Giannis PetridisGreece2004 of the Best Albums of the Century2003*
Hot PressIrelandThe 100 Best Albums of All Time198959
RockerillaItalyAlbums of the Year198113
AdresseavisenNorwayThe 100 (+23) Best Albums of All Time199587
Eggen & KartvedtThe Guide to the 100 Important Rock Albums1999*
PanoramaThe 30 Best Albums of the Year 1970–98199915
AttitudeUnited KingdomTop 50 Gay Albums of All Time14
The FaceAlbums of the Year1981*
GQThe 100 Coolest Albums in the World Right Now!20057
The Guardian1000 Albums to Hear Before You Die2007*
Melody MakerAlbums of the Year19819
MojoThe 80 Greatest Albums from the 80s2007*
Gary Mulholland261 Greatest Albums Since Punk and Disco2006*
MuzikTop 50 Dance Albums of All Time200234
NMEAlbums of the Year19811
The 500 Greatest Albums of All Time2013211
OutUnited StatesThe 100 Greatest, Gayest Albums200891
Slant MagazineThe 100 Best Albums of the 1980s201240
SoundsAlbums of the Year[51]1981*
The Village VoicePazz & Jop198131
(*) designates lists that are unordered.

Track listing

Side one
1."Walking in the Rain"Harry Vanda, George Young4:18
2."Pull Up to the Bumper"Grace Jones, Koo Koo Baya, Dana Mano4:41
3."Use Me"Bill Withers5:04
4."Nightclubbing"David Bowie, Iggy Pop5:06
Side two
5."Art Groupie"Jones, Barry Reynolds2:39
6."I've Seen That Face Before (Libertango)"Ástor Piazzolla, Reynolds, Dennis Wilkey, Nathalie Delon4:30
7."Feel Up"Jones4:03
8."Demolition Man"Sting4:03
9."I've Done It Again"Reynolds, Marianne Faithfull3:51
2014 deluxe edition bonus disc
1."Demolition Man" (12" version)Sting4:58
2."Pull Up to the Bumper" (12" version)Grace Jones, Koo Koo Baya, Dana Mano5:45
3."I've Seen That Face Before (Libertango)" (12" version)Astor Piazzolla, Barry Reynolds, Dennis Wilkey, Nathalie Delon5:38
4."Walking in the Rain" (12" version)Harry Vanda, George Young7:25
5."Pull Up to the Bumper" (remixed version)Grace Jones, Koo Koo Baya, Dana Mano7:15
6."Use Me" (long version)Bill Withers6:10
7."Pull Up to the Bumper" (US party version)Grace Jones, Koo Koo Baya, Dana Mano5:00
8."Feel Up" (extended version)Grace Jones6:15
9."Pull Up to the Bumper" (1985 remix)Grace Jones, Koo Koo Baya, Dana Mano6:24
10."Peanut Butter" (Performed by Compass Point All-Stars)Grace Jones, Koo Koo Baya, Dana Mano5:10
11."If You Wanna Be My Lover" (Previously unreleased) 6:35
12."Me! I Disconnect from You" (Previously unreleased)Gary Numan5:33
13."Esta Cara Me es Conocida" (Spanish version of "I've Seen That Face Before (Libertango)")Astor Piazzolla, Barry Reynolds, Dennis Wilkey, Nathalie Delon4:32
  • The two-disc deluxe remastered version states that the writer(s) of "If You Wanna Be My Lover" is unknown.


Credits adapted from Nightclubbing's liner notes.[56]

Charts and certifications

Release history

Worldwide11 May 1981LP, CassetteIsland
Europe1989CDIsland Masters
28 April 20142-CD deluxe edition, Blu-ray audio

See also


  1. ^ "3333. "Walking In The Rain" by Grace Jones". Archived from the original on 21 February 2014. Retrieved 19 August 2012.
  2. ^ a b c d e f g h Muggs, Joe (2 May 2014). "I've Seen That Face Before: looking back on Grace Jones' iconic Nightclubbing with the people who made it happen". Fact. Retrieved 30 July 2016.
  3. ^ a b c d Wade, Ian (12 May 2014). "Grace Jones – Nightclubbing (Reissue)". The Quietus. Retrieved 30 July 2016.
  4. ^ Nelson, Terry (9 May 2016). "TRIBUTE: Celebrating 35 Years of Grace Jones' 'Nightclubbing'". Albumism. Retrieved 30 July 2016.
  5. ^ a b c Needs, Kris (June 2014). "Grace Jones – Nightclubbing: Deluxe Edition". Record Collector. No. 428. London. pp. 90–91. Retrieved 5 February 2018.
  6. ^ a b c Rachel, T. Cole (26 June 2016). "Grace Jones: Warm Leatherette". Pitchfork. Retrieved 18 August 2016.
  7. ^ a b c d e f g h Waters, Barry (25 August 2015). "As Much As I Can, As Black As I Am: The Queer History of Grace Jones". The Pitchfork Review. Retrieved 30 July 2016.
  8. ^ a b c Kellman, Andy. "Nightclubbing – Grace Jones". AllMusic. Retrieved 1 May 2014.
  9. ^ a b c d e f g h i j Beta, Andy (1 May 2014). "Grace Jones: Nightclubbing". Pitchfork. Retrieved 1 May 2014.
  10. ^ a b c d e Martin, Piers (June 2014). "Grace Jones – Nightclubbing (Deluxe Edition)". Uncut. No. 205. London. p. 90. Archived from the original on 14 July 2014. Retrieved 9 June 2014.
  11. ^ Robbins, Ira A., ed. (June 1983). The Trouser Press Guide to New Wave Records. Charles Scribner's Sons. p. 156. ISBN 978-0684179445.
  12. ^ a b c d e f g Gardner, 2012. p.87
  13. ^ a b c Terich, Jeff; Blyweiss, Adam; Bossenger, A.T.; Prickett, Sam (24 April 2014). "10 Essential Sophisti-pop albums". Treble. Retrieved 7 August 2016.
  14. ^ Bull, John Daniel (29 April 2014). "Grace Jones – Nightclubbing [Deluxe Edition]". The Line of Best Fit. Retrieved 4 August 2016.
  15. ^ a b c d Kessel, Eric (8 May 2014). "Art-Pop before 'Art Pop". The Style Con. Archived from the original on 1 January 2018. Retrieved 5 August 2016.
  16. ^ Vine, Richard (15 June 2011). "Grace Jones pulls up to the bumper". Retrieved 30 August 2016.
  17. ^ a b c Coleman, Mark (1992). "Grace Jones". In DeCurtis, Anthony; Henke, James; George-Warren, Holly (eds.). The Rolling Stone Album Guide (3rd ed.). Random House. pp. 378–79. ISBN 0679737294.
  18. ^ a b Doran, John (2010). "Grace Clubbing – Nightclubbing review". BBC. Retrieved 3 August 2016.
  19. ^ Jones, Grace; Morley, Paul (2015). I'll Never Write My Memoirs. New York, USA: Simon & Schuster. pp. 215–17. ISBN 978-1-47113-521-7.
  20. ^ a b Thrills, Adrian (2 May 1981). "Grace Jones: Nightclubbing". NME. London. p. 33.
  21. ^ Jones; Morley (2015). p. 226.
  22. ^ Salewicz, Chris (25 July 1981). "In Between the Bumpers". NME. pp. 48–49.
  23. ^ Song, Sandra (5 October 2015). "Welcome to Planet Grace Jones". Paper. Retrieved 4 August 2016.
  24. ^ a b c "Grace Jones' Nightclubbing: A Celebration". Polari Magazine. Retrieved 4 August 2016.
  25. ^ Walters, Barry (4 April 2014). "'Nightclubbing' Again: Revisiting Grace Jones's Masterpiece". Wondering Sound. Archived from the original on 19 August 2016. Retrieved 5 August 2016.
  26. ^ Poynor, Rick (15 September 2015). "Exposure: Grace Jones by Jean-Paul Goude". Design Observer. Retrieved 5 August 2016.
  27. ^ Belinky, Biju (2015). "Charting Armani's cult crossovers". Dazed. Retrieved 5 August 2016.
  28. ^ Tesco, Lucy (19 October 2010). "Top Five Album Covers: Rough Trade". DIY. Retrieved 5 August 2016.
  29. ^ Thorgerson, Storm (23 September 1999). 100 Best Album Covers. DK. ISBN 978-0751307061.
  30. ^ Crager, Jack (November 2008). "The 30 Best Album Covers". American Photo. Vol. 19 no. 6. p. 30. ISSN 1046-8986. Retrieved 5 August 2016.
  31. ^ "20 Original Album Covers That Are Actually Works of Art". NME. 5 March 2015. Retrieved 5 August 2016.
  32. ^ DiCrescenzo, Brent (28 May 2014). "The 45 sexiest album covers of all time". Time Out. Retrieved 5 August 2016.
  33. ^ a b Hall, Jake (21 April 2016). "exploring the complicated relationship between jean-paul goude and grace jones". i-D. Retrieved 8 August 2016.
  34. ^ Stansfield, Ted (2016). "Inside Jean-Paul Goude's new exhibition". Dazed. Retrieved 5 August 2016.
  35. ^ Anderson, Melissa (February 2, 2016). "Grace and Love: 'A One Man Show' Brings Back '82, and Wendy Clarke Asks the Big Questions". The Village Voice. The Village Voice LLC. Retrieved November 20, 2016.
  36. ^ George, Nelson (February 12, 1983). "Video Reviews". Billboard. Vol. 95 no. 5. p. 31. ISSN 0006-2510. Retrieved November 20, 2016.
  37. ^ Hardy, Ernest (February 12, 2016). "Grace Jones' Classic 'One Man Show' Screens Tonight in LA". CraveOnline. Retrieved November 28, 2016.
  38. ^ "Grace Jones – Nightclubbing (Vinyl, LP, Album) at Discogs". Retrieved 28 May 2012.
  39. ^ Palmarès (in French). 29 April 1981.
  40. ^ Esta Noche (in Spanish). Televisión Española. 2 July 1981.
  41. ^ Aktuelle Schaubude (in German). Norddeutscher Rundfunk. 26 September 1981.
  42. ^ a b Christgau, Robert (1990). "Grace Jones: Nightclubbing". Christgau's Record Guide: The '80s. Pantheon Books. p. 219. ISBN 067973015X. Retrieved 1 May 2014.
  43. ^ a b Wood, Anna (June 2014). "Grace Jones: Nightclubbing". Mojo. No. 247. London. p. 106.
  44. ^ a b c Harris, John (June 2014). "Grace Jones: Nightclubbing (Deluxe Edition)". Q. No. 335. London. p. 124.
  45. ^ a b Ludgate, Simon (16 May 1981). "Grace and Danger". Record Mirror. London. p. 23.
  46. ^ a b Pearson, Deanne (28 May – 10 June 1981). "Grace Jones: Nightclubbing". Smash Hits. Vol. 3 no. 11. London. p. 23B.
  47. ^ Reines, Roz (23 May 1981). "Grace Jones: Nightclubbing". Melody Maker. London. p. 25.
  48. ^ a b Gardner, 2012. p.89
  49. ^ a b c "Nightclubbing – Grace Jones". Acclaimed Music. Retrieved 5 August 2016.
  50. ^ Anon. (1 February 1982). "The 1981 Pazz & Jop Critics Poll". The Village Voice. Retrieved 31 May 2016.
  51. ^ a b "Best Albums of 1981". Sounds. London. 19 December 1981.
  52. ^ "Vinyl Finals". NME. 19 December 1981. p. 30.
  53. ^ Henderson (2012). "The 100 Best Albums of the 1980s". Slant Magazine. Retrieved 5 August 2016.
  54. ^ "The 500 Greatest Albums Of All Time: 300-20". NME. 2013. Retrieved 5 August 2016.
  55. ^ "1000 albums to hear before you die: Artists beginning with J". 20 November 2007. Retrieved 5 August 2016.
  56. ^ Nightclubbing (LP record). Grace Jones. Island Records. 1981. ILPS 9624.CS1 maint: others in cite AV media (notes) (link)
  57. ^ Kent, David (1993). Australian Chart Book 1970–1992 (illustrated ed.). St Ives, New South Wales, Australia: Australian Chart Book. p. 160. ISBN 0-646-11917-6.
  58. ^ " – Grace Jones – Nightclubbing". Hung Medien.
  59. ^ " – Grace Jones – Nightclubbing" (in Dutch). Hung Medien.
  60. ^ " – Grace Jones – Nightclubbing" (in German). GfK Entertainment Charts. Retrieved 26 February 2018.
  61. ^ " – Grace Jones – Nightclubbing". Hung Medien.
  62. ^ " – Grace Jones – Nightclubbing". Hung Medien.
  63. ^ Fernando Salaverri (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN 84-8048-639-2.
  64. ^ " – Grace Jones – Nightclubbing". Hung Medien.
  65. ^ "Official Albums Chart Top 100". Official Charts Company. Retrieved 26 February 2018.
  66. ^ "Grace Jones Chart History (Billboard 200)". Billboard. Retrieved 26 February 2018.
  67. ^ "Official Albums Chart Top 100". Official Charts Company. Retrieved 26 February 2018.
  68. ^ "ARIA Charts – Accreditations – 1997 Albums" (PDF). Australian Recording Industry Association.
  69. ^ "Gold-/Platin-Datenbank (Grace Jones; 'Night Clubbing')" (in German). Bundesverband Musikindustrie.
  70. ^ "New Zealand album certifications – Grace Jones – Nightclubbing". Recorded Music NZ.


External links


Veröffentlichungen von Grace Jones die im OTRS erhältlich sind/waren:

Island Life ¦ Slave To The Rhythm ¦ Nightclubbing

Grace Jones auf Wikipedia (oder andere Quellen):

Grace Jones (2011)

Grace Beverly Jones, Pseudonym Grace Mendoza (* 19. Mai 1948 in Spanish Town bei Kingston[1]) ist eine jamaikanische Sängerin, Schauspielerin und Performancekünstlerin.

Als ehemaliges Model ist sie bekannt für ihre extravagante Kleidung und ausgefallenen Auftritte, z. B. in Männerkleidung oder in Gorilla-Kostümen. Ihr gestyltes, androgynes und betont unterkühltes Image ist bedeutender Bestandteil ihrer Auftritte.

Kindheit, Modelkarriere und Disco

Grace Jones, 2009

Der Vater von Grace Jones, Robert Winston Jones (1924–2008), stammte aus einer Familie, aus der jamaikanische Politiker und Verwaltungskräfte hervorgingen.[2] Die Mutter, Marjorie Walters (1930–2017), stammte aus einer tiefreligiösen Familie. Die Eltern zogen Mitte der 1950er Jahre in die USA, wo der Vater als Prediger arbeitete und 1956 die Apostolic Church of Jesus Christ in Syracuse im Bundesstaat New York gründete. Grace Jones und ihre vier Geschwister blieben in Jamaika bei der Großmutter mütterlicherseits und deren zweiten, 20 Jahre jüngeren Ehemann Peart, der von den Kindern nur 'Mas. P.' (Master P) genannt wurde. In ihrer Autobiografie I’ll Never Write My Memoirs (New York, 2015) sowie in dem 2017 gedrehten Dokumentarfilm Grace Jones: Bloodlight and Bami erzählt Jones von der strengen religiösen Erziehung sowie Schlägen und Misshandlungen, die sie und ihre Geschwister durch den Mann ihrer Großmutter erleiden mussten.

In der ersten Hälfte der 1960er Jahre holten die Eltern die Kinder in die USA. Dort wurde ein weiteres Kind geboren. Jones besuchte das Onandaga Community College in Syracuse. Sie trat in die Theater-Klasse ein und ging mit ihrem Lehrer und der neu gegründeten Gruppe The Ruskin Players auf Tournee. In Philadelphia angekommen, kehrte sie nicht mehr ins Elternhaus zurück. Um nicht erkannt zu werden, arbeitete sie unter dem Künstlernamen „Grace Mendoza“ als Go-go-Tänzerin in Nachtclubs und bewarb sich um kleinere Model-Jobs. Ein erstes Vorsingen bei den Musikproduzenten Kenny Gamble und Leon Huff in Philadelphia scheiterte aufgrund ihrer Nervosität. Nach einem Aufenthalt in New York, wo sie bei der Modelagentur Black Beauty unter Vertrag stand, wechselte sie zu der 1967 gegründeten Agentur Wilhelmina Models und freundete sich u. a. mit dem Modezeichner Antonio Lopez an.

In der ersten Hälfte der 1970er Jahre wechselte Jones nach Paris und arbeitete mit Jerry Hall und Jessica Lange für die Agentur Euro Planning (später Prestige). Größere Aufträge folgten: Jones wurde von Helmut Newton fotografiert und erschien zum ersten Mal auf einer Titelseite des französischen Jugendmagazins 20 Ans. Später folgten Titelseiten für Vogue und Elle.[3] In dieser Zeit erhielt sie ihren ersten Plattenvertrag und nahm Gesangsstunden. Ihren ersten Auftritt als Sängerin hatte sie 1976 während einer Tournee mit Issey Miyake durch Japan.[4] Zum Ende der Show Issey Miyake and Twelve Black Girls präsentierte sie in einem Hochzeitskleid den Song I Need a Man, der ihre erste von Tom Moulton produzierte Single wurde. Bis 1979 veröffentlichte sie die Alben Portfolio (1977), Fame (1978) und Muse (1979), die von der Disco-Mode geprägt waren. Die Albumcover wurden von Richard F. Bernstein gestaltet.

Zu ihrem 30. Geburtstag gab sie ein Konzert im Studio 54, wo sie regelmäßig zu Gast war. Sie pendelte zwischen Paris und New York und gab Konzerte in der Pariser Diskothek Le Palace und in der New Yorker Paradise Garage. Von den Disco-Alben blieb vor allem die lange Coverversion von Édith Piafs La vie en rose (1977) in Erinnerung, in der sich Jones einer radikalen Wandlung unterzog. 1978 nahm sie an der Gay Pride Ralley im New Yorker Central Park teil, was von Rosa von Praunheim in seinem Dokumentarfilm Armee der Liebenden oder Revolte der Perversen (1972–1978) festgehalten wurde.[5]

1978 verklagten Alice Schwarzer, Inge Meysel und weitere prominente Frauen die Zeitschrift Stern aufgrund entwürdigender Frauendarstellungen im Rahmen der sogenannten Sexismus-Klage. Auslöser war u. a. ein Titelbild des Magazins von Helmut Newton, das Jones unbekleidet in Fußketten gelegt zeigte.[6][7]

Imagewechsel Anfang der 1980er Jahre: A One Man Show

Nach der Veröffentlichung von Muse verspürte Grace Jones das Bedürfnis nach einer Veränderung: „Disco war ein Unfall, innerhalb von ein paar Jahren hatte ich meine drei Disco-Alben veröffentlicht, produziert von Tom Moulton. Sie wurden mehr seine Vision als meine… Ich wurde zur Dekoration, und das langweilte mich.“[8] Mit Chris Blackwell, dem Gründer von Island Records, stellte sie eine Gruppe von Studiomusikern zusammen, die Compass Point All Stars, die aus Sly Dunbar, Robbie Shakespeare, Barry Reynolds, Wally Badarou und Alex Sadkin bestanden.

In dieser Kombination entstanden die drei folgenden Alben: Warm Leatherette (1980), Nightclubbing (1981) und Living My Life (1982). Die Musik bestand aus einem Stilmix von Reggae, New Wave und elektronischen Elementen und bezog sowohl afrikanische, jamaikanische als auch europäische Einflüsse ein. Jones entwickelte einen kühl wirkenden Sprechgesang und war an den Produktionen beteiligt. Aufgenommen wurden die Alben in den Compass Point Studios in Nassau auf den Bahamas. Sie enthielten Coverversionen von Nightclubbing, ursprünglich gesungen von Iggy Pop (geschrieben von Pop und David Bowie), Love Is the Drug von Roxy Music, Private Life von den Pretenders, Walking in the Rain von Flash and the Pan, Warm Leatherette von The Normal und She’s Lost Control von Joy Division. Optisch wurde der Imagewandel von dem französischen Illustrator Jean-Paul Goude umgesetzt, den Jones Ende der 1970er Jahre kennenlernte.

Ihre Konzerte eröffnete sie, in Anlehnung an Marlene Dietrichs Auftritt in Blonde Venus, in einem Gorillakostüm, in dem sie trommelnd eine Treppe auf der Bühne bestieg und, auf dem Plateau angekommen, aus der Verkleidung stieg. Begleitet wurde sie von männlichen, sich roboterhaft bewegenden Komparsen, die Grace-Jones-Masken trugen und in die gleichen Armanianzüge wie die Sängerin gekleidet waren, so dass der Betrachter diese auf der Bühne nicht mehr identifizieren konnte. Die Bühnenausstattung und die wechselnden Kostüme waren durch den Minimalismus und Kubismus beeinflusst, enthielten Elemente des Musiktheaters, des Absurden und des Happenings. Über weite Strecken der Show wurden die Scheinwerfer auf das Publikum gerichtet.

Zu Pull Up to the Bumper lief Jones über einen Laufsteg in die Zuschauer, zog einzelne Personen auf die Bühne und deutete eine Penetration an, in der sie die männliche Rolle einnahm. Zu Living My Life trug sie einen Rock, der an die Kostümentwürfe Oskar Schlemmers erinnerte, und führte einen Revolver an die Schläfe. Nach Auslösen des Schusses setzte die Musik ein. Jones fiel zu Boden und sang im Liegen: „You hate me for living my life, you kill me“.[9] Zitat Jones: „Als wir es zuerst aufführten, klatschten die Leute nicht. Sie verstanden nicht, was vor sich ging. Und dann klappten ihre Kiefer nach unten. Es war ein leichter Schockzustand. Da war nicht Grace Jones auf der Bühne, es war Grace Jones, die Grace Jones spielte, mit Hilfe von anderen, die Grace Jones spielten. Unmittelbar während der Show dachte ich, es wäre ein kompletter Flop, außer dass niemand das Theater verließ. Sie blieben. Sie schauten …“[10] Die One Man Show erschien 1982 als 45-minütiges Video und erhielt eine Grammy-Nominierung.[11]

Mit Goude hatte Grace Jones eine mehrjährige Beziehung, aus der der 1979 geborene Sohn Paulo hervorging. Das Kulturmagazin Aspekte widmete der Sängerin 1981 einen Beitrag zum Erscheinen des Albums Nightclubbing und zeigte einen Ausschnitt aus der One Man Show, in dem Jones I’ve Seen That Face Before (Libertango) von Astor Piazzolla sang. Nightclubbing wurde von der englischen Musikzeitschrift New Musical Express zum Album des Jahres 1981 gewählt. Duncan Fallowell veröffentlichte im Mai 1981 in Sounds eine Titelgeschichte über Jones, Pop der polymorphen Perversionen.[12] Anfang 1982 veröffentlichte Diedrich Diederichsen den Artikel Sexualität und Wahrheit über Jones im gleichen Magazin.[13] Ein weiterer Artikel erschien in der Zeitschrift twen.[14] 1982 veröffentlichte Goude das Buch Jungle Fever, in dem er das Konzept und die Entwürfe zur One Man Show darlegte.[15]

Kommerzieller Erfolg, Film und spätere Alben

Grace Jones (2007)

1985 erschien nach der Greatest-Hits-Veröffentlichung Island Life das von Trevor Horn produzierte Konzeptalbum Slave to the Rhythm. Die gleichnamige Singleauskopplung erreichte Platz 4 in den deutschen Single-Charts und war ein internationaler Hit. Ein Jahr vorher (1984) hatte Jones neben Arnold Schwarzenegger eine Hauptrolle in Conan der Zerstörer.

1985 spielte sie in James Bond 007 – Im Angesicht des Todes als May Day an der Seite von Christopher Walken Bonds Gegenspielerin. Zur Veröffentlichung des Films erschien sie auf dem Titel von Andy Warhols Zeitschrift Interview.[16] Zusätzlich erschien sie auf dem Titel des Magazins Playboy. Der Beitrag beinhaltete eine Fotostrecke von Helmut Newton mit Jones und Dolph Lundgren, den die Sängerin 1981 während einer Tournee in Australien in Sydney kennengelernt hatte.[17][18] Eine weitere Titelseite folgte für die englische Popzeitschrift The Face.[19]

1985 erschien Jones in einer von Jean-Paul Goude gestalteten Werbung des französischen Autoherstellers Citroën, in der das neue Modell CX 2 beworben wurde.[20] 1986 veröffentlichte sie das von Nile Rodgers produzierte Album Inside Story. Das Video zur ersten Single-Auskoppelung I’m Not Perfect (But Perfect for You) gestaltete Keith Haring, der den Körper von Jones mit Graffiti bemalte, Andy Warhol und der amerikanische Psychologe Timothy Leary hatten Gastauftritte. 1988 wurde ihr Titel I’ve Seen That Face Before (Libertango) Teil des Soundtracks von Frantic. Im selben Jahr erregte sie eine Medienöffentlichkeit, als sie den britischen Gastgeber Russell Harty in einer Fernsehsendung angriff, als dieser sich einem anderen Gast zuwandte. 1989 erschien das Album Bulletproof Heart im Dance- und Hip-Hop-Stil, an dessen Produktion neben Jones Chris Stanley, David Cole und Robert Clivilles beteiligt waren. Ab 1989 erschienen bis auf wenige Singleveröffentlichungen keine neuen Alben.

In den 1990er Jahren heiratete Jones den Türken Atila Altaunbay. Das Paar lebt mittlerweile getrennt, ist aber nicht geschieden.[21]

Weitere Filmproduktionen, in denen Jones mitwirkte, waren Vamp von 1986, in dem sie die Hauptrolle des Vampirs Katrina spielte und eine ihrer Stage-Shows zitierte. 1987 spielte sie die MG-bewaffnete Sekretärin von Dennis Hopper in Straight to Hell, zusammen mit anderen Musikern, u. a. Elvis Costello. 1987 spielte Jones in Siesta, 1992 in Boomerang mit Eddie Murphy. 2001 spielte sie einen Hybrid, halb Mann halb Frau, im Horrorfilm Wolfgirl. 2007 war Jones in einer Nebenrolle in der Falco-Biographie Falco – Verdammt, wir leben noch! zu sehen.

2002 sang sie in Modena ein Duett mit Luciano Pavarotti auf dem Benefiz-Konzert Pavarotti & Friends für Angola. 2008 erschien das Album Hurricane, das von Ivor Guest produziert wurde. Nick Hooker führte Regie beim Video zur ersten Singleauskopplung Corporate Cannibal. Die Band bestand aus den Musikern Sly Dunbar, Robbie Shakespeare, Brian Eno, Bruce Woolley, Wally Badarou, Tricky, Wendy and Lisa, Uziah „Sticky“ Thompson, Mikey „Mao“ Chung, Barry Reynolds, John Justin, Martin Slattery, Philip Sheppard, Paulo Goude, Robert Logan, Don-E und Tony Allen. Das Album erschien am 7. November 2008 in Deutschland und schaffte den Sprung in die Top 20 der Albumcharts.[22] 2009 kehrte Jones mit ihrer „Hurricane Tour“ auf die Bühne zurück und war auch in Deutschland zu sehen: Am 17. März 2009 trat sie im Tempodrom in Berlin auf, am 25. März 2009 in der Jahrhunderthalle in Frankfurt am Main und am 26. März 2009 in der Philipshalle in Düsseldorf.[23]

2012 sang sie im Rahmen des Diamond Jubilee Concerts zu Ehren des 60. Thronjubiläums von Königin Elisabeth II. Slave to the Rhythm. Während der gesamten Dauer des Auftrittes ließ sie einen Hula-Hoop-Reifen um ihre Hüften kreisen.

Am 18. Mai 2016, am Vorabend ihres 68. Geburtstags, gab Grace Jones ein Konzert im Kölner E-Werk.[24]

Das Schaffen von Grace Jones aus kulturkritischer, aber auch feministischer Perspektive wird in der Gegenwart teilweise als noch zu wenig hervorgehoben beurteilt.[25] So verspottete sie schon gegen Ende der 1970er Jahre mit ihren Auftritten parodistisch traditionelle Stereotype, indem sie sie sich ironisch aneignete. Auch Geschlechtsstereotype, beispielsweise in den Rollen von Boxern, parodierte sie und fügte auf diese Weise aus Sicht feministischer Kritik der Ikonografie von Machtstrukturen einen ironischen Kommentar hinzu, unter anderem indem sie sich in Auftritten lange bevor es Mode wurde in einen Roboter mit einem aus der Modefotografie und Werbewelt angereichertem Selbstbild verwandelte. Sie eröffnete aus feministischer Sicht auf diese Weise einer kritischen schwarzen und weiblichen Perspektive Möglichkeiten öffentlicher Rede.[26] Ihre Auftritte, die von einer Aura des Geheimen und Merkwürdigen (engl. ungefähr: „Strange“, auch das Leitmotiv von I’ve Seen That Face Before) umgeben sind, werden als mutig beurteilt auch aufgrund ihrer Orte, die nach Beurteilung feministischer Kritik weiß dominierte avantgardistische Kunstwelt um Goude, Warhol und Haring, aber auch das Umfeld der kommerziellen Kultur.[25]

Jones sagte im April 2018, sie sei keine Feministin: "Ich schätze mich nicht als Feministin ein...Ich mag keine Kategorisierungen...Ich stehe immer für das Menschsein."[27]



JahrTitelHöchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen[28][29]
(Jahr, Titel, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)
(20 Wo.)US
(8 Wo.)US
(7 Wo.)US
1980Warm LeatheretteUK45
(2 Wo.)UK
(10 Wo.)US

(20 Wo.)DE
(19 Wo.)UK
(20 Wo.)US
1982Living My LifeDE46
(2 Wo.)DE
(23 Wo.)UK
(20 Wo.)US
1985Slave to the RhythmDE10
(20 Wo.)DE
(18 Wo.)AT
(11 Wo.)CH
(8 Wo.)UK
(20 Wo.)US
1986Inside StoryDE38
(9 Wo.)DE
(6 Wo.)AT
(1 Wo.)CH

(2 Wo.)UK
(16 Wo.)US
1989Bulletproof HeartDE55
(7 Wo.)DE
(6 Wo.)DE
(5 Wo.)AT
(6 Wo.)CH
(2 Wo.)UK

grau schraffiert: keine Chartdaten aus diesem Jahr verfügbar

Weitere Alben

  • 2011: Hurricane – Dub


JahrTitelHöchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen[28]
(Jahr, Titel, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)
1985Island LifeDE22
(18 Wo.)DE

(18 Wo.)AT
(5 Wo.)CH

(30 Wo.)UK
(7 Wo.)US
alternativer Albumtitel: Dance Collection
(1 Wo.)UK
enthält die Alben Portfolio, Fame und Muse

Weitere Kompilationen

  • 1984: Biggest Hits
  • 1986: Greatest Hits Of
  • 1993: The Ultimate
  • 1996: Island Life 2
  • 1998: Private Life: The Compass Point Sessions
  • 2003: Classic Grace Jones
  • 2003: The Best of Grace Jones
  • 2006: The Grace Jones Story (2 CDs)
  • 2006: The Ultimate Collection (Box mit 3 CDs)
  • 2013: Icon


Höchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen[28]
(Jahr, Titel, Album, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)
1977Sorry / That’s the Trouble
(7 Wo.)US
Erstveröffentlichung: 1976
I Need a Man
(6 Wo.)US
Erstveröffentlichung: 1975
1980Private Life
Warm Leatherette
(8 Wo.)UK
1981Pull Up to the Bumper
(9 Wo.)DE
(4 Wo.)UK
I’ve Seen That Face Before (Libertango)
(24 Wo.)DE
(5 Wo.)CH
Erstveröffentlichung: 1980
Walking in the Rain
(7 Wo.)DE
1982The Apple Stretching / Nipple to the Bottle
Living My Life
(4 Wo.)UK
1983My Jamaican Guy
Living My Life
(3 Wo.)UK
Erstveröffentlichung: 1982
1985Slave to the Rhythm
Slave to the Rhythm
(19 Wo.)DE
(14 Wo.)AT
(12 Wo.)CH
(10 Wo.)UK
1986Pull Up to the Bumper (Remix) /
La vie en rose (Remix)
Island Life
(9 Wo.)UK
Erstveröffentlichung: 1985
Love Is the Drug
Island Life
(5 Wo.)DE
(4 Wo.)UK
Erstveröffentlichung: 1980
I’m Not Perfect (But I’m Perfect for You)
Inside Story
(9 Wo.)DE
(2 Wo.)CH
(3 Wo.)UK
(9 Wo.)US
1987Party Girl
Inside Story
(6 Wo.)DE
Erstveröffentlichung: 1986
1990Amado mio
Bulletproof Heart
(4 Wo.)DE
2000Pull Up to the Bumper
Keep On Moving (It’s Too Funky in Here)
(1 Wo.)UK
Grace Jones vs. Funkstar De Luxe

Weitere Singles

  • 1976: I’ll Find My Way to You / Again and Again
  • 1977: La vie en rose
  • 1978: Do or Die
  • 1978: Autumn Leaves Part. 1 & 2 (Les feuilles mortes)
  • 1978: Comme un oiseau qui s’envole
  • 1978: Am I Ever Gonna Fall in Love in N.Y. City
  • 1978: Fame
  • 1979: On Your Knees
  • 1980: Pars
  • 1980: A Rolling Stone
  • 1980: Breakdown
  • 1980: The Hunter Gets Captured by the Game
  • 1980: Warm Leatherette
  • 1981: Feel Up
  • 1981: Demolition Man
  • 1981: Use Me
  • 1981: Pull Up to the Bumper
  • 1982: Nipple to the Bottle
  • 1982: Unlimited Capacity for Love
  • 1983: Living My Life
  • 1983: Cry Now, Laugh Later
  • 1985: Jones the Rhythm
  • 1986: Grace Jones Musclemix
  • 1986: Re-Mix Re-Mask
  • 1986: Crush
  • 1987: Victor Should Have Been a Jazz Musician
  • 1989: Love on Top of Love (Killer Kiss)
  • 1990: Megamix
  • 1992: 7 Day Weekend
  • 1993: Evilmainya
  • 1993: Sex Drive
  • 1996: Love Bites
  • 2003: Fly to the Cloud ( feat. Grace)
  • 2004: Clandestine Affair (mit Tricky)
  • 2005: I’ve Seen That Face Before (Libertango) – Hell Interpretations (mit DJ Hell)
  • 2008: Williams’ Blood
  • 2008: Corporate Cannibal
  • 2009: Well Well Well
  • 2010: Love You to Life
  • 2011: Dancefloor (Brigitte Fontaine feat. Grace Jones)
  • 2014: Me! I Disconnect from You


JahrTitelHöchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen[28]
(Jahr, Titel, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)
2018Bloodlight and BamiUK2
(18 Wo.)UK
Erstveröffentlichung: 9. März 2018

Auszeichnungen für Musikverkäufe

Goldene Schallplatte

  • AustralienAustralien Australien
    • 1997: für das Album Island Life
  • EuropaEuropa Europa (Impala)
    • 2009: für das Album Hurricane[30]


  • AustralienAustralien Australien
    • 1997: für das Album Nightclubbing
  • NeuseelandNeuseeland Neuseeland
    • 1982: für das Album Nightclubbing
    • 1983: für das Album Living My Life
    • 1986: für das Album Slave to the Rhythm
    • 1986: für das Album Island Life

Anmerkung: Auszeichnungen in Ländern aus den Charttabellen bzw. Chartboxen sind in ebendiesen zu finden.

Land/RegionAus­zeich­nung­en für Mu­sik­ver­käu­fe
(Land/Region, Auszeichnungen, Verkäufe, Quellen)
Silver record icon.svg SilberGold record icon.svg GoldPlatinum record icon.svg PlatinVer­käu­feQuel­len
Australien (ARIA) Australien (ARIA)0! SGold record icon.svg Gold1Platinum record icon.svg
Deutschland (BVMI) Deutschland (BVMI)0! SGold record icon.svg Gold10!
Europa (Impala) Europa (Impala)0! SGold record icon.svg Gold10! P(100.000)Einzelnachweise
Neuseeland (RMNZ) Neuseeland (RMNZ)0! S0! GPlatinum record icon.svg 4×
Österreich (IFPI) Österreich (IFPI)0! SGold record icon.svg Gold10!
Vereinigtes Königreich (BPI) Vereinigtes Königreich (BPI)Silver record icon.svg Silber1Gold record icon.svg Gold10!
InsgesamtSilver record icon.svg Silber1Gold record icon.svg 5× Gold5Platinum record icon.svg 5× Platin5


  • 1973: Gordons Rache (Gordon’s War)
  • 1976: Kaliber 38 genau zwischen die Augen (Quelli della calibro 38)
  • 1976: Schinken mit Ei (Attention les yeux!)
  • 1979: Armee der Liebenden – Aufstand der Perversen
  • 1981: Deadly Vengeance
  • 1981: Astro-Show Ein Spiel mit den Sternen (Fernsehserie, eine Folge)
  • 1984: Conan der Zerstörer (Conan the Destroyer)
  • 1985: James Bond 007 – Im Angesicht des Todes (A View to a Kill)
  • 1986: Vamp
  • 1987: Straight to Hell – Fahr zur Hölle (Straight to Hell)
  • 1987: Siesta
  • 1992: Boomerang
  • 1995: Cyber Bandits
  • 1998: McCinsey’s Island – Ein tierisches Duo (McCinsey’s Island)
  • 1999: Palmer’s Pickup – Ein abgefahrener Trip (Palmer’s Pick Up)
  • 1999: Beastmaster – Herr der Wildnis (BeastMaster, Fernsehserie, eine Folge)
  • 2001: Wolfgirl (Wolf Girl)
  • 2001: Shaka Zulu: The Citadel
  • 2008: Falco – Verdammt, wir leben noch!
  • 2015: Gutterdämmerung

Preise und Nominierungen


Im September 2017 hatte der von Sophie Fiennes gedrehte Dokumentarfilm Grace Jones: Bloodlight and Bami auf dem Toronto Film Festival Premiere.[31] In den deutschen Kinos ist er seit dem 25. Januar 2018 zu sehen. Er wurde am 9. März 2018 auf DVD/Blu-ray veröffentlicht.[32] Der Filmtitel leitet sich aus dem jamaikanischen Slang für das rote Licht in Aufnahmestudios (Bloodlight) sowie der Bezeichnung einer Art Fladenbrot (Bami) ab.[33]


Literatur über Grace Jones (Auswahl)


Commons: Grace Jones – Sammlung von Bildern, Videos und Audiodateien


  1. Grace Jones: I’ll Never Write My Memoirs. Gallery Books, New York 2015, S. 1, ISBN 978-1-4767-6507-5.
  2. Artikel zum Tod von Robert Winston Jones von 2008 auf
  3. Grace Jones: Still a Slave to the Rhythm, The Independent, 18. Juni 2008.
  4. Grace Jones: I’ll Never Write My Memoirs. Gallery Books, New York 2015, S. 132–134, ISBN 978-1-4767-6507-5.
  5. Yvonne Schymura: Angriff auf die Männerpresse Spiegel Online, 12. Juli 2013
  6. Die verrückteste Diskothek der Welt. Studio 54 in New York. In: stern, Nr. 16, 13. April 1978.
  7. Dietrich Kuhlbrodt: Armee der Liebenden oder Revolte der Perversen, abgerufen am 25. April 2021
  8. Grace Jones: I’ll Never Write My Memoirs. Gallery Books, New York 2015, ISBN 978-1-4767-6507-5, S. 204, 205: „Disco had been an accident, but within a couple of years I had released my three disco albums – Portfolio, Fame and Muse – produced by Tom Moulton. They were becoming his vision more than mine… I was becoming the decoration, and I was getting bored with that.“
  9. Grace Jones: A One Man Show Full. Video von 1981 auf, ab Minute 35
  10. Grace Jones: I’ll Never Write My Memoirs. Gallery Books, New York 2015, S. 263–267: “At first, when we performed it live, people didn’t clap. They didn’t understand what the fuck was going on. And then jaws dropped. There was a slight state of shock… It wasn’t Grace Jones onstage: it was Grace Jones playing Grace Jones, with the help of other people playing Grace Jones. My immediate reaction as I was doing the show was that it was a complete flop, exept no one left the theater. They stayed. They watched….
  11. Grace Jones: A One Man Show. Directed by Jean Paul Goude. Produced by Eddie Babbage. New York Sequences: Michael Shamberg. 1982 Island Pictures Ltd.
  12. Duncan Fallowell: Grace Jones. Pop der polymorphen Perversionen. In: Sounds, Mai 5/81, S. 40–42.
  13. Siehe: Diedrich Diederichsen, Sexualität und Wahrheit. In: Sounds. Januar 1/82, S. 26–28.
  14. Grace Jones, Supermann. In: twen. Nr. 12, Dezember 81, S. 26–29.
  15. Jean-Paul Goude: Jungle Fever. Quartet Books Limited, London 1982, S. 102–145, ISBN 0-7043-2339-7 (mit zahlreichen Abbildungen).
  16. Cover Story: Fighting Her Own Battles. Grace Jones by Andy Warhol & Andre Leon Talley.In: Interview. Oktober 1984, S. 54–61, Cover.
  17. Playboy Magazin, Nr. 7, Juli 1985, Heinrich Bauer Verlag, München 1985, S. 52–57.
  18. Grace Jones: I’ll Never Write My Memoirs, Gallery Books, New York 2015, S. 251, ISBN 978-1-4767-6507-5.
  19. The Face Nr. 69, Januar 1986.
  20. Citroën-Werbung von 1985 mit Grace Jones auf
  21. Grace Jones: I’ll Never Write My Memoirs. Gallery Books, New York 2015, S. 335–339.
  22. „Grace Jones ist zurück. Bei uns regieren die Frauen“, Bilderstrecke, FAZ, 27. Oktober 2008.
  23. „Grace Jones – das singende Raubtier“, Tagesspiegel, 16. März 2009.
  24. Philipp Kressmann: Kein Zweifel am Mythos: Grace Jones in Köln. (Nicht mehr online verfügbar.) In: Spex. 20. Mai 2016, archiviert vom Original am 2. Juli 2016; abgerufen am 2. Juli 2016.  Info: Der Archivlink wurde automatisch eingesetzt und noch nicht geprüft. Bitte prüfe Original- und Archivlink gemäß Anleitung und entferne dann diesen Hinweis.@1@2
  25. a b Francesca T. Royster: Sounding Like a No-No. Queer Sounds and Eccentric Acts in the Post-Soul Era. University of Michigan Press, 2013, ISBN 978-0-472-05179-3, Kapitel: „Feeling Like a Woman, Looking Like a Man, Sounding Like a No-No“: Grace Jones and the Performance of „Strange“ in the Post-Soul Moment, S. 142–166 (englisch, eingeschränkte Vorschau in der Google-Buchsuche).
  26. Steven Shaviro: Grace Jones & Nick Hooker. Corporate Cannibal. In: Bernd Kracke, Marc Ries (Hrsg.): Expanded Senses. Neue Sinnlichkeit und Sinnesarbeit in der Spätmoderne. New Conceptions of the Sensual, Sensorial and the Work of the Senses in Late Modernity. transcript, Bielefeld 2015, ISBN 978-3-8376-3362-7 (eingeschränkte Vorschau in der Google-Buchsuche).
  27. /
  28. a b c d Chartquellen: DE AT CH UK US1 US2
  29. The Billboard Albums von Joel Whitburn, 6th Edition, Record Research 2006, ISBN 0-89820-166-7.
  30. Gold für Hurricane in Europa
  31. Rezension
  32. Lutz Carstens: TV Spielfilm. Nr. 2 - 2018. TV Spielfilm Verlag GmbH Hamburg, 12. Januar 2018, ISSN 0938-8729, S. 194.
  33. Frank Sawatzki: Musikexpress. Heft 03/2018. Axel Springer Mediahouse Berlin, 15. Februar 2018, ISSN 1618-5129, S. 48–53.


Es gibt noch keine Bewertungen.

Nur angemeldete Kunden, die dieses Produkt gekauft haben, dürfen eine Bewertung abgeben.