Grace Jones

Me! Disconnect from you (radio edit)

http://www.youtube.com/watch?v=0AeX8K_nlJw

It’s honestly pathetic how someone with that kind of legendary status gets stuck with such a total train wreck of a thread. It’s embarrassing.

Personally, I think this one is her absolute best

I've seen that face before... of course I have.

A reissue of Nightclubbing, some memoirs, and even a new album on the way. 🙂She’s finally back in action.

Honestly, she and Tina Turner are pretty much the last of the true greats among Black female vocalists. As for Beyoncé, Rihanna, Nicki Minaj, and the rest of them? It’s all just one big joke to me.

There’s zero individuality left in music today. Everyone plays it safe by doing the exact same thing, constantly mashing everything together with electronic beats until you can't even tell if you're listening to rock, pop, or whatever else they're calling it now.

Her disco albums are the only ones that actually suck—though I guess La Vie en Rose is worth a mention if you're feeling generous. Bulletproof Heart was her final outing in the '80s and basically marked the start of her losing her touch, but hey, even a broken clock is right twice a day, right? It still manages to squeeze in a few decent, creative moments.

Patrick Martin said:It’s honestly a disgrace that a legend like that gets stuck with such a messy, poorly put-together thread. It’s just wrong.

Exactly... and what’s even more shameful is that legends like these barely get a mention at all. Most people chatting in these threads probably haven't even heard their names, or if they have, they didn't bother to look them up. But hey, it's vital that our modern pop stars and overnight sensations get all the spotlight they deserve every single day, right?🙂

fadedgardener18 said:A reissue of Nightclubbing, some memoirs, and a brand new album. 🙂 She’s finally making moves.

In my book, she and Tina Turner are among the last true icons of Black female vocalists. Honestly, looking at Beyoncé, Rihanna, Nicki Minaj, and the rest? It feels like one big joke.

There’s zero individuality left in the industry today. Everyone plays it safe by following the exact same formula, mashing everything together with electronic beats until you can't even tell if you're listening to rock, pop, or something else entirely.

I couldn't agree more.

Just thinking back to that 1985 Glory to the Rhythm album produced by Trevor Horn... what an absolute dream to listen to.
It was pure production perfection—the whole record is essentially built around one central theme, taking a single concept and using masterful creativity to push it to its absolute peak through various iterations.

analogbear40 said:I’m totally with you on this one.

Just thinking back to that 1985 Glory to the Rhythm album produced by Trevor Horn... man, what an absolute dream to listen to.
It’s just pure production perfection—the whole thing is basically one massive concept built around a single theme, taking variations on a central idea and pushing them to the limit through sheer creative genius.

Honestly, the first time I spun Glory to the Rhythm, I actually thought I’d accidentally popped in a CD single full of remixes. I was a little bummed at first that there weren't more distinct tracks, but then it hit me: this is such a bold, conceptual masterpiece.

Patrick Martin said:It’s honestly pathetic that a legend like her gets stuck with such a trashed thread. Just shameful.

Facts.

One of the mods really needs to step up and fix the opening post here. Like, seriously, why would anyone even start a thread about a singer they don't listen to just because a specific song gets on their nerves?

fadedgardener18 said:Exactly.

I really think one of the moderators needs to step in and update the opening post for this thread. It honestly makes no sense to me why someone would start an entire discussion about a singer they don't even listen to, let alone a song that just gets on their nerves in the first place.

It clearly left a massive negative impression on him!

Raymond Walker5 said:It left a massive negative impact on him!

Exactly... that’s precisely why the author holds Gary Numan and his Original Beast in such high regard. This particular cover probably just left him feeling completely indifferent... 😁

We aren't just talking about some talented musician here; we're talking about a global icon who used her avant-garde presence to completely shatter every taboo regarding racial discrimination in the high-end pop art scene. Ever since she showed up, nothing has been the same. Her vibe—that mix of soulful roots and raw eroticism—basically blew the doors off a pop scene that was way too dry and boring back then.

She’s the ultimate paradox: sophisticated yet totally wild, a true one-of-a-kind force of nature. You just can't replicate her.

[IMAGE DELETED]

hxxp://i0.wp.com/www.thekinkrealm.com/wp-content/uploads/grace-jones-09.jpg

Private Lifeis definitely one of my favorites. It really proves that underneath that fierce, predatory exterior, there's actually a deeply feeling, real woman.

☕

Check out this promo for the Nightclubbing reissue. It’s got a quick little teaser of "Wannabe" in there.

http://www.youtube.com/watch?v=ht9R9gqqfxQ

Original Beast just dropped a new track for The Hunger Games: Mockingjay – Part 1 soundtrack.

They’re re-releasing those Grace In disco albums as a complete set called The Disco Years. It even comes with some bonus tracks included.

Her memoirs were supposed to drop last year, so maybe we'll actually see these then. Plus, NBC is currently working on a documentary about Grace Jones.

Grace is still grinding away at a new album, too. There’s a real chance she might put something out this year—if it isn't a full album, it'll definitely be a single.

fadedgardener18 said:A reissue of Nightclubbing, some memoirs, and a brand new album. 🙂 She’s finally back in action.

She and Tina Turner are pretty much the last of the true legends. Honestly, Beyoncé, Rihanna, Nicki Minaj, and everyone else in that crowd? It’s all just one big joke.

There’s zero individuality left today. Everyone plays it safe and does the exact same thing—they just mash everything with electronic beats until you can't even tell if it's rock, pop, or whatever.

Things were always better back then 🙄

Bolded. Not true at all. ☕

Beyoncé doesn't play it safe. Look, I'm not out here defending her, but facts are facts.

Grace In is avant-garde, sure, but this whole post is just dripping with uncritical nostalgia. 🐔

Grace Jones hitting San Francisco—the "Amazon Queen" herself officially kicked off Dimensions Festival.

Zoran Stajčić - 09/01/2017.

At 69 years old, Grace Jones absolutely crushed it on stage at the San Francisco Arena. She basically proved once again that her music and that iconic presence of hers are timeless—just pure, distilled excellence of everything a pop performance should be.

At Dimensions Festival, the whole mission seems to be blurring those lines where high art bleeds into pop culture and back again. You really feel that vibe during their traditional opening sets at the massive outdoor amphitheater in San Francisco—the Arena. This year, the lineup for that night felt less like a random list of names and more like a carefully curated journey. It was all about bridging the gap between legendary sounds that still hold massive weight today and the artists who are actually carving out the future of music. Genre-wise, sure, it’s always a bit of a wild card, but looking at the sheer intensity of everything from Wednesday until almost 2:30 in the morning, there was this incredible sense of harmony. Honestly, it served as a perfect little masterclass in how booking a show is an actual art form. It’s not just about "cashing the check" and throwing big names on a poster; it’s about breathing some soul and a real message into the programming.

Look, there’s no denying it—if you want to pull off a massive production on this scale, you need serious capital. Money talks. This year, the opening set featured what was easily one of the most high-end sound systems I’ve ever encountered. Honestly, calling it "good" feels like an insult; the only way to describe the audio coming out of those stacks is pure bliss. The way every single frequency hit with such clarity and raw power... it’s basically every artist's dream setup when they're trying to showcase their work. When it comes down to it, the opening shows at Dimensions Festival were absolute high-class fidelity.

Honestly, seeing one of the most legendary pop icons of all time make her big US debut under these specific circumstances—performing to a packed house at Madison Square Garden—was easily one of the standout concert events of the summer. Grace Jones went on for about an hour and ten minutes, but trust me, every single second was worth the price of admission. The whole thing was meticulously crafted; this wasn't just a setlist, it was a complete visual experience. She was switching up outfits almost every song, the choreography was seamless, and the band? Man, they were tight. You could tell she truly loves them because they moved like one organism, breathing right along with her on stage. This is the kind of band that hits you where it counts—one minute they’re laying down that heavy, raw Jamaican groove that gets deep in your bones, the next they’re turning the Garden into the ultimate disco playground with these infectious pop beats, and then suddenly they’ll hit you with enough rock distortion to leave you frozen in your seat. They are hands down the most professional, lethal backing group you could ever ask for, perfectly serving the wildest, most intoxicating, and primal energy of the Amazon Queen herself.

That Amazon Queen will absolutely cast a spell on you. Once she slips off that golden death mask and starts belting out Iggy Pop’s "Nightclubbing" in that deep, haunting voice, the musical voodoo kicks in. You can feel the rhythm pulsing through you, driving you straight into the heart of Kingston. She doesn't let up on that reggae groove either; she builds the tension through "this is" until everything hits a fever pitch during "my Jamaican Guy." Then there's "Shenanigans," a track slated for the new album that carries a rhythm so primal it feels like a trip deep into Africa. During that set, a muscular dancer decked out in those same warrior zebra stripes was tearing it up around the pole right next to his queen—who, by the way, was rocking a bare chest and at one point leaned in to mimic a heavy grind during their synchronized dance.

By then, the crowd at the Arena was already completely wiped out. When she dropped "Private Life" from the *Warm Leatherette* album—which was clearly her crowd favorite that night—the energy just hit a whole new level. Honestly, trying to resist Grace Jones' charisma is a losing battle. She didn't even bother stepping away from the mic during the costume changes between songs, which opened up this totally different vibe. Instead of the usual stage persona, she started talking to us like we were just hanging out in a private conversation backstage. It was one of those rare moments where you actually caught her sense of humor; it felt like you were getting a glimpse behind the curtain, seeing a more human side of this legendary, almost otherworldly vamp who usually commands such intense awe. That barrier finally broke when she paced the entire width of the stage, moving from right to left in front of the front row, effortlessly stripping away that untouchable persona to the absolute delight of everyone there.

From that moment on, "love" was pretty much the only word hanging in the air. Watching Roxy Music perform "Love Is A Drug" felt like a total moment of catharsis. Jones went all out, sporting this hat decked out like a disco ball that caught the laser beams, throwing these surreal, trippy disco floor effects all over the stage. At first, the crowd was just shyly humming along to the chorus, but Jones wasn't having it. She shouted, "Let me feel your love," and with every push she gave us, the Arena just got louder. By the end, everyone was screaming their heads off while she was heading backstage to change.

She doubled down on that high-energy vibe with "Pull Up To The Bumper," which was pure, unadulterated sex—exactly what the title promises. During that track, Jones basically took the entire audience for a ride, driving them along like a luxury limousine. Then came "Glory to the Rhythm," the perfect exclamation point on this beautiful, surreal experience. Within just an hour, Grace managed to inhale that long-forgotten pulse of the New York nightlife scene and launch it straight into a whole new "Dimensions" dimension. She started the song spinning a hula hoop, using that simple prop to create a physical loop that provided a constant visual rhythm for the next ten minutes. She didn't even stop the loop when she introduced her band—which includes her son on congas—before gracefully exiting the stage. She essentially left the floor to the late-night electronic trio Moderat, who were set to take over the opening hours of Dimensions.

As a quick side note, I can't help but compare this to Duran Duran’s set at the local stadium yesterday. While Duran Duran’s performance felt like a nostalgic nod to their 80s heyday mixed with an attempt to keep pace with modern pop trends, Grace Jones didn't bother trying to play nice with the current era. Instead, she infused her massive musical legacy with both her own tracks and those of others, turning the raw energy of a specific moment into something much larger and more universal.



source:http://www.ravnododna.com/grace-jone...ons-festival/#

Tony Gotovac's tribute to George Jones