Grace Jones – Hurricane

whoever did the cover "art" for this album should be kicked in the ass - easily the uglyest cover in all of amazig graces catalogue.

Was very happy to see her re-unite with Sly & Robbie, but what about Sticky, etc????
This is decent but lacks the magic of her early work with this band at Com Point.

Now, the cynic in me was a little wary when I heard Grace Jones had released a new album back in 2008. I am mainly a fan of her work with Jamaican reggae masters Sly Dunbar and Robbie Shakespere, but following one of her greatest hits, 'Slave To The Rhythm', in 1985, she attempted to make more accessible music. The results were mixed. Her collaboration with Nile Rodgers on 1986's 'Inside Story' sounded promising, although there wasn't even a mere hint of a reggae sound to be found. Then came 'Bulletproof Heart' three years later in 1989, a disted affair which lacked cohesion, inspiration and easily the worst album of her career. She seemed to have lost direction, despite being one of the 1980s most influential, innovative artists, with her ethereal, off-the-wall art and androgynous image. Though she sporadically recorded in the 90s, it seemed unlikely we'd ever see a new album from her. So it was a surprise when it was announced she'd signed to the Wall of Sound record label and was releasing her first album in nineteen years.

I hold my hands up and have to say this new album, 'Hurricane', far sured what I'd originally expected. Just goes to show you should never pre-judge and always keep an open mind. Don't get me wrong, I've always loved the weird yet wonderful Grace Jones, and always found her oddly fascinating, but, like many of her fans, I had long since given up hope of her returning to the music scene, let alone with such precision, depth and fire. If anything, buying this brand new CD by Grace had largely been out of curiosity. I was immediately delighted to see Grace had hooked back up with Sly Dunbar and Robbie Shakepere for the project and the same musicians she'd worked with at the Com Point Studios in Jamaica in the early 80s on her groundbreaking albums 'Warm Leatherette' (1980), 'Nightclubbing' (1981), and 'Living My Life' . Her other collaborators here are also immensely impressive, which included Ivor Guest, Brian Eno, Anthony Genn and Bruce Woolley. With Sly & Robbie on board, plus her team of musicians from the Com Point Sessions - Wally Badarou, Barry Reynolds, Mikey Chung, Uziah "Sticky" Thompson - this project returned to her reggae-influenced sound of her classic work, encapsulated with compelling elements of Dub, trip hop, electronic and soul. This was no desperate attempt at trying to be hip; she sounded more relevant than ever! Quite simply, this is her greatest album yet and she put herself back in the game with aplomb. So many artists such as Annie Lennox, Madonna and Lady Gaga have cited Grace as a major influence and inspiration (and in Gaga's case, completely ripped her off!) and on 'Hurricane' she shows why. It was if Grace Jones had never been away.

'Hurricane' is a deep, reflective, often spiritual piece of work, tracks such as 'Williams Blood' and 'I'm Crying (Mothers Tears)' being autobiographical. The profound and uniquely personal lyrics intertwine tremendously into the urban-flavoured, often stark musical landscapes. The sounds and textures throb with reggae pulses, incorporated with Brian Eno's atmospheric keyboard work and sound effects that lurk, crash and poke at every turn.

The jumpy tribal stomp on 'This Is' captures Grace Jones old familiar style of part-speaking and part-singing through the verses and chorus. Awash with pumping, pulsating rhythms that zoom in and out, there are also sporadic, sprightly guitar interludes dropped into the mix. The haunting, synchronised chanting and backing vocals proceed to give 'This Is' an intriguing atmospheric vibe.The spiritual undertones and autobiographical 'Williams Blood' blends synthesised sound effects with a smooth, contemporary R&B beat. Grace sounds as invigorated as ever, her voice swaying from solemn and a little moody to utterly fierce. After a gradual build, it leads to a sizzling, gospel-like climax. At the close the song, Grace recites a brief age from the spiritual hymn 'Amazing Grace'. Jones wrote 'Williams Blood' with music duo Wendy & Lisa, the lyrics explaining how Grace takes after her mother's side of the family, she inheriting their musical talent, rather than taking after her strict disciplinarian father Reverend Robert Jones. Also referenced in the lyrics is Jones' mother revealing that her grandfather was a musician who had travelled with Nat King Cole, and whom was a big womaniser and a heavy drinker. The track was perfect for Urban radio and indeed garnered great reviews, although it did fail to catch on commercially when released as a single.

The startling 'Corporate Cannibal' sees Grace Jones heading back in the direction of the underground club scene (where she has continued to enjoy a loyal cult following). The eerie, opening sound effects flow steadily into a mid-tempo, slowly rolling beat with lots of dizzying, spiralling rhythms, slamming effects and a ferocious-sounding performance from Grace who (not so subtly) reminds us all that she can be extremely SCARY when she chooses to be! The climatic Psychedelic-like, in-your-face guitar solo is a real belter! As the title suggests, the song is about corporate capatilism, a subject Jones said she was obsessed with. Even in spite of the quirky, electronic sounds, the lyrics stand as very relevant in today's world.

The introspective 'I'm Crying (Mothers Tears)' is one of the most personal and profound tracks she has ever recorded. This reflective, stylish R&B number proves that, when called for, Grace can certainly deliver a very beautiful, understated quality in her voice. Slower and suppler to the previous three tracks, Jones is given the chance to hit some impressive notes as her voice fluctuates, the song again honouring her mother. What's most notable about 'I'm Crying (Mother's Tears)' is that Grace conveys a far gentler, sensitive side to her which is something she mostly conceals and goes against her whole image (and reputation).

'Well, Well, Well', following an abrupt, topsy-turvy drum interlude, spins into funk-driven reggae and emerges as one of the most catchy songs of the project. It harks back to the sounds of her early 1980s work with Sly Dunbar and Robbie Shakespere. In fact, 'Well Well Well' wouldn't have sounded out of place on either 'Warm Leatherette', 'Nightclubbing' (the latter being an album that was voted Album Of The Year in 1981 by readers of the New Musical Express magazine), or 'Living My Life'. The song was written in tribute to Alex Sadkin who had died in 1987 and was the producer of those acclaimed three albums.

The stormy title track, 'Hurricane', is something of a hypnotic masterpiece! The sweeping and pounding tidal wave of multi-layered arrangements are complimented by Grace's assertive and moody vocal performance, sounding a force of nature to be reckoned with. Her voice is often synchronised on this powerful, contagious, exceedingly atmospheric recording that hits you right between your eyes.

'Love You To Life' is another hip R&B-Club number with stark effects and compelling undertones of reggae bubbling under the surface, which, though contemporary, once again emulates her early 80s work. The hypnotic chrous, where Grace is ed by a soaring Gospel choir, is extremely striking, while she intertwines this with endearing spoken ages. The lyrics are actually based on a true story of one of Grace's lovers, who had been in a coma for several weeks and woke up out of his unconscious state right in front of her eyes.

'Hurricane' then begins winding down with another mellow, late-night R&B number with a driving Jamaican vibe, 'Sunset, Sunrise'. This swirling, atmospheric number careers along at a dreamy, mellow pace, the lyrics pondering on mankind's relationship with nature. On the final number 'Devil In My Life', Grace rides along the multi-layered arrangements, including prominent violin interludes which provide a seamless musical backdrop. 'Devil In My Life' had been written after a party in Venice while Jones was standing in a corner observing party goers. A fantastic ending to this critically-acclaimed masterpiece.

So, final analysis? 'Hurricane', I would even go so far to say, stands as Grace Jones very best album too date, surprisingly even eclipsing the excellence of 'Warm Leatherette' and 'Nightclubbing', while standing a good head and shoulders above her other albums of the 1980s: 'Living My Life' (1982), 'Slave To The Rhythm' (1985), the Nile Rodgers-produced 'Inside Story' (1986) and 'Bulletproof Heart' (1989). I'm sure I speak for all Grace Jones fans when I say it was a real pleasure to see Grace Jones return to the music scene with such a VENGEANCE! Her spirit, ion and fire literally pour out on and this is further evidence and a perfect testament to her artistic gifts. A stylish comeback! She may not be for everyone but there certainly is no denying that there's only ONE Grace Jones!

Ian Phillips

Anyone has Corporate Cannibal 12" promo ? I know there is a few been made, but I can't find it. Could anyone help ?