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Grace jones i need a man disco mix

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Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? Three CD edition. Signed to Chris Blackwell's Island Records, Jones' three albums Portfolio, Fame and Muse were produced by none other than Tom Moulton, 'the father of the disco mix,' who earned his title by assembling the first continuous mix side of an album in with Gloria Gaynor's Never Can Say Goodbye. Disco a beguiling time capsule. Exciting, vibrant, camp, showy, it is the intro-to-coda of this early flowering of Grace Jones.

SEE VIDEO BY TOPIC: Grace Jones - I Need A Man

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SEE VIDEO BY TOPIC: That's The Trouble (1976) DISCO Grace Jones

I Need A Man, Grace Jones

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Three distinct phases mark the career of this most singular of artists — disco, reggae and dub excursions followed by all-out commercial pop. Her solo album Portfolio is the first in a disco trilogy of long-players made with producer Tom Moulton. Her debut single I Need A Man was originally released by small French label Orfeus in , while Jones was still working as a fashion model. It made little impact on the charts until it was remixed and released via the Beam Junction label, when it made it to No.

Over the course of her career, Jones became expert in deconstructing songs and interpreting them in radical new ways, but these first recordings are played totally straight. Her vocals are impressively polished on Send In The Clowns and, while it does outstay its welcome somewhat, her perky rendition of Tomorrow is really rather cute.

Not a word that often springs to mind about the reliably feisty Ms Jones. If showtunes done the Grace way is your thing, step right this way. Essentially retracing the same template as her debut, Side One of Fame also comprises an extended disco medley. Pride positively gallops along with its funky guitar, bongos, sinewy bass and plentiful horn section.

The grandstand moment for Fame , though, is the striking seven-minute reworking of jazz standard Autumn Leaves. The album was a hit on the North American club scene and further built on her following among gay fans. Mainstream fame was now on the horizon. B y , the Disco Sucks movement was in full force, marking the end of the road for numerous artists associated with the genre. With Jones behind the curve for once, and continuing in almost identical fashion to her previous two albums, she keenly felt the brunt of the disco backlash.

Unsurprisingly, Muse was both her final disco album and last collaboration with Tom Moulton. Jimmy Williams, whose bass playing was a highlight of Fame, returns here and livens up the likes of straight-up floorfiller Repentance Forgive Me.

Muse shines in its most unexpected moments, such as the testifying gospel of seven-minute epic Saved and organic funk of Atlantic City Gambler. But Jones had rinsed disco for all it was worth. It was now time for her to move on and investigate new musical directions, or be left behind altogether. Warm Leatherette was a remarkable reinvention for Jones that kicked off a run of critically-acclaimed albums embracing new wave, art rock, reggae, dub and electronica. Once more melding experimentalism with dub, Jones channels her Jamaican influences, although the new wave, art-pop and synth-pop inflections drag this far away from its original sources.

Jones makes the most of her toasting-style vocals on the dark ticking reggae of Walking In The Rain, a well-judged cover of a track by Australian band Flash And The Pan. She boldly takes on funky soul gem Use Me by Bill Withers, slowing down the groove and, in the process, reinventing the melody. Sade was no doubt taking notes.

Only lightweight filler track Feel Up drops the ball. Her status as an experimental pop icon was now assured with this slow-burning masterwork.

All but one of the songs — an ambitious seven-minute cover of The Apple Stretching from Broadway musical Waltz Of The Stork — are original compositions. Jones penned the reggaefied synth-pop opener My Jamaican Guy alone, while the remaining six tracks are all co-writes. Nipple To The Bottle was worked up with drummer Sly Dunbar, with a further four tracks the result of a collaboration with guitarist Barry Reynolds.

While nothing can touch the imperious original, the sheer chutzpah of Jones attempting it in the first place is to be applauded. For her seventh studio album, Grace turned to producer Trevor Horn for another radical reinvention. Befitting her stature, it was an elaborate, over-the-top concept record that mined her charisma for all it was worth. What a fantastic slice of percussive 80s funk pop that is. An extraordinary exercise in myth-making. Jones co-produced the album and predictably enough, there were plenty of fireworks behind the mixing desk as she clashed with Nile over the direction of the music.

Too often, Inside Story feels like two mismatched personalities cancelling each other out. It remains a personal favourite of Jones, though. There were other ways of doing that material, but I like how it ended up. Driving Satisfaction piles on the motoring metaphors for an opener that returns to the double entendres of Pull Up To The Bumper , while Kicked Around is another trademark Jones anthem of defiance. Crack Attack , a rare attempt at social commentary featuring a guest rap from Freedom, is one of few highlights but the plodding Paper Plan is more typical of an album that rarely catches fire.

After Bulletproof Heart , the singer had vowed never to record a new album again but was convinced to have another crack by producer Ivor Guest. Jones returns to authentic skanking reggae on Well Well Well and the title track co-written with Tricky, who turns in a sinister performance on whispering backing vocals asserts her force-of-nature persona.

The sweeping Devil In My Life is a dramatic end to her recording career to date. Also worthy of investigation is the full-scale remix version of the album, Hurricane Dub , which features expansive reimaginings by original producer Guest.

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Grace Jones: where to start in her back catalogue

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Otherwise I get so angry I throw things. It seems hard to believe that anything but heartbreak—not to mention psychoses—could emerge from such a mix of temperaments.

Three distinct phases mark the career of this most singular of artists — disco, reggae and dub excursions followed by all-out commercial pop. Her solo album Portfolio is the first in a disco trilogy of long-players made with producer Tom Moulton. Her debut single I Need A Man was originally released by small French label Orfeus in , while Jones was still working as a fashion model. It made little impact on the charts until it was remixed and released via the Beam Junction label, when it made it to No.

Grace Jones

Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? Limited four vinyl LP box includes three albums plus a bonus LP of non-album tracks. Signed to Chris Blackwell's Island Records, Jones' three albums Portfolio, Fame and Muse were produced by none other than Tom Moulton, 'the father of the disco mix,' who earned his title by assembling the first continuous mix side of an album in with Gloria Gaynor's Never Can Say Goodbye. Disco a beguiling time capsule. Exciting, vibrant, camp, showy, it is the intro-to-coda of this early flowering of Grace Jones. It's a look back to another time, one that seems much further removed than the constantly evolving modernism of her Compass Point trilogy. This is the music that established Jones; glossily theatrical, toughly camp party pieces with portentous overtones. This beautiful newly-remastered collection brings together the three albums and unreleased tracks, in-era mixes and instrumental versions.

I Need a Man (Grace Jones song)

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Of course, the usefulness of this slightly hidebound allergy to compilation albums crumbles the further one travels from the core of the rock canon. Certainly, if you want to hear Grace Jones , a singer who rose to international prominence in discotheques, soaring at the height of her powers, you need to understand how she ruled over discerning dance floors. It makes complete sense then, that a well-curated anthology including extended, nightclub-facing mixes would beat any studio record.

Grace Jones - Disco Album

More Images. Please enable Javascript to take full advantage of our site features. Copyright c — Universal International Music B. Remastered At — Republic Studios.

SEE VIDEO BY TOPIC: I Need A Man by Grace Jones (Aussiecowboy Remix) VDJ Don Engle Video Edit

My Jamaican Guy Original Mix. Grace Jones. Universal-Island Records Ltd. Charger feat. Grace Jones Original Mix.

Track Listings

Just like Disco as a matter of fact… Initially appearing back in on obscure French label Orfeus, with writing work courtesy of Paul Adrian Slade and Pierre Papadiamandis. Apart from highlighting the abitility of the artist to sing in a convincing way. This while releasing an extended version of the song in This with producer Tom Moulton delivering more of an edit that would expand its instrumental parts than a remix on its own. Enough to bring the attention on Grace Jones who soon after signed with Island.

Album information for Disco [+ bonus tracks] from Grace Jones. I need a man [instrumental disco mix]. youtube; spotify. 12 · Sorry [instrumental version].

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Album by Album: Grace Jones

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Grace Jones – I Need A Man (Disco Mix)

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I Need A Man

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Grace Jones – Disco 4xLP (Box Set)

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Comments: 1
  1. Yozshugami

    In my opinion, it is the big error.

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