Discussion in 'Charts, rates etc' started by Riiiiiiiii, Oct 22, 2018.
Send it in a personal message so I can include it in the write up when your 11 falls!
Yes I'm a witch
SINNING / 6.72
1979 / Muse
@One Stop Candy Shop @Ana Raquel 09
@Andy French @Cosimo @WowWowWowWow @Russron @berserkboi 08
@Leader Beans @Future Lover @Riiiiiiiii 07
@soratami @ohnoitisnathan @JamesJupiter @Baby Clyde @spillett 06
@Skyline @Fizzywhig @cakeboy 05
Another one from the disco medleys falls. This one from the third disco album: Muse. And suprise suprise, this one also wasn’t released as a single. Although it was the b-side to some of the Love Is The Drug releases.
@Cosimo and @Fizzywhig both agree that Sinning works perfectly in combination with Suffer, Repentance (Forgive Me) and Saved. And it’s true that you can already hear that eighties sound sneaking in. I always thought this one sounded very Giorgio Moroder.
That only leaves Don’t Mess With The Messer and On Your Knees when it comes to Muse tracks.
@berserkboi / Nice
@Cosimo / A striking song that for me stands out for its electronica aspect that at this time was appearing more and more in pop music, eg. M’s Pop Muzik. This album playfully mixes a mature disco sound with different genres that were pushing disco aside, yet Muse comes out and proud while doing this. The whole A-side of Muse is perfect vocally, lyrically, musically… Sinning Is a genially written song. It sounds pretty simple at first listen but hides a deeper, darker truth. Grace wasn’t hiding who she is or what she is like.
@cakeboy / This has filler written all over it if you ask me.
@Fizzywhig / So-so song that doesn’t really work outside of the medley on Muse (I want to hear it followed by those whip-crack sound effects on ‘Suffer’!).
Such a good song. It deserved to last a little longer. Sad.
Enter the dragon!
ORIGINAL BEAST / 6.73
2014 / Mockingjay soundtrack
@Andy French 10
@berserkboi @WowWowWowWow 09
@Cosimo @Russron @JamesJupiter @Ana Raquel 08
@soratami @Leader Beans @kermit_the_frog @One Stop Candy Shop 07
@Skyline @Future Lover @spillett 06
@cakeboy @Riiiiiiiii 05
@Baby Clyde 02
Ever since I’ve read that @One Stop Candy Shop comment about this being her Náttúra I just can’t unheard it. Both songs indeed have this weird offbeat beat.
The production is by the same guy who is responsible for the majority of her Hurricane album: Ivor Guest, the musical director of her live band, show, and of the live performance sequences in the Sophie Fiennes directed Bloodlight and Bami. This is the last song she recorded (if we’re not counting the Gorillaz collaboration) and it’s four years old!
Where are you Grace?
Funny story is that the soundtrack of The Hunger Games: Mockinjay was curated by Lorde. She told Billboard in a video interview that selecting musicians to partake in the film wound up leading to some crazy experiences, such as calling Grace Jones directly on the phone. And truth to be told, that soundtrack is quite impressive if you look at the artist involved: Charli XCX, Ariana Grande, Tinashe, Bat For Lashes, Grace Jones, …
The cute thing is there’s also a mention of being an original beast in her memoir.
In the context of Jean-Paul Goude reflecting on her:
"This brutal, animalistic energy that was part disco, part theater of cruelty, two lucid ways of representing an appetite for life. It was a visual description of an impossible original beast, only possible from this planet, a voracious she-centaur emerging from an unknown abyss and confronting people’s fears."
And that’s poetry for you right there!
@berserkboi / What a beat!
@Cosimo / The title of the track alone is perfection. A nostalgic 70s reggae track mixed with intense percussion. Hearing those drums with Grace’s voice over them again back in 2014 was such a welcome return. It felt very much like leading up to follow-up to Hurricane as it was as gripping, in your face and hypnotic. But it yet remains as a standalone track that thankfully fits in very well with every Grace playlist and especially Hurricane.
@One Stop Candy Shop / It's her Náttúra.
@Leader Beans / I love the squidgy synths and Grace’s performance as a primordial being.
@cakeboy / What a mess.
@Fizzywhig / Sounds like an unfinished demo…
Hard is the flesh / Soft is the night
SEDUCTION SURRENDER / 6.73
1989 / Bulletproof Heart
@Leader Beans 10
@berserkboi @Ana Raquel 09
@ohnoitisnathan @Andy French 08
@Cosimo @Russron @One Stop Candy Shop @Riiiiiiiii 07
@Skyline @kermit_the_frog @JamesJupiter @WowWowWowWow @cakeboy @spillett 06
@Future Lover 05
@soratami @Baby Clyde 04
The original version of Seduction Surrender was made for Graces dance scene in the 1986 movie Vamp, where she played Katrina the vampire supreme. Until this day it has never been released, not even on the film score. What we did get two years later was the version we’re rating here from Bulletproof Heart.
The movie itself is extremely B if you ask me. Although her striptease scene is quite amazing. Again serving looks, this time completely body painted by Keith Haring!
I was filming a camp sex horror vampire comedy, Vamp, and we ended up shooting later and later into the night, which worked for me, and also worked because I was playing a vampire, Katrina, the leader of a nest of vampires running amok in the night. I ripped hearts out of chests, wore a wire bikini, and was an erotically fucked-up stripper taking her clothes off like she was in a kinky avant-garde Japanese ballet, and had a stare as creepy and evil as any cult overlord. For me none of this was weird. All in a day’s, or night’s work. - Grace Jones - I’ll Never Write My Memoirs
@Leader Beans / Dated, yes. But also a disturbing, uncomfortable mood piece that only Grace could pull off.
@berserkboi / Yes! Classic Grace!
@Cosimo / Grace calls back to her strengths in telling a story through the combination of unique lyrics and unique vocals. The beats that Seduction Surrender delivers also remind us of her Jamaican roots. The most authentic that Grace sounds on this album.
@cakeboy / Sounds like a random eighties soundtrack song.
@Baby Clyde / What a racket
@Fizzywhig / I’m sure some will have rated this higher because it has some similarities to the unreleased song played in the Vamp film, but it’s a real dog of a track.
I underscored Original Beast a bit. It’s so hypnotic and I definitely like it more than Seduction, even though I gave them both a 7.
Keep up the good work @Riiiiiiiii. I’m loving this rate.
I love you, will you marry me?
Thats the trouble.
Every man I see, thats the trouble.
Taking every little thing so heavily.
THAT'S THE TROUBLE / 6.86
1977 / Portfolio
@berserkboi @Andy French @WowWowWowWow @Ana Raquel 09
@Russron @cakeboy @Riiiiiiiii 08
@ohnoitisnathan @JamesJupiter @spillett 07
@soratami @Leader Beans @Baby Clyde 06
@Skyline @kermit_the_frog @Future Lover @Fizzywhig 05
@Cosimo @One Stop Candy Shop 04
Poor That’s The Trouble getting not a single ten and being the second song to fall from the Portfolio album. I guess being one of her first songs ever recorded wasn’t enough for this to get high points.
The lyrics to the song are very Oops I Did It Again, since it’s all about men taking every little thing so heavily. And we all know Grace is in charge when it comes to men.
Lets read a bit more from that lovely book of hers:
Tom Moulton was given my early tracks that were recorded in Paris, I Need a Man with instrumental mix on the B-side, and then Sorry and That’s the Trouble, that we put out as a double A-side, because I didn’t want one of them to be a mere B-side. A B-side was seen as a throwaway. I said, “Why am I going to record something you cuck away? It will be a double A, like the battery. High energy.” I could never understand some of these stupid rules.
I wrote Trouble with a French-Greek writer, Pierre Papadiamandis, who created great, effervescent French-style melodies. He’d written something for a Johnny Hallyday album. That was my first collaboration in music. He couldn’t speak English, so he had no idea what I was singing about, and he went by sound rather than sense when we recorded me. My accent was alien anyway, an alien English, and this embellished the alien.
@berserkboi / Started out a little flat but got much better as it went on
@cakeboy / The long notes sometimes sound a bit whiny, but the female background singers are like a choir of angels. My favourite title and lyrics of this album!
@Leader Beans / Enjoyable but hardly Grace’s most memorable song. The verses don’t do her disco voice many favours.
@Fizzywhig / Again, dull disco – ‘Sorry’ was the better side of this single.
@Cosimo / In essence a fine disco tune - lyric and instrumentation wise -, but her vocals are quite disappointing until the very last minute when all of a sudden she strikes the right chord, producing perfect belters and sensuous breathed, whispered vocals. But it still could have done with another vocal take.
@One Stop Candy Shop / Trouble.
Will I ever find a home so far from Tennessee?
AM I EVER GONNA FALL IN LOVE IN NEW YORK CITY / 6.88
1978 / Fame
@Ana Raquel 10
@Leader Beans @Future Lover @Russron @One Stop Candy Shop @Baby Clyde 08
@ohnoitisnathan @JamesJupiter @WowWowWowWow @cakeboy @Riiiiiiiii @spillett 07
@Skyline @Andy French 06
@soratami @Cosimo 05
And there goes the fifth track from the disco era. This time the last single release from Fame: Am I Ever Gonna Fall In Love In New York City. It failed to chart back in the seventies and it didn’t do very well here with a general score of 6.8. I do recommend watching the video of her performing this song on Italian TV show Stryx, giving her best ringleader-but-make-it-dominatrix.
@berserkboi / Overrated city but brings Grace a great track, can’t hate!
@Leader Beans / Any doubts should be expelled by the spoken word bit.
@spillett / Why do I feel like Sophie Ellis-Bextor could do a really amazing cover of this?
@ohnoitisnathan / Sounds like it should have been the opening them for a late 70s movie.
@cakeboy / The build up in the beginning is very Broadway!
@Cosimo / Grace delivers some fine vocals, though not with that much conviction. The wordy chorus lacks the romantic, longing, nostalgic sound that she brought to La Vie En Rose for instance. The main fault of this song lies in it trying too hard to be like a showtune. There is also too big a difference for me between the disco bass middle eight and the rest of the song.
@Fizzywhig / Another overblown extravaganza of a song – and that’s not a good thing.
This is going really well so far. I wouldn't mind losing Crush next.
I bring a message from a general
LET JOY AND INNOCENCE PREVAIL / 6.93
1992 / Toys soundtrack
@ohnoitisnathan @berserkboi 10
@soratami @Andy French @One Stop Candy Shop @Baby Clyde 09
@Future Lover 08
@Skyline @kermit_the_frog @Cosimo @Fizzywhig @WowWowWowWow @Ana Raquel 06
@Leader Beans @JamesJupiter 05
@cakeboy @Riiiiiiiii @spillett 04
And here it is, after ten eliminations: my lowest score! Starting this I was pretty sure this one would be in the bottom together with Evilmainya. Guess I was wrong. But I think we can all agree this one is a very atypical one in Graces oeuvre.
The production of the song was a collaboration between Trevor Horn and Hans Zimmer and was made specifically for the Toys soundtrack. And although the critics weren’t very positive about the overall feel of the movie, I personally think it’s a visual masterpiece.
With Let Joy And Innocence Prevail we say goodbye to the third soundtrack song Grace made in the nineties. Only one left: Storm!
@berserkboi / Emotional in the nicest possible way
@One Stop Candy Shop / I bought the Toys soundtrack CD because Tori Amos had a song on it. I quite enjoyed this one too. And Enya's song on that CD wasn't bad either.
@Cosimo / A song of ethereal beauty. Grace telling a story, though not set in Jamaica or the streets of Paris or the club scene, but a song of romance and war against a musical background of Irish(?) folkloric music. In that respect quite the novelty in Grace’s discography, but quite a success. She carries the song magnificently. It has a definite cinematic quality to it that doesn’t give the song much replay value, but a gem to revisit every now and then.
@Fizzywhig / Another track from the ‘obscure soundtrack era’, I’d never heard this until recently. It’s alright – not the sort of thing I’d expect to hear from her, so it’s a change at least, but it’s not a top-drawer track.
@Leader Beans / Unexpectedly digging this celtic ballad moment.
@spillett / sounds like an alternative version of the National Anthem
@cakeboy / What’s with this Irish track?
Can't you hear me singing for you baby?
FAME / 6.93
1978 / Fame
@Ana Raquel 10
@berserkboi @Riiiiiiiii 09
@Russron @JamesJupiter @WowWowWowWow @One Stop Candy Shop @Baby Clyde 08
@soratami @ohnoitisnathan @Leader Beans @Andy French @Fizzywhig @spillett 06
@Skyline @Cosimo @Future Lover 05
We are running out of Fame tracks, after this one only Do Or Die is left from that album. And while New Wave Grace hasn’t been touched yet, this is the sixth disco track to fall. Poor Disco Grace! The pattern is quite consistent though. If it flopped back in the days, it also flops here.
I really like the lyrics to this one. In some kind of way they’re very poetic: “Fame: trading love for a name” & “Stars don’t need love, they are so far above” are serious moods.
My goal was never to be controversial for the sake of publicity or self-promotion. I wore what I wore (or didn’t wear) and acted like I acted because it was who I was, and I was making myself into a performance. I acted the same way before I was famous. I did it when I was a no one, when no one was looking, and I would have kept doing it even if I had stayed a no one. The craziness was there. I went to extremes. That didn’t come with fame. It became part of the fame, because that was me already. It was how I had learned to guard my body from evils. The craziness was the fire I lit to keep danger at bay.
Same girl, same.
@berserkboi / Fun!
@One Stop Candy Shop / As good as Bowie's Fame and better than Gaga's (the) Fame. Mother Grace knows best.
@cakeboy / Again an amazing female choir feature; the drums particularly are a nice touch in the production of this song.
@spillett / Not that dissimilar to Do or Die really, is it? Just not as interesting.
@Fizzywhig / This still suffers from Tom Moulton’s production excesses, but at least the lyrics are that little bit darker.
@Leader Beans / A bit derivative, but there’s a disenchanted quality I appreciate.
@Cosimo / The weakest of this album(’s A-side). It falls a bit flat lyrically and vocally and never seems to build up to much that is actually interesting. The song doesn’t give Grace that much to turn it into something memorable.
She's no competition
CRUSH / 6.98
1986 / Inside Story
@ohnoitisnathan @Andy French @berserkboi 09
@Skyline @Russron @Baby Clyde @Ana Raquel @Riiiiiiiii 08
@kermit_the_frog @Future Lover @Cosimo @cakeboy 07
@soratami @WowWowWowWow @spillett 06
@One Stop Candy Shop @JamesJupiter 05
@Leader Beans 04
The third single from Inside Story chosen for North America (for Europe they opted for Victor Should Have Been a Jazz Musician) and again produced by Nile Rodgers!
@berserkboi / Cool vibe
@Cosimo / This song is delivering what I would expect from a Nile Rodgers and Grace Jones collaboration; a jittering, funky, sexy composition. No other singer could so emulate what she delivers in this song vocally.
@cakeboy / It could’ve done without the low piano tones, makes it sound a bit too dark for me.
@One Stop Candy Shop / It's rather bland, isn't it?
@Leader Beans / This is the point in Grace’s discography when songs get a bit cheesy and overcooked. But the new jack swing stomp is fun I’ll admit.
@Fizzywhig / Apparently this was picked as a single in the US. No idea why. Grace doesn’t inject any personality at all into this and the production is a mess.
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