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Product Description
Amazon.co.uk Review
Nineteen years between albums is the sort of gap usually reserved for in-it-for-the-money reunions, but Hurricane--Grace Jones’ first album since 1989's Bulletproof Heart--suggests an artist who hasn't lost one shred of her disco nous or imperious command. Recorded with a string of collaborators including Brian Eno, Tricky, Tony Allen, and Wendy And Lisa of Prince's band The Revolution, Hurricane occupies territory somewhere between the taut reggae of Jones' early '80s output and the gloomy dub-rock of Massive Attack's Mezzanine. The latter influence is particularly prime on “Corporate Cannibal", a fiercely modern-sounding slab of gnarled guitar and horror-flick synth that finds Jones playing the role of a hungry acquisitions manager that actually eats her prey: “I consume my consumers/With no sense of humour", she looms, deliciously; “Hurricane", meanwhile, pairs her up with Tricky, whose husky whisper is all but subsumed in shrill classical strings. Elsewhere, though, there is warmth and history: Jones pays tribute to her mother's side of the family on “I'm Crying (Mother's Tears)" and “Williams Blood", which builds from a reggae strut to a gospel chorus that's dramatic as a thunderclap. A commendable return. –-Louis Pattison
Review
With Hurricane Grace Jones, tosses aside the clubbing hits that launched her onto the dance floor of Studio 54. The vibe that pervades this album is mostly dub. La Jones's latest whirlwind tears up the bass and throws in both a sliver of rock and ever-so-fashionable ska. The work that was begun with Alex Sadkin and Chris Blackwell on Warm Leatherette is taken one step further with Hurricane. Her Royal Graceness is back.
The icon bellows, ''I'll be a hurricane... Ripping up trees''. This is a voice that will rip up anything that stands in its path.
Corporate Cannibal (initially rumoured to be the title of the album) with its macabre chorus of ''I'm a man eating machine'' and mirage of synth and electrics, builds to a carnivalesque frenzy and takes her femina-ex-machine image to the extreme. It also brings back memories of the star's hypnotic performance of Trust In Me at the Jarvis Cocker 2007 Meltdown. Hilariously, she hisses, ''I'll consume my consumers with no sense of humour''.
With its maracas, piano, funky bass, organs, and glorious backing vocals, William's Blood is yet another highpoint on an almost flawless album. It is certainly the most you'll ever rock out to Amazing Grace. The track moves from melodious story telling, to funk to rock to soul and finally right up to the homecoming of the haunting melody named after the singer herself, all telling the tale of a rebel who just can't help herself.
A tender side is revealed in I'm Crying (Mother's Tears) as she eulogises her mother. Is this the sound of a woman softened by age?
The album is beautifully produced - with textures that just make you want to savour and unwrap each track, accompanied by the occasional oddity such as the mouse squeaks that make you question the sincerity of I'm Crying and the rattle creaks on Well Well Well... But then, with contributions from Brian Eno, Sly and Robbie and Tricky, that's not surprising. Acoustically, the album is peppered with reference to previous works - Corporate Cannibal is its own slave to the rhythm.
Grace Jones was accused of being ''socially sick'' in her junior high school report. That may be so but with Hurricane she also proves she's a force of nature. --Susie Goldring
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Most Helpful Customer Reviews
22 of 23 people found the following review helpful:
5.0 out of 5 stars
Weapon Of Choice,
By
This review is from: Hurricane (Audio CD)
Indulge me here for a moment or two.
Heart and mind rarely unite wholly in a lifetime. "Toothless mangy hound" that I am (allegedly). Ms Jones' return after so many years away is an event of import not fully understandable to anyone under 40 years of age. For those of us who cared and were fully formed in the 80s' Ms Jones' craft, style, music and mellifluous mezzo were the very essence of dark, brooding, ambiguous sexuality. 'Hurricane' is an extraordinary and wonderful return. It really does blow everything that came before it out of the water. This is more than mere maturity. This is re-creation, reincarnation and renaissance rolled into one magisterial whole. The songs, as others here have correctly observed, are more autobiographical in content than her earlier work. It is as though the mask (and what a beautiful mask it has always been) has been allowed to drop just a little to give us a small glimpse of the woman and the hidden soul beneath. The nine tracks are conceptually and musically coherent. Affectionate backward glances - 'This Is'; 'Well Well Well'; 'Love You To Life'. Catharsis - 'Williams' Blood'; 'Hurricane'; 'Devil In My Life'. Warm reflection - 'I'm Crying (Mother's Tears)'; 'Sunshine Sunrise'. Dark humour - 'Corporate Cannibal'. It's all here. The Voice has never sounded better ! Centred, powerful, unwavering. Co-production with Mr Guest is never less than masterful. That Mr Dunbar and Mr Shakespeare are reunited with her is both wonderful and entirely correct. ( A little more detail in the credits would have been welcome - as in who did what and where - but this is a small quibble. ) The string arrangements deserve a special mention in their own right. A Historic Return. Essential.
7 of 7 people found the following review helpful:
5.0 out of 5 stars
PULL UP TO THE BUMPER BABY: MISS GRACE JONES IS BACK WITH A VENGEANCE!!!,
By
This review is from: Hurricane (Audio CD)
WOW! This stunning. literally perfect new studio album by the inimitable, off-the-wall Grace Jones (her first project since 1989's Bulletproof Heart) far surpassed what i'd originally expected. Now, don't get me wrong, i've always loved the weird but wonderful Grace Jones, but had long since given up hope of her returning to the music scene, let alone with such concise precision, depth and fire. Her last project Bulletproof Heart was a rather hit-and-miss affair, alternated by some stunning results (Love On Top Of Love<, Bulletproof Heart and On My Way) and some rather forgettable, nondescript recordings. Bulletproof Heart failed to re-capture the glories of Grace Jones recognised masterpieces - Warm Leatherette (1980), Nightclubbing (1981) and Slave To The Rhythm (1985). On the excellent albums Warm Leathrette, Nightclubbing and Living My Life (1982), Grace had been teamed with those two renowned Reggae wizards: Slyn Dunbar and Robbie Shakespere. They were the classic Compass Point Sessions. So, if anything, buying this brand new CD by Grace Jones was largely out of curiosity. I was immediately delighted to see Grace had hooked back up with Sly Dunbar and Robbie Shakepere for Hurricane. From the opening track, i knew this album was going to be RED HOT and a WINNER! This was not least backed up some of the critics reviews that have been unanimous in their praise for Hurricane, many correctly stating that this was a significant comeback for Grace Jones.
Hurricane(2008) is a deep, reflective, often spiritual piece of work by the legendary Grace Jones. On tracks such as Williams Blood and I'm Crying (Mothers Tears) the songs are almost autobiographical. The profound and uniquely personal lyrics intertwine tremendously into the urban-flavoured, often stark, yet utterly compelling muscial landscapes. The sounds and textures encapulate a cruising blend of Reggae-Rasta-R&B-Funk-Dance. The tinkling ebbs, flows, swirling, effectively mesmerising arrangements make for a pure sonic masterpiece, with instantly memroable results. The jumpy, pumping, pulsating rhythms that zoom in and out of This Is, re-captures Grace Jones old familiar style of part-speaking and part-singing through the verses and chrous. There are also sporadic, sprightly guirtar interludes which provides a good musical backdrop. The haunting, synchronised chanting and backing vocals proceed to give This Is a trancey, atmospheric vibe. The spiritual undertones, and somewhat autobiographical, Williams Blood blends synthesised sound effects with a smooth-tempoed R&B beat. This gradually leads to a sizzling, Gospel-like climax. At the close of Williams Blood, Grace recites a brief passage from the spiritual song Amazing Grace. Williams Blood sounds perfect for Urban radio. Meanwhile, 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 following). A well-acknowledged fact about Grace Jones is that she has always had a major following by Gay men and Corporate Cannibal marks a commendable return to the Urban club scene. The eerie, sopening sound effects flwo steadily into a mid-tempo, slowly rolling beat with lots of spiralling rhythms and a ferociuous-sounding performance by Grace, who reminds us all that she can be extremly scary when she chooses to be! The climatic Psychedelic-like, in-your-face guiratr riff is a real belter! I'm Crying (Mothers Tears) is one of Grace Jones most personal and profound tracks on Hurricane. This reflective, stylish R&B number proves that, when called for, Grace can certainly deliver a very beautiful, understated quality in her voice. Another song thats perfect for Urban radio. 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 welcomingly harks back to the sounds of her early 1980's work with Sly Dunbar and Robbie Shakespere. Infact Well Well Well wouldnt sound out of place on either Warm Leatherette or Nightclubbing (the latter being an album that was voted Album Of The Year in 1981 by readers of the New Musical Express</> magazine). The stormy title track Hurricane is something of a hypnotic masterpiece! The sweeping and pounding wave of multi-layered arrangements are complimented by Grace's assertive voacl performance. Her voice is often synchronised on this powerful, contagious, atmospheric number. Love You To Life is another hip, trancey R&B-Club number with stark efefcts and compelling musical undertones of Reggae-Rasta. The hypnotic-like chrous, where Grace is joined by a soaring Gospel choir, is extremely striking and vastly infectious! Hurricane then begins winding down with another mellow, late-night R&B number with a driving Jamacian vibe Sunset, Sunrise. This other atmospheric number careers along at a dreamy, mellow pace. On the final number Devil In My Life, Grace rides along a high tidal wave of multi-layered arrangements, including prominent, erratic violin interludes that provide a seamless musical backdrop. Devil In My Life sounds the ideal track to be lifted as a single, or, again, crack the Urban radio market. A fabulous 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, surprsingly 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's a real pleasure to see Grace Jones return to the music scene, and with such a VENGEANCE! Her spirit, passion and fire literally pour out on Hurricane and is a sheer evidence, and a perfect testament, of her artistic gifts. A stylish comeback! Ian Phillips December 2009
54 of 60 people found the following review helpful:
5.0 out of 5 stars
Dark Epic Beauty,
This review is from: Hurricane (Audio CD)
Where did she go? After a decade of constant media exposure, and success in various of fields, she dropped off the face of the planet after she starred with Eddie Murphy in Boomerang in 1992. Enough about the past, because she is here, and relevant as ever.
"Hurricane" is Jones' first album in almost twenty years, and was it worth the long wait? Definitely. Jones is as sharp as ever. Her greatest gift is to find the right people, and that is exactly what she has done this time around. Her old pals, Sly and Robbie, once again provides her with flawless rhythms on tracks like the bouncing reggae cut "Well Well Well", which sounds like it could have been taken straight out of Living My Life. Tricky, Brian Eno, Ivor Guest and Phillip Sheppard (look at those names!) provides her with eletronic beats, strings and all of that stuff, and it all adds up to a truly unique album. "This Is" is a lovely narrative, and "Williams' Blood" hits a litte closer to home for Grace. The song ends with a duet between her and her mother singing "Amazing Grace", of all songs. The most personal song on the album is the truly lovely and heartbreaking narrative about her mother on "I'm Crying (Mother's Tears)", in which Grace sounds absolutely spectacular. The song also reveals what a truly wonderful human being Grace is. Forget all of the scandals, and listen to her story, and you are guaranteed to change your mind about the scary "man-eating" machine. Speaking of which, "Corporate Cannibal", was released as a teaser earlier this summer, and it's a dark and menacing song that will cut right through you. The title song was released as a promo back '98, and it's been updated with help from Tricky and an orchestra. It's a fantastic, and epic, cut, that is guaranteed to have you bouncing off the wall. "I'll be a hurricane, rippin' up trees." We believe you, Grace. The entire album is truly unique. Groovy reggae rhythms, electronic beats, and on top of that, glorious strings that will sweep you off your feet. It's truly a joy to hear the strings melt away in the songs like they do on the outstanding "Devil in My Life". The latter is quite possibly one of the best songs she's ever recorded. As for Grace herself; she is at her best. Her singing have actually improved, as some glorious notes towards the end of "Devil in My Life" proves. She takes full advantage of her sing-speak on many of the songs, but it's a stylistic choice, and nobody does it better than her. It works better than anything on the lovely "Love You to Life", which is another highlight on the album. So, twenty years? So what? If it takes twenty years to produce something as glorious as this record, I will happily wait another twenty years for her next album. Truly outstanding.
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