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Nightclubbing (2014 Remaster)
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Nightclubbing (2014 Remaster)

28 April 2014 | Format: MP3

£5.99 (VAT included if applicable)
Song Title
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Product details

  • Original Release Date: 1 Jan. 2014
  • Release Date: 28 April 2014
  • Label: Universal Music Group International
  • Copyright: (C) 2014 Universal International Music B.V.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 38:16
  • Genres:
  • ASIN: B00JO85HZW
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (87 customer reviews)
  • Amazon Bestsellers Rank: 15,293 in Albums (See Top 100 in Albums)

Customer Reviews

4.7 out of 5 stars

Most Helpful Customer Reviews

14 of 14 people found the following review helpful By Jack on 8 May 2014
Format: Audio CD Verified Purchase
Universal have done right by Ms Grace Jones' magnum opus, "Nightclubbing": the remaster by esteemed Kevin Reeves is truly superlative. The album's wide stereo sound field is beautifully crisp, clear and transparent, with plenty of bottom end from Sly & Robbie - and so many delicate, iridescent touches from Wally Badarou's keyboards and Sticky Thompson's percussion! Ms Jones' Island trilogy was always aural nirvana, but now "Nightclubbing", at least, is absolutely compulsive listening. All the mixes on the second disc sound flawless, also.
The packaging is indeed fairly flimsy with no outer sleeve, but the booklet is well-produced and Darryl Easlea's liner notes detail the album's context, along with some great pix of La Jones.
Now Universal need to get cracking on "Warm Leatherette", "Living My Life" and "Slave To The Rhythm"!
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7 of 7 people found the following review helpful By Viper on 21 Jun. 2014
Format: Audio CD
If you have ever been slightly curious about Grace's musical career then you could do a lot worse than start here. She had (and still has) the ability to turn a song into her own regardless of whether it was originally a male or female orientated vocal. Most people think she's bonkers. Well, she may be on camera, but on disc she rules...period. This album WAS cool anyway but this version really does do it justice.

The band that played behind her when she recorded her Nassau trilogy (this one, Warm Leatherette and Living My Life) were REALLY at the top of their game. Grace only adds to it by being completely cool at what she does. She is more a narrator rather than a vocalist but that only adds to the mix. She ALWAYS pulls it off. I much prefer when she does a male vocal a la Demolition Man (Sting song). She injects it with a personality a thousand times more than he ever could.

Do yourself a favour and invest. Grace is HUGELY underrated.

You're welcome. :-)
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15 of 16 people found the following review helpful By Vilson on 5 May 2014
Format: Audio CD Verified Purchase
Good album made great by extended mixes. Take a lot of funk and add reggae, blues, soul and jazz plus spice up with some pizzaz and you have a unique combination. This album was made in 1981, but it hasn't aged and will it still sounds fresh in 2021.

Remastering adds extra kick and zing (like it should) and gives sinewy, throbbing muscle to the sound. I have been playing CD2 constantly since receiving it. Like any good CD it reveals hidden layers on each listen. A lot of care went into the recording, and it shows. Credit to Kevin Reeves at 4th Floor Studios for a good remaster.

'The Compass Point All-Star band' really hit their stride here. Sly & Robbie’s drum and bass give sympathetic rhythm whilst Wally Badarou’s keyboards shimmer over the top and the guitar and, and… Check out the compilation ‘Funky Nassau’ for more.

Disc 1 (38:26) Original album, no extras even though there are more out there.

Disc 2 (76:59)
All good to fantastic - but the quiet tracks sound really great and allow the music space to 'breathe':
• I’ve Seen That Face Before (Libertango) 12” version (5:40)
• I’ve Seen That Face Before (Libertango) Spanish version (Esta Cara Me Es Conocida) (4:33)
• Walking in the Rain 12” version

Pull Up to the Bumper was the lead single – great track with multiple mixes that are all essential variations on the original:
• Long Version UK 12” (5:45) definitive
• Remixed Version (7:17) – mostly instrumental – often found on 80s compilations.
• US Party Version (5:00) – good – straight into vocal intro(?)
• Instrumental ‘Peanut Butter ’ (5:11) – extra funk factor.
Read more ›
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3 of 3 people found the following review helpful By Dr. Delvis Memphistopheles TOP 500 REVIEWERVINE VOICE on 28 May 2013
Format: Audio CD
Sums up an era, in particular 1981, nuclear war, nihilism, sex and a deep sense of foreboding wrapped up in warm bodies. Operating as a cold warm breath in a colder suspended air, the world bounced along in darkened clubs rather than euphoric gigs. The energy from the 1970's seemingly had been expelled into a morphined stupor. In return, here was a gay influenced journey back to Iggy and David's sojourns in West Berlin. Grace could have been part of this dynamic duo but the fact is she tagged along later.

As a collection of songs it operates in delivering a chasmic cathedral like ambiance, as the bass announces its beat - to bring back multiple memories, each lilting along to a reggae rhythm, done to a cod death by Sting. Here it has a touch of authenticity due to Sly and Robbie's bass blast of everpresent dread, where they transform "Demolition Man" into something pristine.

Pull up to the Bumper, you are never sure whether she is pointing to the front or the rear and to some extent who cares? Nightclubbing crawls to a death by Tuinal, yes it was what was happening, brand new people doing their own version of the nuclear bomb. Done it Again, another great comedown track, similar to Uber Tango. Use Me is a paean to S&M with a virtual plea to be used which along with "Feel up" asks for an electric frottaging thrill of a touch sensation. Grace was in touch with both the avant and the present and here delivers a masterpiece.

Throughout she stretches over the top, her voice hardly raising or rising from a deep sense of modeled but never forced sense of a weary sigh alienation, She beams out a cultural anomie with a breathless touch of the microphone. Seemingly she caressed this era and this album somehow did the impossible in summing up the post punk comedown to bring in another new sensation.
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