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Grace Jones shifted musical direction for the Warm Leatherette (1980) project, divulging into a diverse blend of sounds and styles ranging from Reggae, Rock, New Wave, Funk and Soul. The finished results were some of Jones most compelling recording work.
This album was not least aided by the excellent production skills of Chris Blackwell and Alex Sadkin as well as the startling muscians behind her with Sly Dunbar on drums, Robbie Shakespeare on bass guirtars, Barry Reynolds and Michael Chung alternating on guirtars, Wally Badarou assuming keyboard duties and Uzziah Thompson jamming away on that pounding percussion. Jones inserts effectively through all eight of these inventive recordings as well as providing her own backing vocals.
The title track Warm Leatherette is an electric affair combining a striking mixture of Rock, New Wave and Reggae. Jones sounds even a little playful on the tracks chrous consisting of thrashing guirtar riffages.
Jones fantastic cover version of The Pretenders, Private Life is given a more definitive and unique working over where Jones seemingly scowls through the duration of each verse whilst then singing gently in that raw (though narrow) vocal style she became accustomed to on her next pair of albums. Private Life, encapsulating Reggae and New Wave vibes, deservedly became one of Jones' biggest hit singles in the U.K where it climbed its way to No.17 on the main U.K Top 40 Charts.
The bouncy, Funk-driven A Rolling Stone (which Jones co-wrote) featured Jones delivering a surprisingly more soulful performance whilst her rocking interpretation of Bryan Ferrys' Love Is The Drug is masterful with Jones delivery strong and assertive.
Jones' cover of an old Motown track The Hunter Gets Captured By The Game is instantly infectious with a sturdy lead by Jones and contagious musical arrangements that makes this one of the projects highlights.
Bulls*** is a little bland and silly and is the only real let down of the album though Jones does manage to slightly redeem it by delivering a spirited performance though of far stronger musical merit was the mellower tone of Breakdown, where Jones delivery is seemingly cradled with mixed emotions shifting from shining self-assurance to points of dispair and moments of vulnreability.
Pars conveys the more breathy, seamless quality in Jones voice that rarely surfaced on a lot of her earlier work at Island Records. The mood is more mellow and atmospheric with Jones becoming immersed into the swirling orchestrations.
Warm Leatherette (1980) alongside her subsequent release Nightclubbing (1981) contains some of her the very best tracks Jones ever recorded in her relatively short and somewhat erratic recording career and incidentally also became one of her biggest sellers. Without doubt, essential Grace Jones to fans of this extraordinary and off-the-wall Diva.
Ian Phillips
Private Life- superb also, and Love is the Drug has a pounding interesting upbeat treatment though I have always lamented her vocals were not harder edged in this Roxy cover...and all thru this CD wonderful percussion as ever, great guitars and drums and hard edged rock/reggae/R&B amalgam...Grace always managed to bring that Jamaican cool arrogance and edge into her rocky music and this CD exemplifies that..some great 80s synth sounds... Hunter Gets Captured by the Game is a Grace anthem driving track and sums her act up completely...Grace presaged the rap era with her strutting funk-parisienne vocal style..later to be seen on 'My Jamaican Guy' and similar pulsating tracks...
This reminds me of my powerful TVR 4.5 litre car in the 80s, the (then) current warm leatherette(s) with head dutifully down in the seat, cruising flagrantly open top thru central london on warm summer nights...when Grace Jones was ( and is ) still one of my fave night drive musical picks.
Highlights: "Breakdown", "The Hunter Gets Capture by the Game", "Private Life" and the fantastic "Pars".
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