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4.7 out of 5 stars
4.7 out of 5 stars
Format: Audio CD|Change
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on 21 June 2014
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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TOP 500 REVIEWERon 7 March 2017
This wonderful 1981 album from Grace Jones was her fifth, but undoubtedly her popular breakthrough. A genre-blending stew of the best elements of reggae, new wave and disco it ended up being often copied, but at the time there was simply nothing quite like it. Anchored by the tightest drum and bass duo around, Sly and Robbie, Jones created an infectious work. As much a part of the irresistably catchy tracks as the music was Jones' androgenous personality, reinventing herself in best David Bowie traditions to create a character to sit astride the music - surely not a coincidence with a superb reimagining of the Bowie/Pop written Nightclubbing. Six of these nine tracks were singles, showing the sheer strength of the album. Jones was partly responsible for writing three of the tracks (Pull Up To The Bumper, Art Groupie and Feel Up), the rest are extremely well chosen, and radically altered covers. Witness Bill Withers Use Me and Sting's Demolition Man - Jones inhabits the tracks and totally changes them to make them her own. The musicianship throughout, but particularly from Sly and Robbie, is exemplary - everything has been worked out to forge a unique sound. And that high level of thought means the album remains as relevant today as it was in 1981 - it doesn't sound remotely dated, aided by crisp original production that made the album shine even on original release. It's been many years since I heard this album but hearing it again is a joy. An essential 80's album.
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on 8 October 2017
I am pretty sure I didn't pay over 20 quid for this, but seemingly that is the price. There's a great cover of Numan's 'Me, I Disconnect From You' on this expanded set and the Spanish version of Libertango is also 'naice'. If I'm being ultra-picky, the version of Walking in the Rain found on the Compass Point Sessions CD is better than the ones here - it's got an even more biting vocal performance and just feels tighter.
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on 5 May 2014
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.
• 1985 remix (6:26) re-released after ‘Slave to the Rhythm’
Sly & Robbie think it’s their best groove – and these versions show that they are right.

Extra tracks are good, but the remixed tracks are even better.

Sleeve notes are comprehensive - a full essay. Covers the story of some of the covers - Bill Withers 'Use Me' is unrecognisable. Shame the sleeve notes missed out on a few factors e.g. giving credit to the gay audience who were the foundation of her initial success; no record sleeve images; the album and singles were not big 'pop hits in 1981 - they were ahead of their time. But hey these are small gripes for such a great reissue.

If you already have the ‘Private Life – Compass Point Session’ (‘PLCPS’) and are wondering whether it is worth taking the plunge on this version – then just do it. I'm so glad that I did! Points to consider are:
1. The sound is better again that the good sound on ‘PLCPS'. Really throbs through a good sound system. ‘PLCPS’ was good for it’s time but was released 16 years ago!
2. The mixes are different, in a good way. The mix of ‘Walking in the Rain’ from ‘PLCPS’ is not on here.
3. CD2 is 77 minutes of great stuff plus you get a free album!
4. The sleeve notes are really informative.
In other words just buy it - they may give her other albums the same deluxe treatment!
P.S. 1981 was a diverse year for music – for another extreme check out the 4CD box set of ‘The Sound’.
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on 8 May 2014
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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TOP 500 REVIEWERon 19 June 2015
This is undoubtedly Grace's most commercially successful album - I love it. However, despite its new 'Delux' iteration, it really is for completists only. Pull up to the much more compelling Compass Sessions double CD instead, together with Hurricane Dub.
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on 4 June 2017
If you have never heard or bought this essential,then you should 'Feel Up'... then.... 'Pull Up To The Bumper '.Sly and Robbie never sounded so good serving up their trademark funky reggae drum 'n bass lines.Superduper !
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on 4 August 2014
my reissue of the year - bonus CD is a revelation....the Gary Numan cover is addictive in the extreme
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on 13 May 2015
I'm not a huge fan of Ms Grace, either musically or stylistically, but I have to say this is a sublime, sexy album. My curiosity was first piqued when, as a young apprentice gender-bender, I discovered the vinyl copy in a mate's collection, with its fiercely androgynous cover image - beautiful in an unsettling way. Then for about a year I seemed to hear it in every student bedsit and hall I went into, especially the gay ones (male and female), so I ended up buying it myself. Apart from the lubricious thrill of listening to something that to a sensitive Catholic seemed slightly forbidden, I was very impressed with the music. Grace doesn't really sing, of course - she intones, or incants - and reveals herself to be a slave to the rhythm before the eponymous album appeared. 'Pull Up To The Bumper' is unabashed erotica, and far sexier and funkier, in my view, than Madonna could hope to be; while her cover of 'Use Me' (which I heard before the original) had me nearly "waving my conscience bye-bye" in my desire to try it out. There are even gentler moments too, like 'Art Groupie' and the playful 'Feel Up'. I'd probably not want to meet her in a dark alley late at night, but as for her portrayal of the joys of nichtclubbing. . .well, like the lady says, "Oh, isn't it wild!".
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on 3 May 2006
In 1981, Grace Jones returned to the music scene with what was perharps her very best studio album, Nightclubbing. The Nightclubbing album certainly gained wide recognition from critics and was even voted as Album Of The Year by New Musical Express Magazine.

Again Grace returned to the startling format of combining Reggae, Rock, New Wave, Funk and R&B. The diverse, atmospheric arrangements are utterly compelling on all of these recordings.

Nightclubbing opens with the hypnotic, trance-like Walking In The Rain. Grace speaks and scowls through the entire recording and bizarre as it is, it still emerges as totally compelling with its blend of New Wave and Reggae.

This leads into what is her ultimate classic with the fantastic, driving R&B/Funk tune, Pull Up To The Bumper. Grace Jones delivery is highly effective on this track and has such immediacy and an infectious feel. Pull Up To The Bumper eventually became a Top 20 seller in the U.K.

Use Me is a catchy, highly effective reggae tune where Grace ignites the recording again with her diverse vocal approach whilst the title track, Nightclubbing is a bizarre cover of a David Bowie track. Synchronised sounds are combined with Graces stark delivery which surprisingly combine well together.

Art Groupie is more dated sounding though still works whilst the subtle mixture of French jazz, new wave and reggae on the startling, I've Seen That Face Before is another compelling, though blatantly weird affair. She conveys such spirit, fire and passion on her inspired re-working of Stings, Demolition Man.

The strong Jamacian vibes on the interestingly experimental, Feel Up is another cracking affair but the ultimate surprise on the album is served with the late-night jazz number, I've Done It Again. This lush, exotic number is given life by Graces exuberant delivery where I have honestly never heard her sing in such a soft soprano and sound so effeminate as on I've Done it Again.

Grace Jones, Nightclubbing became a Top 40 seller in the U.K. and stands as her best album.
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