Grace Jones Drive

Initially released in 2008, Grace Jones' tenth studio album, Hurricane, was an appropriately titled whirlwind of dub rock, reggae, industrial electro, and trip-hop which effortlessly re-established her status as pop's premier avant-garde diva following two decades in the musical wilderness.

In a career of myriad highlights "Nightclubbing" remains the high water mark of Grace Jones’s imperial years with Island Records. It is indisputably the album on which her musical legacy rests, and rightly considered one of the greatest albums of all time. A sophisticated mêlée of sound, blending post-punk cool with a hot Caribbean vibe and a catwalk Studio 54 sensibility, it’s a perfect example of artist and musicians working in complete accord. It contains the all-time Grace classics in ‘Pull Up To The Bumper’, ‘Walking In The Rain’, ‘Demolition Man’ (written by Sting) and of course the Bowie / Iggy Pop-penned title track. There is magic in its every groove.

In a career of myriad highlights "Nightclubbing" remains the high water mark of Grace Jones’s imperial years with Island Records. It is indisputably the album on which her musical legacy rests, and rightly considered one of the greatest albums of all time. A sophisticated mêlée of sound, blending post-punk cool with a hot Caribbean vibe and a catwalk Studio 54 sensibility, it’s a perfect example of artist and musicians working in complete accord. It contains the all-time Grace classics in ‘Pull Up To The Bumper’, ‘Walking In The Rain’, ‘Demolition Man’ (written by Sting) and of course the Bowie / Iggy Pop-penned title track. There is magic in its every groove.

In a career of myriad highlights "Nightclubbing" remains the high water mark of Grace Jones’s imperial years with Island Records. It is indisputably the album on which her musical legacy rests, and rightly considered one of the greatest albums of all time. A sophisticated mêlée of sound, blending post-punk cool with a hot Caribbean vibe and a catwalk Studio 54 sensibility, it’s a perfect example of artist and musicians working in complete accord. It contains the all-time Grace classics in ‘Pull Up To The Bumper’, ‘Walking In The Rain’, ‘Demolition Man’ (written by Sting) and of course the Bowie / Iggy Pop-penned title track. There is magic in its every groove.

"Bulletproof Heart" is the 9th studio album by Grace Jones, released on October 13, 1989. The album, co-produced by Chris Stanley, would be her last studio album for 19 years, until she released "Hurricane" in 2008. Only 2 singles were released from Bulletproof Heart. "Love on Top of Love" was chosen as the lead single and received numerous remixes. It met with limited success and only reached modest positions in Italy and the Netherlands. However, the 12" remix of the song, subtitled "Killer Kiss", was a significant club hit in the US. Jones' cover of "Amado Mio", a song from the classic 1946 film Gilda, was released as the final single in 1990. It also made little impact, still reaching the Top 40 in Italy, but placing at the bottom of the German and UK charts. Commercial performance of the album was also poor: it peaked at #55 in Germany, failing to enter charts elsewhere, thus becoming the lowest-charting of all her studio albums and one of her least successful offerings.

"Muse" is the third studio album by Grace Jones, released on September 4, 1979, by Island Records. Muse was the last album of Jones's disco trilogy recorded with producer Tom Moulton, which began in 1977 with debut Portfolio. As in the case of two previous records, the first side of the album is a continuous medley of four songs, joined by a narrative about someone who has sinned. The second side, however, consists of disco songs with no lyrical relation to one another. All album art, including the cover image, is by Richard Bernstein.

Nightclubbing is the fifth studio album by Jamaican singer Grace Jones, released on 11 May 1981 by Island Records. Recorded at Compass Point Studios with producers Alex Sadkin and Island Records' president Chris Blackwell, as well as a team of session musicians rooted by rhythm section Sly & Robbie, the album marked her second foray into a new wave style that blends a variety of genres, including reggae, art pop, dub, synth-pop and funk. The album comprises a mixture of cover versions from artists including Bill Withers, Iggy Pop and Astor Piazzolla, and original songs, three of which were co-written by Jones. The album received positive reviews upon its release, including being voted best album of the year by writers of the UK's best-selling music magazine NME, and continues to be praised by critics, with reviewers commending the singer's unique sound and organic fusion of genres. The album entered in the top 10 in five countries, and became Jones' highest-ranking record on the US Billboard mainstream albums and R&B charts. Six singles were released from the album, including the hits "Pull Up to the Bumper" and "I've Seen That Face Before (Libertango)".

"Slave To The Rhythm" - 1994 German 5-track CD single, includes Original 1985' Version, Blooded, D Monster Mix, D's Vocal Dub and D Beatsappella Mix. Origianlly, “Slave to the Rhythm” was the first single from Grace Jones’ album of the same name, which was released in 1985. The song and the album was written by Bruce Woolley, Simon Darlow, Stephen Lipson and Trevor Horn and was produced by Horn. The single became one of her greatest commercial successes and counts as one of Jones’ signature tunes. The song peaked at #12 on the UK singles chart in 1985, and became a new #28 hit in 1994 (in remix form).