Released in 1981, Nightclubbing stands as a remarkable testament to Grace Jones’ artistic prowess, avant-garde sensibilities, and genre-blending expertise. As an album that defies categorisation, effortlessly blending elements of new wave, reggae, funk, post-punk, and electronic music, it’s remarkably memorable and will appeal to audiences with broad musical preferences. Nightclubbing, Jones’ fifth studio album, offers a seductive and atmospheric experience that has left an indelible mark on the music landscape, not only in the 80s but in all of recorded music history.
Of course, it wasn’t only the music that was influential for the original album artwork is striking, to say the least. Sadly, due to a rights issue, the original album artwork, created by Jean-Paul Goude, is absent from streaming services and digital download stores. As there haven't been any worldwide reissued physical releases, since 2014, it’s unknown if this will impact the physical counterpart moving forward. What I can say, however, is the replacement artwork Island Records decided to put in its place isn’t all that bad. Okay, so if you look at all of the album covers, created by Goude, that are currently missing, it’s a little irritating, but on its own, however, I really like the design that somewhat replicates a compact cassette sleeve design. As such, and given the rights element, I won’t be utilising the original artwork within this review but you can always check it out on the various editions added to Discogs.
Speaking of different editions, while I’m extraordinarily happy with the Apple Music stream, an Apple Digital Master, I was fortunate to have owned the Blu-ray Audio release and with an extended runtime, on a single disc, that matched the sequencing of the Deluxe Edition, it was a party album that extended beyond the record’s original intent. While memory may be the most fallible way to recall the sonic quality of music, I find that I much prefer the fullness of the Apple Music stream as the Hi-Res Lossless version on the Blu-ray format could sound a little too accurate and subsequently clinical. Some music lovers will appreciate that style, but I prefer a warmer and smoother presentation and the Apple Music stream thankfully doesn’t disappoint in that regard.
Walking In The Rain kicks the album off with a moody funk vibe that is truly captivating while Jones’ sultry vocal takes centre stage as she navigates through the electronic soundscape. While Walking In The Rain is most commonly associated with Jones, and it’s perfect for her style, the song is actually a cover by the Australian band Flash And The Pan from their 1978 self-titled debut. While that album is out-of-print, it can be heard via the 1995 release, Collection and is most certainly worth checking out if you appreciate Jones’ interpretation.
Pull Up To The Bumper is an uptempo standout with a funky bassline. Jones’ suggestive lyrics, throughout this song, have often resulted in controversial interpretations, but as someone who appreciates the human vocal as another instrument in the mix, rather than a storytelling device, that aspect fails to be a contentious issue in this listener’s mind. Plus, the song's infectious rhythm, coupled with unconventional sound effects, creates a tune that is irresistible.
If you simply can’t get enough of Pull Up To The Bumper, may I suggest you check out Coolio’s Ooh La La, from 1997, for this classic tune is sampled beautifully. Deni Hines' interpretation is also worth checking out if you’re after a smoother edition. Of course, there are also additional remixes and extended versions to be heard from Jones, herself, on the Deluxe Edition of Nightclubbing.
Use Me introduces a little reggae and showcases Jones’ versatility as an artist as she’s capable of infusing diverse musical genres to express emotive elements. As a cover of Bill Withers’ original, from the 1972 album Still Bill, Jones’ interpretation builds upon the original (an exceptional piece of music in its own right) while making it her own.
Nightclubbing is the album’s centrepiece and what a remarkable song it is. Iggy Pop and David Bowie certainly wrote a masterpiece when they penned this tune. Encapsulating the essence of nightclub escapades, Jones’ cool vocal glides above the electronic arrangement, evoking a mysterious and entrancing atmosphere. It’s without a doubt one of Jones’ greatest recordings, but it’s also an audible treat for listeners as the repetitive rhythm, both musically and within the vocal, forms a structural foundation that holds, together, all other musical elements.
As captivating as Jones’ cover of Nightclubbing is, may I suggest you check out the original from Iggy Pop’s The Idiot; an incredible recording in its own right.
Art Groupie shifts the style slightly, yet it isn’t detrimental to the album listening experience for Jones’ spoken word-styled delivery, remains at the forefront of the mix ensuring that aside from the electronic elements, Art Groupie is most certainly a worthy addition to Nightclubbing; even if it is an album-only tune.
I've Seen That Face Before (Libertango) is a reimagining of Astor Piazzolla's excellent Libertango, and between the atmospheric driving beat and melody, the fusion of styles provides an utterly compelling piece of audible art. As with Art Groupie, this is a song that is best described as an album-only tune, but it’s songs such as this that make Nightclubbing so compelling.
Feel Up returns us to a playfully infectious reggae-infused groove. While there isn’t much in the way of lyrics, instead a focus on repetition and spoken aspects, the mix of all elements is so compelling that, much like the rest of Nightclubbing, it is difficult to not be sucked into the musical void when listening to Feel Up.
Demolition Man injects a little rock and roll into Nightclubbing but its funky bassline is the greatest defining element here. It’s, subsequently, surprising that it failed to garner much attention when released as a single for it’s a perfect song for the era in which it was released and has over the years become a signature tune for Jones. Originally written by Sting, and featured on The Police’s Ghost In The Machine post Jones’ recording, I much prefer Jones’ interpretation of the song.
I've Done It Again slows the tempo and overall style of the album considerably, but it’s a beautiful contemplative tune to close the album on.
Nightclubbing is a masterful work of musical art that defies genre conventions and pushes the boundaries of musical expression. Jones' distinctive style, combined with innovative production and diverse influences, results in an album that continues to captivate and inspire listeners; inviting them into a world of sophistication, intrigue, and sonic experimentation.