Grace Jones rarely recorded in the mid to late 1980's and infact you could probably argue that her recording career reached its peak with the Trevor Horn produced Slave To The Rhythm album in 1985.
After her 1986 studio entry Inside Story which became only a moderate seller (though was devoured by her legion of gay male fans)no one quite knew what to expect next from the off-the-wall diva.
At the fall of 1989, Jones returned to the recording studios with producers Chris Stanley, David Cole and Robert Chivilles for the rather disjointed Bulletproof Heart album. Jones co-wrote the majority of songs along with singer Chris Stanley.
Bulletproof Heart (1989) like Inside Story (1986) was another foray into mainstream Pop, divulging into Funk, R&B and Dance. The project seemed more of an effort on Jones' part to catapult her back onto the club scene where she had enjoyed immense success in the late 1970's.
Opening the album is the funk-driven dance number Driving Satisfaction which comes complete with swirling, synthesised effects and a vastly seductive, sexually charged performance from the ever-weird Grace
Jones. Driving Satisfaction becomes almost contagious after a couple of listens and emerges as one of the better tracks to be found scattered on Bulletproof Heart.
With the jamming affair of Driving Satisfaction, you would think the album would get better from here on but the whole project is something of a mixed affair with some highs and some lows.
Another anthem written by Jones and Chris Stanley, Kicked Around, features a ferocious, red-blooded Jones in sado-massachist (and even more freaky than usual) mode as she scowls through this tale of self-esteem, fighting back and getting even with ex-lovers. Her performance has some spirit and fire though is a little on the frail side and at points on the verge of nearly going out of tune. Still can't make up my mind whether this is compelling from its weird, off-the-wall manner or just complete utter dross. Either way you can almost feel Jones putting her whole heart and soul into the song.
The jamming Love On Top Of Love combines the songwriting talents of Jones and Chris Stanley with David Cole, one half of the early 90's Pop group C+C Music Factory who scored a hit with the catchy Things That Make You Go Hmmm. David Cole works his commercial-like magic on Jones for this fabulously funky, infectious Dance/R&B belter. Jones delivery is surprisingly strong and assertive. Though Love On Top Of Love enjoyed some club recognition, the track all the more surprisingly bombed on the mainstream charts.
The limitations of her thin, narrow singing surface on the droning sounds of Paper Plan whilst she delivers more gritty social commentary on the hip, trancey urban R&B number, Crack Attack on which Jones inserts herself effectively into the complex musical arrangements.
The monster title track, Bulletproof Heart alongside the superb Love On Top Of Love, is one of the recordings on the project that has such instant immediacy. From the thunderous opening intro (that vaguely resembles Michael Jacksons', The Way You Make Me Feel) to crashing musical effects, Jones ignites the track into a winner with her sassy performance that gels well into the over-all musical arrangements.
On My Way was far more intricate and mellow with haunting male backing vocals echoing throughout whilst Jones' delivery is easy-going and seamless whereas more upbeat is the so-so purley Pop-oriented Dream.
Seduction Surrender has some spark and ignition in the musical arrangements but somehow seems lost amidst a rather ponderous production though nearly exactly the same could be said about Someone To Love. Someone To Love seems like its all about to come together and work but somehow doesn't sound fully formed where as Jones vocals are rather flat and far from enthusiastic.
Jones duets with Chris Stanley on the exotic late night R&B/Pop ballad, Don't Cry Freedom. Both are in good voice, though its Chris Stanley that surprisingly seems to hog the spotlight though there is still undeniable chemistry between these two singers on record. Even so, Don't Cry Freedom becomes slightly tedious once its reached the end of its second verse and the whole track doesn't seem to quite get off the ground.
The final track is the even drearier, Amado Mio. Opening with mellow and soothing sounds of the flamenco guirtar, the track then wildly steers direction turning into a manic, frantically arranged blend of pounding percussion, electric keyboards and a tenor saxophone solo. May sound good but its overly a bit of a mess and Jones does little to liven things up with a flat and slightly droning performance.
Bulletproof Heart (1989) was Grace Jones last fully conceived studio album. She seemed to have lost direction on the music scene even though in all fairness this did seem a highly self-concious and ambitious effort. Indeed there are highlights on the project but over-all its a rather pale reflection of past glories - just take a listen to her albums Warm Leatherette (1980) and Nightclubbing (1981) which were both pure masterpieces. Bulletproof Heart however, is perharps for completists only.
Ian Phillips
October 2006
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