Description 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 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 Billboardmainstream 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)".Critics and scholars have noted the album's influence on popular music, especially how its unique sound has been emulated by both pop and alternative acts, and how the persona Jones adopted – deeply influenced by art and fashion – has had an enduring influence in modern female pop singers. Around the time of the album's release, she adopted her characteristic androgynous look which would become popular in fashion. Nightclubbing is now widely considered Jones' best studio album[1] and the record that cemented her pop icon status.Jones was a popular fashion model and Studio 54 habituée before starting her recording career.[3] Her first three albums "were heavily influenced by disco and cemented her presence in the club scene."[4] These records "operated around the camper end of the spectrum," and built a large gay cult following around the singer.[3][5] According to Pitchfork, these albums "were fun but somewhat facile, cover-filled reflections of the druggy hedonism of the disco era". T. Cole Rachel writes: "For someone whose very image was seen as somehow deeply transgressive, Jones' music had not yet caught up."[6] When her 1977 rendition of Edith Piaf's "La Vie en rose" was an international hit, she caught the interest of Chris Blackwell, the founder of Island Records.[3] After Jones' 1979 album Muse found little success in nightclubs and charts, he took over as her producer.[7] He sought to "treat her not as a model, but to involve her as a musician", and wanted "her to feel as though she were a member of a band, and record her the way bands used to make albums, with the singer and the players doing their thing all at once."[7] Blackwell assembled a sextet of studio ringers at his Nassau studio, Compass Point, pulling together a band that included Sly and Robbie (consisting of bass guitarist Robbie Shakespeare and drummer Sly Dunbar), French keyboardist Wally Badarou,[8] guitarists Mikey Chung and Barry Reynolds, and percussionist Uziah Thompson. Jones has described the group as "the united nations in the studio".[6]As the disco backlash began in earnest, Jones veered towards the contemporary new wave style.[9] Blackwell had been impressed by Black Uhuru's 1980 album Sinsemilla and, along with engineer Alex Sadkin, decided that Jones' new sound should take elements from that record's sonority.[2] Besides reggae, the band also incorporated dance music. Sly Dunbar said, "We loved dance music, we'd listen to everything, because we were always working and wanting the reggae we did to move a bit forward, so anything that we could drag to it, we would bring that – as ideas, or as musicians coming to play with us."[2] Ditching the camp quality of Jones' previous work, Blackwell realised new forms around the likes of The Pretenders' "Private Life", Roxy Music's "Love Is the Drug" and The Normal's "Warm Leatherette"; Ian Wade of The Quietus writes: "Nightclubbing was where all these ideas coalesced into perfection."[3] The band Blackwell assembled later became known as the "Compass Point Allstars", taking up residency in the Bahamian studio and animating hits by Tom Tom Club, Robert Palmer, Joe Cocker and Gwen Guthrie, among others.[2][7]The recording sessions "moved with disarming speed and ease"; Blackwell recounts: "If Grace or the group hadn't nailed a song by the third take, it was dropped and they'd move to the next number." Although the band was initially called upon in early 1980 to work on a single album, they ended up recording far more material than could fit one LP. As a result, these sessions resulted in two studio albums: Warm Leatherette – released in 1980 – and Nightclubbing. Final overdubs and additional songs were recorded during 1981. Wally Badarou has recognised Jones' active role in the sessions, stating: "Grace was there even during most instrumental overdubbing sessions. She was a part of the sound and the spirit that came out almost from nowhere. We all knew we were in for something quite experimental."Side oneNo.TitleWriter(s)Length1."Walking in the Rain"Harry Vanda, George Young4:182."Pull Up to the Bumper"Grace Jones, Koo Koo Baya, Dana Mano4:413."Use Me"Bill Withers5:044."Nightclubbing"David Bowie, Iggy Pop5:06Side twoNo.TitleWriter(s)Length5."Art Groupie"Jones, Barry Reynolds2:396."I've Seen That Face Before (Libertango)"Ástor Piazzolla, Reynolds, Dennis Wilkey, Nathalie Delon4:307."Feel Up"Jones4:038."Demolition Man"Sting4:039."I've Done It Again"Reynolds, Marianne Faithfull3:51 Why not look at the other items we have for sale while you're here?we also combine postage and costs on multiple purchases . Happy Bidding! Please note: *Postage will be tracked and signed for (UK only).(Note: Will consider overseas sale with the difference paid for by buyer.) *That all items are described as accurately as possible. 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