Grace Jones ‎– Bulletproof Heart

Label:
EMI Gold ‎– 7243 5 78573 2 1, EMI Gold ‎– 578 5732
Format:
CD, Album, Copy Protected, Reissue, Remastered
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Tracklist Hide Credits

1 Driving Satisfaction
Written-By – Chris Stanley, Grace Jones
5:56
2 Kicked Around
Written-By – Chris Stanley, Grace Jones
5:38
3 Love On Top Of Love
Backing Vocals – Craig Derry, Jocelyn Brown, Martha WashWritten-By – David Cole, Grace Jones
6:14
4 Paper Plan
Written-By – Chris Stanley, Grace Jones
3:56
5 Crack Attack
Written-By – Chris Stanley, Grace Jones
5:22
6 Bulletproof Heart
Backing Vocals – Kenny Williams (2), Lani GrovesWritten-By – C Stanley*, G Jones*
4:10
7 On My Way
Backing Vocals – Diva GrayWritten-By – Chris Stanley, Grace Jones
4:26
8 Seduction Surrender
Backing Vocals – Diva GrayWritten-By – A Lasarenko*, Chris Stanley, Grace Jones, Jonathon Elias*
4:59
9 Someone To Love
Written-By – Chris Stanley, Grace Jones
4:50
10 Amado Mio
Producer – Sherman FooteWritten-By – Allan Roberts, Doris Fisher
5:21
Bonus Tracks
11 Dream
Written-By – Chris Stanley, Grace Jones
3:26
12 Don't Cry Freedom
Vocals [Male Vocal] – Chris StanleyWritten-By – Chris Stanley
4:14
13 Love On Top Of Love - Killer Kiss (Garage House)
Backing Vocals – Craig Derry, Jocelyn Brown, Martha WashWritten-By – David Cole, Grace Jones
7:10
14 Amado Mio (The Brazilian Mix)
Producer – Sherman FooteWritten-By – Allan Roberts, Doris Fisher
6:25

Companies, etc.

Credits

Notes

Digital Remaster ℗ 2004
The copyright in this compilation is owned by Capitol Records Inc.
© 2004 Capitol Records Inc.
© 2004 EMI Records Ltd.
The Copy Control logo is a trade mark of IFPI and is used under licence.
Printed in the EU.

Made in the EU. [disc]

Barcode and Other Identifiers

  • Barcode (Scanned): 724357857321
  • Matrix / Runout: EMI UDEN 5785732 @ 1 1-1-2-NL
  • Mastering SID Code: IFPI L047
  • Mould SID Code: ifpi 153F
  • Label Code: LC0542
  • Rights Society: bel BIEM
  • Price Code (F:): PM520

Other Versions (5 of 40) View All

Cat# Artist Title (Format) Label Cat# Country Year
CDP 7 91737 2 Grace Jones Bulletproof Heart(CD, Album) Capitol Records CDP 7 91737 2 Europe 1989 Sell This Version
CDP 7 91737 2 Grace Jones Bulletproof Heart(CD, Album) Capitol Records CDP 7 91737 2 US 1989 Sell This Version
264 7 91737 4 Grace Jones Bulletproof Heart(Cass, Album) Capitol Records 264 7 91737 4 Europe 1989 Sell This Version
7917371 Grace Jones Bulletproof Heart(LP, Album) Capitol Records 7917371 Portugal 1989 Sell This Version
066 791737 1 Grace Jones Bulletproof Heart(LP, Album) Capitol Records 066 791737 1 Brazil 1989 Sell This Version

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IanPhillips1979

IanPhillips1979

May 9, 2016

'Bulletproof Heart', like 'Inside Story' (1986) before it, was another foray into mainstream pop, with sprinklings of R&B, dance-pop and jazz on some numbers. While much of her work before was unique and could only be Grace Jones, here this all sounds like typical late 80s fodder. Even though some of the lyrics are indeed personal, she somehow manages to lose her identity on the album. This 2004 re-issue of the original 1989 album also includes two bonus tracks from the original sessions which wound up canned for years (and, quite frankly, on listening to them it's easy to see why).

Opening the album is the dance-pop number 'Driving Satisfaction' which comes complete with swirling, synthesized effects and a vastly seductive, sexually charged performance from Jones. Bearing a fast, funky rhythm, SFX of screeching tires and car horns mixed with rapid percussive patterns, 'Driving Satisfaction' is definitely a nod to her risqué, and somewhat notorious classic 'Pull Up To The Bumper', which had also been riddled with sexual innuendo. It becomes an almost contagious track after a couple of listens and is most certainly a grower, emerging as one of the better tracks to be found scattered on 'Bulletproof Heart'. On the other hand, it could also be described as slightly over-long, clocking in at over six minutes. Still, it's a good start to the album.

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 bag with a few highs but far more lows. Another anthem-like tune written by Jones and Chris Stanley, 'Kicked Around', features a ferocious, red-blooded Jones in S&M (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, at points sounding on the verge of 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. Her voice does, however, reach new levels of intensity.

The dance-pop sounds on 'Love On Top Of Love' works far better and 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 handful of hits, most notably with the catchy 'Things That Make You Go Hmmm'. David Cole works his commercial-like magic on Jones for this fabulously funky, infectious belter. Adding to its immediate effect is the use of male voices weaving in and out of the mix and a segment of exotic percussion. Jones delivery is surprisingly strong, vibrant and assertive and makes a perfect fit for her narrow vocal range. Though 'Love On Top Of Love' enjoyed much club recognition in its 12inch incarnation, the track all the more surprisingly bombed on the mainstream chart.

Unfortunately, the limitations of her vocal abilities surface on the straight-forward, routine ballad 'Paper Plan'. Her singing becomes an almost monotonous drone, which is actually a shame as here the lyrics are profound and poetic, but it's lost in the fairly tedious arrangement. She attempts to deliver gritty social commentary on 'Crack Attack' in which Jones inserts herself effectively into the complex musical arrangement. Bubbling with polyrhythms, an edgy beat, synth bursts and rattling percussion, this is another of the album's better offerings. Employing the rapping talent of Freedom may seem just a tad too desperate to be seen as relevant and contemporary and the lyrics could also be viewed as slightly gimmicky. Still, it makes for one of the more entertaining moments of the album.

The monster title track, 'Bulletproof Heart' alongside the superb 'Love On Top Of Love', is one of the recordings on the project that boasts such immediacy. From the thunderous opening intro (that sounds like it's been ripped-off from Michael Jacksons', 'The Way You Make Me Feel') to crashing, slamming musical effects, Jones ignites the track into a winner with her sassy, fiery performance that gels exceedingly well into the striking arrangement. Hosting prominent backing vocals and jerky rhythms, the arsenal of instruments include electric guitar and groaning sax.

'On My Way' is far more intricate and mellow and I'd even go so far to say is the best track of the entire album. Sometimes less is more, and here that is definitely the case. A brooding ballad, the haunting male backing vocals echo throughout whilst Jones' delivery is easy-going and seamless. As well as being the best cut, it's also the most experimental, with lots of weird electronics and sweeping synthscapes adding to its atmospheric feel.

More upbeat is the so-so, out-and-out pop-oriented 'Dream'. This is one of the bonus tracks and was originally shelved from the project in 1989. It's easy to see why as it does little to add to the album's variety. The opening sounds like its come straight from some American TV game show and the track doesn't really go anywhere. All oddly coy and simplistic for somebody as complex Grace Jones.

'Seduction Surrender' is a re-working of a number she performed in the 1986 cult comedy-horror flick 'Vamp'. Here it's toned down considerably and while it holds some spark and ignition in the music arrangement it somehow ends up lost amidst a rather ponderous production and 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, whereas Jones vocals are rather flat and sound far from enthusiastic.

Jones duets with Chris Stanley, her one-time husband, on the exotic, late-night pop ballad, 'Don't Cry Freedom'. Both are in good voice, though it's Chris Stanley that surprisingly hogs most of the spotlight. There is an undeniable air of chemistry between these two singers yet it becomes slightly laborious once it reaches the end of its second verse, the whole track not quite getting off the ground.

The final track is the ambitious but uneven 'Amado Mio', a cover of a song from the 1946 film 'Gilda'. Opening with mellow and soothing sounds of Latin guitars and some exchanged romantic dialogue between her sensitive singing and a spoken Spanish male vocal, the track then wildly explodes turning into a manic, frantically arranged blend of pounding percussion, electric keyboards, hypnotic drumming and a tenor saxophone solo. May sound good on paper but its really a bit of a mess and Jones does little to liven things up with another flat and droning performance.

'Bulletproof Heart' (1989) was Grace Jones last fully conceived studio album until 2008 when she returned with a vengeance with what is arguably the greatest album of her career - 'Hurricane'. Back to 1989 and here she seemed to have lost direction on the music scene even though in all fairness this did seem a highly self-conscious 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 perhaps strictly for completists only.

Ian Phillips