Customer Reviews

Bulletproof Heart (Rmxs)

5 star:		(4)
4 star:		(4)
3 star:		(3)
2 star:		(3)
1 star:		(2)

 

 

An excellent album from Grace Jones. This is one of best albums. If it had been better promoted it would have been a return to Grace Jones being the Queen of the Alternative Lifestyler nightclubs. Here are the tracklistings.
1. Dreams (bonus track)
2. Love On Top of Love (the first single)
3. Kicked Around
4. Seduction Surrender
5. Bulletproof Heart
6. Crack Attack
7. On My Way
8. Someone to Love
9. Driving Satisfaction
10. Paper Plan
11. Don't Cry Freedom (with Chris Stanley)

12. Amado Mio

This is a rather good album, it's a shame it has been overlooked by many. It is somewhat disjointed though, I must agree with one amazon reviewer (Ian Phillips "1989 Studio Album"...by the way that review, in my opinion, gives a great portrayal of the album). There are some fillers here, so be warned. The good tracks are "Love On Top Of Love" (the most well known single off this album, and not the best one either), "Driving Satisfaction", "Bulletproof Heart", "Amado Mio" & "On My Way". Those last two tracks are designed to infuse some continental (European) flava "a-la-Grace" with some spanish and french undertones respectively. Tres chic, you'd better agree or you'll be slapped by Ms. Jones. There are some great remixes of the tracks off this album available out there, namely "Amado Mio (Brazilian Mix)" and "love On Top Of Love" (both the Garage House Mix & the Killer Kiss Mix) for the clubbers at heart. I believe these two are included as bonus tracks on the newly remastered CD. Now go put some Grace in your face.

Nineteen years elapsed between the release of Bulletproof Heart and Hurricane. On both Grace Jones acted as co-writer and co-producer. Bulletproof Heart's blend of styles has improved with age and it's not clear why some fans dissed this work when it was released in 1989. Robust & romantic singing replaces the menacing spoken delivery that appeared on, but by no means dominated, Warm Leatherette and Nightclubbing. BH consists of melodious power ballads and dynamic dance tracks courtesy of David Cole & Robert Clivilles and Chris Stanley who assume the role of Sly & Robbie on this magnificent album.

With its fast funky rhythm, Driving Satisfaction's screeching tire & car horn sound effects recall her risqué classic Pull Up To The Bumper from Nightclubbing, and the fast pace continues on Kicked Around where Grace wails like a soul or gospel pro, her voice conveying heartfelt emotion. The tempo slows somewhat for the buoyant Love On Top Of Love with its male voices weaving in & out of the mix and a snippet of echoing percussive raps that one associates with a séance.

On the grand ballad Paper Plan, Grace commands the stirring lyrics with aplomb; then the polyrhythms bubble up again on Crack Attack under the voice of a male rapper. An edgy beat, dramatic bursts of synth and percussion of the rattling & chirping variety make this one stand out. On the title track, prominent lead & backing vocals interact with an arsenal of instruments including electric guitar and squealing sax over jerky rhythms. In contrast, On My Way is a brooding ballad rendered other-worldly by a variety of samples, echoed vocals, sweeping synthscapes and electronic oddities whilst Seduction Surrender is built around jungle drumming and eerie vocals, not unlike a track or two on Hurricane.

The balladesque tracks includes the aforementioned Paper Plan and On My Way but Someone To Love and Amado Mio lift the album to stellar heights, being amongst the most memorable songs of her career. Tenderness alternates with exuberance on both - the rousing Someone To Love with its addicting melody and French infusions, and the majestic Amado Mio which is the album's masterpiece. This one opens with a dialogue where she sings in affirmation of a spoken Spanish male vocal whereafter the track erupts in a Wagnerian surge of thundering drums, skittering percussion and whistles that eventually gives way to softer segments of accordion and romantic French vocals, all falling perfectly in place through Grace's vocal prowess.

The 2004 CD re-issue of Bulletproof Heart includes four additional tracks, all good, although the duet Don't Cry Freedom with Chris Stanley and the Brazilian mix of Amado Mio are the glittering prizes. A pop-dance album like its 1986 predecessor Inside Story, Bulletproof Heart may not be Jones' most experimental work but it has grown in stature. I would suggest that Amado Mio alone is worth the price of the album.

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 her.

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 70's.

Opening the album is the cool, Funk-driven Dance number, Driving Satisfaction which comes complete with swirling, synthesised effects and a vastly seductive, sexually charged performance from 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 extremely freaky) mode as she scowls through this tale of self-esteem, fighting back and getting even with ex-lovers. Her performance has spirit and fire though is a little on the frail side and at points 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 in a 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

I always look forward to anything Grace Jones whips up but this collection
just lacked her usual energy and production quality. Maybe it was the
times, the late 80's were starting to move away from the fun and creativity that brought out the likes of Jones' work earlier in the decade and
I'm sure Grace was trying to do new things and work with different musicans, but most of these cuts didn't
do much for me,( I did like some of the remixes) I enjoyed "On my way", "Love on top of love", Amado Mio",
and the first cut was fun, "Driving Satisfaction", but Grace is a talented
performance artist who is not part of the assembly line of singers, she
floats on her own boat, she's all over the place with sound and vision
to spear, this just didn't come over as it should. Move ahead 19 years
and here comes HURRICANE, more like the Grace we all know she can be.

I love Grace Jones and I bought this LP when it was first released. Later I replace it with a CD version of it. But honestly I only did it in order to keep my Grace Jones CD collection updated. And (again) honestly, this album was already a disappointment when it was released - and remains a disappointment.

Why is it a disappointment? Because it only has two or three good (not great) songs glued together with some horribly produced tracks that look like rejected demos. They sound like plastic with all those synth clichés from the 80's. And many of them really seem to have been written for some other voice. It is weird that the amazing energy we find in Grace's previous albums is nowhere to be found here - except LOVE ON TOP OF LOVE and AMADO MIO that manage to rescue some of Grace's magic.

It is no wonder that after such a disappointing album like this, Grace spent 19 years before the release of a new one.

Sad, sad, sad.

Length:: 1:32 Mins

Grace Jones present's A Bulletproof Heart, a love story, a drama, tragedy, or a comedy it's definately a mix of sounds. Her vocals are strong, passionate, even too intense for some of the music presented here. the track Kicked Around is good, coulda been better with a hard rock sound to match her kickass vocals. A few of the tracks simply don't fit,compared to the steller production of other tracks. "love on top of love" is one of the standout tracks with it's newjack beats. "bulletproofhear" is a stomping track that could easily be remade,by "Marilynmanson"it possibly influenced his track "beautifulpeople". This recod is simply grace defying be pigeon holed into dance diva. With her own nuwave,disco,raga,broadway stylings. recomended tracks..
on my way
seductive surrender
amado mio
love on love "garagemix"..

Nineteen years elapsed between the release of Bulletproof Heart and Hurricane. On both Grace Jones acted as co-writer and co-producer. Bulletproof Heart's blend of styles has improved with age and it's not clear why some fans dissed this work when it was released in 1989. Robust & romantic singing replaces the menacing spoken delivery that appeared on, but by no means dominated, Warm Leatherette and Nightclubbing. BH consists of melodious power ballads and dynamic dance tracks courtesy of David Cole & Robert Clivilles and Chris Stanley who assume the role of Sly & Robbie on this magnificent album.

With its fast funky rhythm, Driving Satisfaction's screeching tire & car horn sound effects recall her risqué classic Pull Up To The Bumper from Nightclubbing, and the fast pace continues on Kicked Around where Grace wails like a soul or gospel pro, her voice conveying heartfelt emotion. The tempo slows somewhat for the buoyant Love On Top Of Love with its male voices weaving in & out of the mix and a snippet of echoing percussive raps that one associates with a séance.

On the grand ballad Paper Plan, Grace commands the stirring lyrics with aplomb; then the polyrhythms bubble up again on Crack Attack under the voice of a male rapper. An edgy beat, dramatic bursts of synth and percussion of the rattling & chirping variety make this one stand out. On the title track, prominent lead & backing vocals interact with an arsenal of instruments including electric guitar and squealing sax over jerky rhythms. In contrast, On My Way is a brooding ballad rendered other-worldly by a variety of samples, echoed vocals, sweeping synthscapes and electronic oddities whilst Seduction Surrender is built around jungle drumming and eerie vocals, not unlike a track or two on Hurricane.

The balladesque tracks includes the aforementioned Paper Plan and On My Way but Someone To Love and Amado Mio lift the album to stellar heights, being amongst the most memorable songs of her career. Tenderness alternates with exuberance on both - the rousing Someone To Love with its addicting melody and French infusions, and the majestic Amado Mio which is the album's masterpiece. This one opens with a dialogue where she sings in affirmation of a spoken Spanish male vocal whereafter the track erupts in a Wagnerian surge of thundering drums, skittering percussion and whistles that eventually gives way to softer segments of accordion and romantic French vocals, all falling perfectly in place through Grace's vocal prowess.

The 2004 CD re-issue of Bulletproof Heart includes four additional tracks, all good, although the duet Don't Cry Freedom with Chris Stanley and the Brazilian mix of Amado Mio are the glittering prizes. A pop-dance album like its 1986 predecessor Inside Story, Bulletproof Heart may not be Jones' most experimental work but it has grown in stature. I would suggest that Amado Mio alone is worth the price of the album.

Time has been kind to Grace Jones who co-wrote and co-produced most of the tracks on this 1989 album. The amalgam of styles on Bulletproof Heart sounds better than ever and it's not at all clear why some fans disliked this work when it was released. There's little of the menacing half-spoken vocals first introduced on Warm Leatherette and much real singing on a variety of power ballads and dynamic dance tracks. David Cole and Robert Clivilles of C + C Music Factory fame and Chris Stanley are the Sly & Robbie of this magnificent album.

With its fast funky rhythm, SFX of screeching tires and car horns plus swirling percussive patterns, Driving Satisfaction has just a hint of her risqué and notorious classic Pull Up To The Bumper from Nightclubbing. Still on the fast track, Kicked Around has Grace wailing like a soul or gospel belter, her voice reaching striking levels of intensity. The tempo slows down a bit for the bouncy Love On Top Of Love with its innovative arrangement that includes male voices weaving in & out of the mix and a segment of exotic percussion that sounds like the knocking of a poltergeist.

On the straight melodious ballad Paper Plan, Grace delivers the profound and poetic lyrics with aplomb before the polyrhythms bubble up again on Crack Attack which is introduced by a male rapper. With its edgy beat, synth bursts and rattling percussion that includes charming chirps, it's a tour de force. The impressively arranged title track with its prominent backing vocals and jerky rhythms boasts an arsenal of instruments including electric guitar and moaning sax, whilst the brooding ballad On My Way is the most experimental number containing a variety of samples, weird electronics, sweeping synthscapes and echoed vocals. It and the following track Seduction Surrender with its jungle drumming and eerie vocals most resemble the atmospheric electronics of the 2008 album Hurricane.

The aforementioned Paper Plan is joined by the equally tuneful and catchy ballads Someone To Love and Amado Mio, both of which count amongst the most memorable songs of her career. In seamless sequences of tenderness and exuberance, one moment Grace's voice soars on the rousing Someone To Love with its stirring melody, and the next she gets all soft and sensual again in whispered and spoken French. The majestic Amado Mio is the album's masterpiece. Introduced by a romantic dialogue between her sensitive singing and a spoken Spanish male vocal, the song explodes in a Wagnerian surge of hypnotic drums, skittering percussion and whistles that eventually alternates with softer segments of accordion and romantic French vocals, all held perfectly in place by Grace's vocal prowess.

The 2004 CD re-issue of Bulletproof Heart includes four additional tracks, of which the duet Don't Cry Freedom with Chris Stanley, the garage-house `Killer Kiss' remix of Love On Top Of Love and the Brazilian mix of Amado Mio are the best. A pop-dance album like its 1986 predecessor Inside Story, Bulletproof Heart may not be Jones' most experimental work but it remains an excellent album that has stood the test of time very well. If her fans knew they would have to wait 19 years for the follow-up, they probably would have appreciated it more.