Track Listing

1. Driving Satisfaction
2. Kicked Around
3. Love On Top Of Love
4. Paper Plan
5. Crack Attack
6. Bullet Proof Heart
7. On My Way
8. Seduction Surrender
9. Someone To Love
10. Amado Mio
11. Dream
12. Don't Cry Freedom
13. Love On Top Of Love-Killer Kiss (Garage House Mix)
14. Amado Mio (The Brazilian Mix)

Product Details

• Amazon Sales Rank: #21042 in Music
• Released on: 2004-05-17
• Number of discs: 1

Customer Reviews

Amado Mio
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.

1989 Studio 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.

Bulletproof Heart. More like Bulletproof ear Drums!
If I could sum this album up in one word that word would be 'fabulous'.

It may not be graces finest recording, indeed it could possibly be her worst however personally I love it.

I don't know whether it was Graces own idea, or the idea of one of her producers to decide to completely axe all of her credibility all in one go, but that's what they did. The result is quite possibly one of the cheesiest, cringeworthy albums of all time.

Being a cheesemeister, I love it. The best attempts on there are 'Dreams' [catch the game show introduction], 'Paper Plan' [ooh, just listen for the lyrics 'marriage of the heart' this is the most nauseating part of the album - wonderful], and 'Crack Attack' [this is a winner of a tune, Grace takes a drag of her 'blow' at the outset and from then on in the result is marvellous.]

I cannot recommend this album more highly, especially for those of you with a sense of humour. I play it incessantly. For true Grace fans it is essential, as all of her albums are - this may not be another Fame, or Portfolio but give it a go. There are also a couple of previously unreleased remixed on the end; these are not on the original I own but are worthy additions.

In short, please purchase this and have a laugh at Graces's expense. We may love her, but we'd prefer to laugh at her. Ho ho ho Ms Jones.