Evile Infected Nations(promo)by vitor tormentor metal4ever.net.rar mediafire.com, file size: 127.9 MB Rise of nations Mediafire Download. As an file sharing search engine DownloadJoy finds infected nations evile uploaded files matching your search criteria among the files that has been seen recently in uploading sites by our search spider. Allegedly Nile Rodgers and Grace Jones did not get on at all well and the recording sessions for Inside Story were a little intense. Following on from her Reggae/Funk/Rock/New Wave infused albums such as the excellent Warm Leatherette (1980) and the critically-acclaimed Nightclubbing (1981), Inside Story (1986) divulged Jones.

Contents.Background Having achieved a major success with the comeback album and the best-selling hits compilation, both in 1985, Grace Jones delivered her next album the following year. Released under her new contract with, Inside Story saw Jones working with producer of (Jones had previously tried to work with the band during the disco era ). The album was recorded at Skyline Studios in New York and post-produced at Atlantic Studios and Sterling Sound.

Inside Story is notable for being Jones' first foray into production, which resulted in frequent, heated clashes with Rodgers. Musically, the album explores varieties of pop music, with elements of jazz, gospel and Caribbean sounds, marking the point when Jones turned towards a more accessible, commercial sound. All songs were written by Grace Jones. The artwork for the album was designed by, who had previously worked with Jones on artwork for the '70s albums, and.The release of Inside Story was surrounded by Manhattan Records' 'most extensive marketing and merchandising campaign ever', as described by the magazine. The promotional strategy would include magazine and newspaper advertisements, street posters, radio spots and more, with the record company targeting the US market, where Grace had never been a mainstream pop star. Eventually, Inside Story would become one of Jones' greatest album successes, making the top 40 in a number of European countries. Despite being her lowest-charting album in the UK, it still sold well enough in the British market to be certified silver there.

The album also remains her last entry to date on the US albums chart.A remastered, edition of the album was released in 2004 on, along with. Unlike the latter, the re-released Inside Story came with no bonus tracks.In the 2015 book I'll Never Write My Memoirs, Jones stated: 'When I listen to Inside Story, I can hear the energy of what was going on the moment it was made. It's where I was at the time. Nile's ear was different from mine, and he was responding to his idea of me, and it was an American Nile production, with all that entails, but I think it is beautiful. There were other ways of doing that material, but I like how it ended up. I don't listen to all my records, but I play that one a lot, because it is interesting to hear what Nile was thinking.'

Singles ' became the album's lead single, accompanied by a popular music video. The song would become one of Jones' most successful singles and her highest (as well as last ever) entry on. ' was released at the end of 1986 to very modest success, only making the top 40 in Italy.The third single was different for the North American and European markets. The R&B-influenced ' was chosen for the US and Canada, while the European market received the jazzy '. Neither single, released in spring 1987, achieved chart success.Track listing All tracks are written. Side one No.TitleLength1.' Hollywood Liar'3:503.'

Chan Hitchhikes to Shanghai'4:334.' '3:44Side two No.TitleLength6.'

Barefoot in Beverly Hills'4:078.' Scary But Fun'3:559.' White Collar Crime'4:5910.' Inside Story'4:31Personnel. Scott Ansell – sound engineering. Richard Bernstein – computer image.

Knut Bohn – engineering. Greg Calbi – mastering. Barry Diament – digital editing. Steve Elson – baritone saxophone, flute.

James Farber – recording, mixing. Mac Gollehon – trumpet. – alto saxophone. Grace Jones – vocals, production. Kevin Jones – digital interfacing, sequencing, drum programming.

– tenor saxophone. – production, arrangements. Budd Tunick – production managing. – arrangementsChart positions Weekly charts. ^ Ron Wynn.

Retrieved 2006-12-28. Robert Christgau. Retrieved 2012-04-12. Retrieved 2012-04-19. Google Books.

Retrieved 2011-03-29. Jones, Grace; Morley, Paul. I'll Never Write My Memoirs. P. 303. (1993). Australian Chart Book 1970–1992 (Illustrated ed.).

Sydney: Australian Chart Book. P. 160. (in German).

Archived from on 2010-10-31. Retrieved 2009-11-10. Www.charts.de (in German). Retrieved 2012-04-05.

(in German). Retrieved 2009-11-10. Retrieved 2009-11-10. Archived from on 2012-10-24.

Retrieved 2009-11-10. (in German). Archived from on 2010-08-02. Retrieved 2009-11-10. Retrieved April 4, 2016. ^.

Retrieved 2009-11-11. Retrieved 2012-04-05.

Retrieved 2012-04-05. Select albums in the Format field.

Select Silver in the Certification field. Type Inside Story in the 'Search BPI Awards' field and then press Enter.External links. on.

on. on.

The Grace Jones Story Label: IslandUS Release Date: Available as importUK Release Date: 2006-06-05What exactly is Grace Jones' legacy? A hedonistic disco queen? An androgynous new-wave android?

A snarling feline captured in photographs by Jean-Paul Goude? Will she be remembered less for her stunning version of 'La Vie En Rose' and more for slapping Russell Harty across the face on live television in 1981? The Grace Jones Story doesn't answer these questions but it does confirm that Ms. Jones' contributions to popular music warrant a closer listen.

To adequately assess The Grace Jones Story is to understand that three distinct phases shape Grace Jones' singing career. And not all phases are created equally.Phase I: Disco Queen, 1977-1979Denizens of Studio 54 might feel sentimental towards disc one of The Grace Jones Story. It's the most comprehensive summary yet of Jones' three albums with legendary disco producer Tom Moulton on his Beam Junction label. While other compilations by Island Records have merely touched this era ( Island Life, 1985) or disregarded it completely ( Private Life: The Compass Point Sessions, 1998), The Grace Jones Story revels in all its strobe-lit glory.Beginning with Portfolio (1977), the most essential of these albums, Jones morphed from ex-pat Parisian model to disco queen.

Nearly all tracks from her debut are represented on The Grace Jones Story. A modern analysis of this material suggests that some cuts were merely lightweight fodder to attract a gay audience (ersatz disco versions of 'Send in the Clowns' and 'What I Did for Love') but others prove Jones' prowess as a song stylist. 'I Need a Man' is perhaps the most exciting disco tune Jones ever recorded.

The frantic arrangement somehow makes room for her leering delivery. Hear how she phrases 'Why I’m feeling lonely, why' and punctuates it with an 'uh'. Classic.Subsequent releases Fame (1978) and Muse (1979) were not entirely unpleasant but did little to build on the strengths of Portfolio. Both albums contained side-long medleys, which the compilation producers have severely truncated here to pad The Grace Jones Story. The 'Sinning/Suffer/Repentance/Saved' medley from Muse, for example, is represented by 'Sinning” and “Saved', but the effect is the aural equivalent of a torn photograph. More satisfying are the non-medley songs from Fame and Muse.

'Am I Ever Going to Fall in Love in New York City' is a delightful slice of disco fluff and on 'Don't Mess with the Messer', Jones emulates Marlene Dietrich in the spoken word intro. You can almost see the dry ice, sparkling jewels, and bikini-clad male dancers envelop her on these cuts. At best, the disco tunes are campy artifacts of a bygone era - fun to listen to and place in context but no grand artistic achievement.Of the Moulton productions, 'La Vie En Rose' (from Portfolio) survived the disco era with dignity because it bears the least resemblance to the largely indistinct cuts from the Moulton albums. Often spun as the sunrise opened the eyes of disco dwellers after all night dancing, 'La Vie En Rose' proved that Jones could belt with the best of the disco divas, given the right tune and arrangement. Jones' deftness for interpreting songs would bring her a 'new wave' of success at the dawn of the 1980s.

Grace Jones - La Vie En RosePhase II: New Wave Icon, 1980-1982'Sentimental gestures only bore me to death'. Robotically intoning these seven words on Chrissie Hynde's 'Private Life', Jones essentially shed the skin of disco diva and became an icon of androgyny in the new wave era. Producers Sly Dunbar and Robbie Shakespeare guided Jones' stylistic transformation on Warm Leatherette (1980), her first album on Chris Blackwell's Island Records. Melding rock, reggae, and new wave with a glossy production sheen, Sly and Robbie cannily matched Jones with material ripe for reinterpretation: the title track by Normal, the Hynde composition, Smokey Robinson's 'The Hunter Gets Captured By the Game', Tom Petty's 'Breakdown', and 'Love is the Drug' by Roxy Music.

The Grace Jones Story serves up four key tracks from this landmark album plus a manic cover of Joy Division’s 'She's Lost Control' (a B-side from the “Private Life” single).Nightclubbing followed Warm Leatherette in 1981 and quickly topped lists of critics who likely thought very little of Fame or Muse. Improving on the ingredients that made Warm Leatherette such a revelatory piece, Nigtclubbing successfully crossed-over to the pop and R&B charts. Out of the NYC club ghetto and onto the airwaves sprung the massive hit 'Pull Up to the Bumper'. Unfortunately the producers of The Grace Jones Story opt for the edited single version, again packing as many cuts onto an 80-minute disc as possible at the expense of fully realizes performances.

Grace assumed a monotone voice to perform the title track, written by David Bowie and Iggy Pop. Its languid rhythm symbolized the New York nightlife hangover from the late '70s.

It, along with 'Waling in the Rain', the tango-ish 'I’ve Seen That Face Before', and a cover of 'Use Me' by Bill Withers, boasted Jones' natural flair for creating a character in a song.Completing the trilogy of albums recorded with Sly and Robbie in Jamaica, Living My Life (1982) stood firmly on the strengths of Jones' impressive songwriting. 'My Jamaican Guy' and 'Nipple to the Bottle' consistently rotated on the DJ turntables and even 25 years later retain a vibrancy uncommon to other club hits of the era. Without Sly and Robbie dressing Jones' artistic vision though, her future releases were less consistently listenable. Grace Jones - Love Is a DrugPhase III: MIA, 1985-presentJones only recorded three albums between 1985 and 1989 so the contemporary Grace Jones is at least 15 years old. A grave omission to this set is the Trevor Horn-produced 'Slave to the Rhythm' (1985) from the album of the same name. (Perhaps an intentional move so a customer is forced to buy yet another compilation?) Instead, 'I’m Not Perfect (But I’m Perfect For You)' from Inside Story (1986), 'Someone to Love' and 'Love on Top of Love' from Bulletproof Heart (1989), and the 'Sex Drive' single from 1992 are included.

Generally weaker than her work with either Sly & Robbie or Tom Moulton, theses songs are horribly dated because of mid-'80s production standards, i.e. Soulless drum machines and synthesizers. Rumors about new material persist, but no recordings have yet surfaced.So how vital is The Grace Jones Story when there are at least five other compilations on the market?

It's certainly the best looking collection. In addition to an illustrated discography, original photographs by David Corio document Jones' singular stage presence.

His powerful images are the perfect complement to the music, particularly the Sly & Robbie era. (Note the shots of Grace with accordion were captured during a performance of 'La Vie En Rose'.) It is also the best sounding collection. Only the remastering on the 1998 Private Life set competes with The Grace Jones Story. The hard-to-find Moulton productions are crisp and clear, unlike the poorly-mastered CD version of Portfolio.There's no denying that The Grace Jones Story is the most thorough of all compilations.

All eras are represented with perhaps a little too much attention towards the disco era in lieu of stronger material, i.e. 'Slave to the Rhythm' is more crucial to the Grace Jones discography than sliced and diced disco medleys. I'd also take the full-length version of 'Pull Up the Bumper' over Jones' eight-minute rant on 'She's Lost Control'. These are only personal preferences, though, and the reality is no single Grace Jones compilation will completely satisfy every fan.

However, for those just getting to know the music of Jones or dare to know more, The Grace Jones Story is the perfect primer.