Nightclubbing, which turns 40 this week, would be iconic even if it was only half as good, thanks to Jean-Paul Goude’s fantastic cover painting.
But drop the needle anywhere and it’s an all-time classic, one of the jewels in Island Records’ crown and hugely influential: arguably its mashup of new wave, reggae, synth pop, disco and Caribbean flavours blueprinted the sound all the key New Pop acts of 1982/1983 (Talking Heads, Kid Creole, Spandau Ballet, Duran Duran, ABC, The Associates, Simple Minds, Thompson Twins et al) sought.
(Some, of course, went route one and employed Nightclubbing co-producer and movingtheriver.com favourite Alex Sadkin.)
But you might also call it Grace’s covers album – it features not one but six classics, if you count ‘Libertango’ and the Marianne Faithfull’s previously-co-written-but-never-recorded ‘I’ve Done It Again’ (Sting lent her ‘Demolition Man’ before laying it down with The Police).
She revolutionises Flash & The Pan’s ‘Walking In The Rain’ (her androgynous alto freaked me out when I first heard it as kid, there was just no reference point…) and compare her funky, succinct ‘DM’ to The Police’s ponderous, overblown version.
On a good system Nightclubbing‘s sonic details delight: the tambourine commentary throughout ‘Use Me’, Sly Dunbar’s dub-delay cross-sticks on ‘Walking In The Rain’, Grace’s whispered chorus on ‘Art Groupie’. The Compass Point All Stars, particularly man-of-the-match Wally Badarou on keys, are perfectly poised to provide such moments.
But there is a weird quirk – the mastering. The album seems to get quieter as it goes along, at least on the original CD version. ‘Demolition Man’ requires some serious crankage. I’m not sure if subsequent reissues have rectified that.
Nightclubbing was NME’s album of the year for 1981 and it got to #32 on the US Billboard chart, a certified crossover hit. You might even say that the 1980s Proper started here, and it helped make 1981 one of the greatest ever pop years.
And we haven’t even mentioned Grace’s electrifying One-Man-Show that accompanied the album, directed by Goude, taking place at London’s Drury Lane Theatre and New York City’s Savoy. It was surely a huge influence on everyone from Laurie Anderson to Annie Lennox.