... Liquid Liquid ESG ZE Records mutant disco Grace Jones Kid Creole Arthur Russell ...

.... Island’s showcasing of the interlocking efforts of Black Uhuru, Grace Jones, and Sly Dunbar and Robbie Shakespeare contributed to the breakthrough of a set of Jamaican sounds that had previously enjoyed only an episodic presence on the New York party scene. Liquid Liquid ESG ZE Records mutant...

...,” “It Should Have Been You,” and “Getting Hot” for the subsidiary label 4th & Broadway and also completing unreleased remixes of Grace Jones’s “Feel Up” and “Pull Up to the Bumper.” Although Levan enjoyed a remarkably low profile in the city and no national profile to speak of, influential figures from...

..., the Bush Tetras, Grace Jones, and Talking Heads, championed the shift. Meanwhile disco labels such as Prelude, Salsoul, and West End began to cultivate a rawer sound that took disco back to its R&B roots. Michael Zilkha ZE Records Ed Bahlman 99 Records Chris Blackwell Island Records ...

.... Island’s showcasing of the interlocking efforts of Black Uhuru, Grace Jones, and Sly Dunbar and Robbie Shakespeare contributed to the breakthrough of a set of Jamaican sounds that had previously enjoyed only an episodic presence on the New York party scene. Liquid Liquid ESG ZE Records mutant...

... Uhuru, Gregory Isaacs, and Pablo Moses along with the conventional rock of u2 and Steve Winwood) with the mongrel (the dub-vocoder-electronics of Set the Tone and Grace Jones’s third Compass Point album, Living My Life ). Blackwell also started to head to the Paradise Garage and, impressed by Levan...

... single, “Don’t Make Me Wait,” combined soul, disco, dub, and rock. During 1981 Levan also began to work with Island Records, reworking Gwen Guthrie’s “Seventh Heaven,” “It Should Have Been You,” and “Getting Hot” for the subsidiary label 4th & Broadway and also completing unreleased remixes of Grace...

... 99 Records also championed a hybrid sound that combined elements of rock, punk, no wave, reggae, dub, and disco. Artists and lineups, including Blondie, the Bush Tetras, Grace Jones, and Talking Heads, championed the shift. Meanwhile disco labels such as Prelude, Salsoul, and West End began...

... architecture of the cold war? This essay listens closely to the musical cinema of Hong Kong and Taiwan of the 1960s in order to answer these questions. Jones focuses on the Hong Kong diva Grace Chang and her appropriation of Afro-Caribbean genres, such as mambo and calypso, in a series of high-flying...

... of the cold war? This essay listens closely to the musical cinema of Hong Kong and Taiwan of the 1960s in order to answer these questions. Jones focuses on the Hong Kong diva Grace Chang and her appropriation of Afro-Caribbean genres, such as mambo and calypso, in a series of high-flying transnationally...