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8.0
1932
8.0 |
musicOMH
There was always a whisper of style-over-content about Grace Jones; the Warhol muse who happened to be in the right place at the right time. In its best moments, Hurricane puts any such rumours to bed.
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8.0
1936
8.0 |
Spin
Jones has always savored extremes, and here, she's alternately demonic (the toothy gleam of ""Corporate Cannibal"") and angelic (the gloriously autobiographical ""Williams' Blood"").
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8.0
1938
8.0 |
The Quietus
Jones has created one of the most sprightly and assured albums you'll hear this year. The terrific production knows exactly when to ratchet up the menace, the sex, the emotion, the dance and, crucially, not becomes overblown.
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7.5
1935
7.5 |
Pitchfork
""Well Well Well"", ""Sunset Sunrise"", and the creeping ""Love You to Life"" are all reggae-rock hybrids that would fit any year in the past 30, and the pummeling slo-mo electro-dub of title track a statement of purpose if ever there was one.
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7.0
1933
7.0 |
NME
Unfortunately, it’s difficult to suppress the notion that by miring herself in the ’90s, inadvertently she occasionally sounds as dated as a dog-eared Northern Uproar poster.
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6.0
1934
6.0 |
Observer Music Monthly
Harking back to her hit albums by using the same group of Jamaican veterans
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6.0
1931
6.0 |
Evening Standard
She's less dated on Corporate Cannibal and the fiery title track, and once you get over the scary notion of Grace Jones emoting, I'm Crying (Mother's Tears) is not unmoving.
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6.0
1937
6.0 |
The Guardian
Grace Jones seems far too strange to adhere to the usual rules.
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