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Born in Kingston, Jamaica, Grace Jones later moved to New York City, US in the 1970s, in order to attend Syracuse University, where she studied theater. Upon graduating, Jones initially pursued a career as a model, finding many fans of her flamboyant, strikingly tall figure. She became a well known figure in the city's nightclub culture, soon landing a contract with Island Records in 1977.
Quickly becoming a star of the local disco scene, her early releases, 1977's "Portfolio," 1978's "Fame and 1979's "Muse" built Jones a large following amongst the gay community, although she failed to amass any mainstream success. Nonetheless, she became an iconic figure of this time, poised to break into a wider audience.
With the end of the decade, disco's popularity had begun to wane, with Jones looking towards the emerging new wave sound in order to progress her music. 1980's "Warm Leatherette" and 1981's "Nightclubbing" were to be Jones' breakthrough albums, finding international success and entering the charts in a number of European countries. Produced by the reggae duo Sly & Robbie, Jones found hits with the single "Pull Up to the Bumper" and covers of Iggy Pop's "Nightclubbing" and the Police's "Demolition Man."
After 1972's "Living My Life," Jones took a break from recording music, instead focusing on a growing number of film roles that included "Conan the Destroyer" and the James Bond film, "A View to a Kill." In 1975, she returned with the largely autobiographical "Slave to the Rhythm," enlisting Trevor Horn as producer. The release brought Jones her biggest chart success, which broke into the Top 20 in eight countries.
Teaming up with Chic's Nile Rodgers, Jones released "Inside Story" in 1986, which boasted the hit single, "I'm Not Perfect (But I'm Perfect For You)," which stormed up the charts internationally. Jones began to move away from her music career after the release of 1989's "Bulletproof Heart," focusing on an ever-increasing number of film roles the following decade. Aside from the 1993 single, "Sex Drive," it was not until 1998 that a new release arrived, "Private Life: The Compass Point Sessions," a collection of recordings Jones completed with Sly & Robbie during the early '80s.
In 2008, new material appeared, with "Hurricane" featuring a host of collaborations from Brian Eno, Wendy & Lisa, Tony Allen, amongst others. Three years later, the album was re-released with a bonus disc of dubs from producer Ivor Guest. Forever the performer, Jones continued to perform frequently, appearing regularly at festivals, as well as performing at the prestigious event for Queen Elizabeth II's Diamond Jubilee in 2012.
Born the daughter of Blue Peter presenter Janet Ellis and film producer and director Robin Bextor, Sophie’s earliest live performance came with the children's, “W11 Opera”, when she was 13. Ellis-Bextor subsequently made forays into indie music in 1997 by becoming Theaudience’s lead vocalist. Following the release of a debut, self-titled album, which spawned the singles “I Got the Wherewithal”, “If You Can’t Do It When You’re Young; When Can You Do It?”, and the No. 25 charting “I Know Enough (I Don’t Get Enough)”, the band were dropped by Mercury Records and Ellis-Bextor went solo.
Before releasing any original material, in 2000 the singer contributed vocals to the DJ Spiller instrumental track “Groovejet”, which subsequently topped the UK Singles Chart and earned regular rotation in clubs across the UK. A year later Ellis-Bextor issued her debut solo album “Read My Lips”. Rising to No. 2 on the UK Albums Chart, the record produced four Top 20 singles: Cher’s “Take Me Home”, the No. 2 “Murder on the Dancefloor”, “Get Over You / Move This Mountain”, and “Music Gets the Best of Me”. The record turned the singer into a national household name, however she also enjoyed success internationally with the album selling 2 million worldwide.
Following a supporting tour of the UK and Europe, Ellis-Bextor returned in 2003 to release her sophomore full-length “Shoot from the Hip”. Two tracks from the album were released as singles, “Mixed Up World” and “I Won’t Change You”, with the third and fourth being scrapped due to the singer giving birth to her first child. Debuting at No. 7 on the UK Albums Chart, Ellis-Bextor’s third studio album “Trip the Light Fantastic” was issued in May 2007. The disco-pop record, produced by Greg Kurstin, earned rave reviews and featured the likes of Fred Schneider, Richard Barone, Shelly Poole, and Cathy Dennis. In support of the record the singer toured opening for Geoge Michael and Take That, however had to cancel her own headlining tour.
In October 2008 Ellis-Bextor recorded a cover of Dolly Parton’s “Jolene”, which appeared on the soundtrack for the BBC2 sitcom “Beautiful People”. After which the singer contributed vocals to French DJ Junior Caldera’s track “Can’t Fight This Feeling” that later peaked in the French Top 20, and appeared on the Freemasons single “Heartbreak (Make Me a Dancer)”. In June 2011 Eliis-Bextor issued her fourth full-length “Make a Scene”, which was marked by more dance elements and influences than previous albums. Featuring collaborations with Calvin Harris, Richard X, Armin van Buuren, and Metronomy, the album was led by the single “Bittersweet”, and peaked at No. 33 on the UK Albums Chart.
Upon the announcement of a fifth studio album in May 2011, Ellis-Bextor began touring again, playing dates in Australia and Jakarta. Led by the single “Young Blood”, the album “Wanderlust” was released in January 2014, peaking at No. 4 on the UK Albums Chart. Representing her most ambitious album to date, “Wanderlust” incorporated folk, baroque and chamber pop elements and spawned the subsequent singles “Runaway Daydreamer” and “Love Is a Camera”.
Founded by Jazzie B in 1988, Soul II Soul began as a sound system playing records at house and street parties. Featuring a rotating cast of members including Nellee Hooper, Simon Law, Phillip “Daddae” Harvey, and Caron Wheeler, the band's debut release was the dubplate “FairPlay” in 1988, which secured them a deal with Virgin Records. Following the subsequent release of a few un-charting singles in 1988, the group rose to recognition with in 1989 with the release of “Keep on Moving”. The same year Soul II Soul issued the single “Back to Life (However Do You Want Me)”, which went on to top the UK Singles Chart for four consecutive weeks. Featuring Wheeler on vocals the single paved the way for the group’s debut album “Club Classics Vol. One” which also found the top spot of the UK Albums Chart.
Soul II Soul also enjoyed moderate success in the U.S. at this time with the single “Back to Life” reaching the Billboard 200’s Top 10. The band’s debut also secured the group two Grammy Awards for Best R&B Performance by a Duo or Group for “Back to Life” and Best R&B Instrumental for “African Dance”. The group’s sophomore album “Vol. II: 1990 - A New Decade” followed in May 1990 once again rising to the top of the UK Albums Chart. Led by the singles “Get a Life”, “A Dream’s Dream”, and “Missing You”, the album was recorded without Caron Wheeler, however earned the group three Soul Train Awards. A third album, “Vol. III: Just Right” arrived in 1992, which spawned the group’s last Top 10 hit, “Joy”.
The following year Soul II Soul released the greatest hits album “Vol. IV: The Singles 88-93”, which rose to No. 10 on the UK Albums Chart. Marked by a decline in sales, the band’s fourth full-length “Vol. V: Believe” was released in August 1995 peaking at No. 13, and was followed by “Time for Change” in 1997.
There’d no doubt be a very good case to suggest that Grace Jones is one of the most iconic pop stars of the past few decades; there’s no question, at least, that she’s one of the most colourful, with her iconic, eccentric image, stunning voice and diffuse blend of styles ensuring that she is quite genuinely without compare in recent terms. Over the course of a career that has now spanned more than forty years, she’s tasted both commercial and critical success, played with the boundaries of what constitutes mainstream pop music and enthralled and confused in equal measure with her experimental live performers; she’s one of pop music’s true originals, no question about that. Her last full tour was the Hurricane Tour back in 2009, where she ran through career-spanning sets whilst backed by a full live band who called upon a diverse range of instrumentation. She’s played the odd festival date since, though, including London’s Lovebox in 2012; her performance there had her changing costume multiple times, debuting a slew of new material and blurring genre lines as per usual. Her place in the British consciousness also earned her a slot at the Queen’s Diamond Jubilee concert that same summer - she’s an institution, but that’s not to say that she doesn’t remain a vital performer.
Oozing confidence – presumably bolstered since placing fourth on Strictly Come Dancing and the reception to well-received recent LP, Wanderlust - Sophie Ellis-Bextor is the success story you never saw coming. After wowing the charts and general public with pop gems in the early/mid 2000s, she faded into a befuddling obscurity; she never stopped dropping sounds, but the spotlight had dimmed. However, now in 2014, she's riding a resurgence, with mammoth sets at festivals across Europe (Glastonbury and T In The Park to name but a few).
Obviously, there are her vintage hits like the ubiquitous neo-disco belter “Murder On The Dancefloor”, and her guest spot with Spiller on “Groovejet (If This Ain't Love)”, but the London-born singer-songwriter also covers Moloko's “Sing It Back”, Cher's “Take Me Home”, Modjo's “Lady (Hear Me Tonight)” and Freemasons' “Heartbreak (Make Me A Dancer)” pretty regularly during live shows. That's not to say her sets are a medley of ageing pop numbers; she whips cuts from her back catalogue out for the most part, and her folk/ballad-centric recent material goes down especially well. Performing with live strings, blazing lights, and live funk strummers, she proves that she's still able to impress and deliver a ridiculously entertaining show.
Soul II Soul are legends in the eyes of soul and RnB fans, with the British collective being one of the few bands to crossover to the US at the end of the ‘80s. Jazzie B’s experimental RnB group, which has featured a rotating lineup, have been going since 1988 and soon after were signed to Virgin Records. After they dropped their landmark debut, Club Classics Vol. One, in 1989, a handful of follow-ups followed up throughout the ‘90s; for a while at least, their dance-laced soul pop was pretty ubiquitous. These days, Jazzie B and co regulars on the festival circuit. They are just so incredibly well suited to big, open-air main stages, especially when the sun is shining. I saw them for the first time recently on the main stage at London’s Lovebox, where the veterans had an audience of young and old dancing around in glorious sun. Jazz B still looked like the don and the band were super efficient. Obviously their massive hit ‘Back to Life (However Do You Want Me)’, which they ended on, achieved a massive sing-a-along – perhaps the biggest sing-a-long of the day. Caron Wheeler’s vocals are still impressive, even after all this years, and it was one of the festival highlights. Soul II Soul have still got it!