Jones’ Most Rewarding Work Graces ‘Point’

Grace Jones was one of the most exotic--and misunderstood--figures in ‘80s pop, someone whose image was tied almost exclusively to disco, but whose best musical instincts were far more adventurous than the standard dance floor formula. A new two-disc retrospective from Island Records showcases Jones’ most rewarding work.

*** 1/2 Grace Jones, “Private Life: The Compass Point Sessions,” Island. By the time Jones’ first noteworthy album was released in 1980, most of the pop world had already written off this former fashion model as just more disco fluff because her earlier Island albums were mostly exactly that.

The turning point was when the Jamaican native (real name: Grace Mendoza) went to Island’s Compass Point studios in the Bahamas to record with a group of Jamaican and British musicians, including the much admired team of drummer Sly Dunbar and bassist Robbie Shakespeare.

The band was put together by Island Records founder Chris Blackwell in hope of recapturing the soulful character and spirit of the landmark Atlantic and Stax house bands that gave a memorable edge to ‘60s R&B; recordings by such artists as Aretha Franklin and Otis Redding.

Blackwell picked Jones as the first Compass Point project and the first album, “Warm Leatherette,” was a striking, if uneven collection that injected a brooding, sensual tension to an interesting range of material, from the Pretenders’ “Private Life” to Roxy Music’s “Love Is the Drug.”

But it was the follow-up album, 1991’s “Nightclubbing,” that was both the critical and commercial breakthrough for Jones, an album highlighted by the David Bowie-Iggy Pop title tune and the scorching, playful “Pull Up to the Bumper,” which Jones co-wrote. The final Compass Point album, “Living My Life,” relied more on original material and was interesting only in part.

Though Jones had another hit in the Trevor Horn-produced “Slave to the Rhythm,” “Living My Life” marked the end of her work with the Compass Point team. For a variety of reasons, including erratic touring patterns, Jones didn’t really maximize the success of “Nightclubbing” and she faded from prominence in the pop world.

She does resurface to apply her moody, seductive vocal style on “Storm,” a lushly orchestrated track on the new “The Avengers” soundtrack album. And there remains in much of this Island collection the boldness and imagination that made her music so striking.

** Joan Baez, “Baez Sings Dylan,” Vanguard. Now that the Rock and Roll Hall of Fame has finally gotten around to inducting Joni Mitchell, it’s time to turn to Baez, who played a pivotal role in popularizing the rich ‘60s folk music movement, using her enormous early popularity to open a door for the seriousness and commentary of artists such as Bob Dylan.

That said, this isn’t the album that you’d send to the Hall of Fame judges to make your case for her induction. Though there was an original charm to the late ‘60s recordings that serve as the foundation of this retrospective, the music doesn’t hold up well. There is a strange lack of emotional connection between the loveliness of her voice and the brilliance of Dylan’s songs.

Also in the Stores: From Razor & Tie: Merle Haggard’s “The Land of Many Churches” (a 1971 gospel album that features members of the Carter Family on numerous tracks), and Eddie Cochran’s “Somethin’ Else: The Fine Lookin’ Hits of Eddie Cochran” (20 of his best-known songs, including “Summertime Blues” and “Cut Across Shorty”). . . . The Kingston Trio’s “Best of the Decca Years” on MCA/Decca offers 16 tracks recorded after the group’s Capitol hit-making spree.

Albums are rated on a scale of one star (poor), two stars (fair), three stars (good) and four stars (excellent).