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Though, annoyingly, she doesn't want to talk about their relationship. Anyway, the result of their hook-up is Hurricane, which sees her collaborate with Tricky, Brian Eno, Wendy and Lisa, Sly and Robbie, as well as with her own mother and son. It's a good record, though Grace's manager, Brendan, tells me he had quite a time shopping it round to the majors. None were interested 'too scared' ; the independent Wall of Sound was the only label that would give her a deal.


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Well, phooey: all the naysayers must be kicking themselves now. Grace is really having a moment. Everyone wants her. So Brendan is happy, though he's had some hairy times. She won't go on stage unless she's been paid, in full, in cash, up front. So, let's talk the record. I do try, but it's hard to get specific with her.


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We were six. Then seven. Then eight. Grace tells the truth, but not straightforwardly: she plays with words, repeating them, rolling them around her mouth like fine wine. Her voice keeps changing, too: she takes on my Mancunian accent, which is weird to hear 'the fooll mont-eh! Anyhow, I bash on and we establish some certainties. It was a strict childhood, dominated by the church.

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She went three times a week: 'force-feeding, darling'. Both sides of her family were religious: there are many bishops in her family, including her younger brother Bishop Noel Jones, who preaches on American TV , her father and step-grandfather. Grace inherited her theatricality from her father, the Reverend Robert Jones: 'The pulpit was his theatre.

You can hear her singing towards the end of 'William's Blood'; she also did backing vocals on 'My Jamaican Guy' but couldn't be acknowledged, for fear of upsetting the church elders. Marjorie's father was musical, too: he played with Nat King Cole. Grace remembers a newspaper photograph of him, only really shown as a threat, as the terrible thing she might become if she didn't watch out.


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  5. Their church simply did not approve of anyone using their talent other than to glorify God. So how did her family react when Grace went the wrong way, became a pop star? She gets quite upset when she talks about this: her eyes glisten, she thumps the table. But now I love him, because they didn't make him bishop for a long time because of me. There was an article in Ebony magazine about me with a photograph of the family around the piano. My dad wasn't in it, but the fact that it was released in a magazine He said, "I don't care, I support my daughter".

    But it held him back. It's not just me, it's all my family looking at it. To add to the confusion, she uses familial terms loosely: I had heard that her father had died, but this turns out to be her step-grandfather; she calls one brother, Christian, her twin, but tells me, 'I can't tell the truth about that one. Twin has more to do with the spiritual than the blood. It's clear, though, that her background is the making of her: 'It was blinded [she means blinkered].

    Run like the horse. There was nothing else to see but the church. But that's what charged my imagination. Bishop Noel has said in the past that Grace was beaten as a child, but: 'I don't remember bad things. They just go away. At 13, she joined her mum and dad in Syracuse, New York, a difficult time made worse by the fact that she and Christian were prevented from singing in church together because Christian was so clearly gay.

    Grace started planning her escape: she began acting, joining a theatre group in Philadelphia run by a teacher known to her parents.

    From there, she ran away with a motorcycle gang and eventually, in her late teens, gravitated to New York proper, looking for acting work and forging a successful modelling career. She made it to the cover of Vogue, though she never took modelling seriously. But then I shaved my eyebrows, shaved my head and they didn't like that and I was, "OK, I'm out of here.

    I called myself Grace Mendoza, to fool my parents. When was that? I don't know. I don't remember dates. We were horrible. Grace would have liked to have another child: after they split up, she asked Goude if he would give her some sperm so she could artificially inseminate herself, but he refused. Paulo is also a musician: he has a band called Trybez and wrote a song, 'Sunset Sunrise', for Hurricane. Like elephants or lionesses.

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    I didn't go on his time, he went on mine. You have a child that is three, four months, how are they going to dictate to you what to do? Also, it depends on the kid. Some kids you know by their character that they're all right. Grace laughs and gestures at Brendan, who's joined us, to give her one of his cigarettes.

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    Not that that is going to stop Grace. Arrest me? Put me in jail? She finishes off the bottle of red wine and orders a double sambuca. And things start going haywire. Grace notices the full moon, up above.

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    Be careful. Grace pooh-poohs him and I refuse to stop: 'We haven't even talked about New York yet! New York, apparently, was 'like church. Music was the priest. It was absolutely church, celebration, dancing, punches were spiked. Her preferred medium, in the end, is performance: like an actress, she wants to be directed and she adores feeling the love of the audience.

    She has been asked to do a residency in Vegas, but she won't: she went to see Diana Ross perform there and was shocked to find that she had to do two performances a night. It's cheating the audience. Next, she tells me the story of another track - 'Love You to Life' - the true story of one of Grace's lovers who was in a coma for several weeks, and came round in front of her.

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