by Jones' own songs and said while the covers on Warm Leatherette were superior to the originals simply because of her "weird force of personality", she could not match "Use Me" and the title track. Nightclubbing continued to gather favorable reviews with the release of the deluxe edition in 2014. Andy Beta from Pitchfork labeled the album's reissue as "Best New Reissue", describing the album as "the record that further cemented her iconic status in pop culture". He also stated: "She treats each cover not as a singer tackling a song, but as an actor inhabiting the skin of a role". Mojo called it "probably the greatest of Grace Jones' Compass Point trio". Uncuts Piers Martin called Nightclubbing "the album that came to define Jones as the complete performer, in her own way, as singer, muse, actress, alien and androgyne. Its sound, a sublime mix of reggae, funk, new wave and disco, was as arresting as its cover image... No one had seen or heard anything quite like this". In Record Collector Kris Needs said that "Nightclubbing still sounds like nothing else released during the 80s, though its colossal influence repeatedly reveals itself". John Harris of Q wrote that "the music on Nightclubbing is as stripped-down and full of space as Jones's froideur demanded. Then again, when it evokes more emotional qualities, it also triumphs." Legacy Nightclubbing distinctive amalgamation of rock, funk, post-punk, pop and reggae set Jones apart from other musical acts of the 1980s. It is considered one of the early convergences of "fashion, art, and music".<ref name="stylecon">{{cite web|url=http://www.thestylecon.com/2014/05/08/art-pop-art-pop/|title=Art-Pop before 'Art Pop|last=Kessel|first=Eric|date=8 May 2014|publisher=The Style Con|access-date=5 August 2016|archive-url=https://web.archive.org/web/20180101095730/http://www.thestylecon.com/2014/05/08/art-pop-art-pop/|archive-date=1 January 2018|url-status=dead}}</ref> According to Pitchforks Andy Beta, it "altered the face of modern pop". He further argued that the album's musical and visual influence is easily palpable in the musical landscape of the 21st century, specially among female musicians such as Lady Gaga, Rihanna, Nicki Minaj, M.I.A., Grimes and FKA Twigs, among others. Other acts influenced by the record include Róisín Murphy, Janelle Monáe, Azealia Banks and Adam Lambert. Beyond pop music, the template set by Jones and her Compass Point backing band was also influential to alternative music, including Massive Attack, Todd Terje, Gorillaz, Hot Chip, and LCD Soundsystem – who "emulate those rubbery yet taut grooves of Sly & Robbie and cohorts". In Q, John Harris wrote: "The fact that this music was first released 33 years ago