Raised in Syracuse, New York, she found success in the 70s as a model, working in New York and Paris (where she shared an apartment with Jerry Hall and Jessica Lange), before rising to public prominence as a singer and personality.
Jones secured a record deal with Island Records, which resulted in a string of club hits. The three disco albums she recorded - Portfolio (1977), Fame (1978), and Muse (1979) - generated dance singles such as Sorry That's The Trouble, I Need A Man, and a classic cover of La Vie En Rose. During this period, she also became a muse to Andy Warhol, appearing in his portraits and accompanying him to Studio 54 on many occasions.
As the 70s drew to a close, Jones adapted the emerging New Wave music to suit a different style, a significant departure from her previous output that resulted in some of her strongest work. Still with Island, and now working with producers Alex Sadkin and Chris Blackwell at Compass Point Studios, and with the considerable talents of Sly Dunbar and Robbie Shakespeare (Sly & Robbie) behind her, she released the acclaimed Warm Leatherette (1980) and Nightclubbing (1981). These included re-imaginings of songs by Sting, Iggy Pop, The Pretenders, Roxy Music, Flash And The Pan, The Normal, and Tom Petty, as well as originals like the innuendo-filled Pull Up To The Bumper and the haunting I've Seen That Face Before (Libertango). Parallel to her musical shift was an equally dramatic visual departure; Jones - working heavily with style artist Jean-Paul Goude - adopted a severe, androgynous look that enhanced her already striking presence, the iconic cover of Nightclubbing exemplifying this new identity. Her collaboration with Sadkin and Blackwell continued with the dub reggae-influenced album Living My Life, which featured Nipple To The Bottle, The Apple Stretching, and the Jones-penned and much-sampled My Jamaican Guy.
Later in the 80s, she worked with Trevor Horn for the conceptual musical collage Slave to the Rhythm (1985), and with Nile Rodgers for Inside Story (1986) - her first album away from the Island label. Inside Story produced her last US Hot 100 hit to date, I'm Not Perfect (But I'm Perfect For You), while Bulletproof Heart in 1989 produced the #1 US club hit Love on Top of Love - Killer Kiss, produced by C+C Music Factory's David Cole and Robert Clivilles. Though a chart regular in the UK Grace Jones never achieved mainstream musical success in the US, but most of her singles became huge hits in the dance underground.
Jones' strong visual presence was extended to her stage work. Her performances were unique spectacles as she adopted various personas and wore outlandish costumes throughout, particularly during her years with Goude. Her most memorable performances include the Paradise Garage in 1985, wherein she collaborated with legendary visual artist Keith Haring for her costume and the extraordinary One Man Show filmed in Drury Lane Theatre London and in New York and released on video in 1982 (it is yet to be re-released).
In 2008 she returned with the album "Hurricane".
Don't Mess With The Messer
Grace Jones Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Because I look good enough to eat?
I don′t mean to stay inside that heart
There's a world that we desire
Seeking out the star that's higher
Johnny, now you′re the honey trapped in my tree
You should have known better
Don't mess with the messer
I ain′t sugar, I ain't spice
I′m laying everything all nice
I can be as cold as ice
Well hello, you're Johnny′s friend, aren't you?
He sent you to see me
He was a good worker for this queen bee
Anyway, I have something I'll give
If it′s a working man′s desire
Boy, are you gonna be tired
Johnny, now you're all trapped in my honeycomb
You should have known better
Should have known better, leaving queen bee alone
Don′t mess with the messer
I ain't sugar, I ain′t spice
I'm laying everything all nice
I can be as cold as ice
Better not mess, better not mess
Better not mess with the messer
Don′t mess, don't mess
Don't mess with the messer
Johnny, now you′re the honey trapped in my tree
You should have known better
Should have known better, messing with love′s queen bee
Don't mess with the messer
I ain′t sugar, I ain't spice
I′m laying everything all nice
I can be as cold as ice
Johnny, now you're all trapped in my honeycomb
You should have known better
Should have known better, leaving queen bee alone
Don′t mess with the messer
I ain't sugar, I ain't spice
I′m laying everything all nice
I can be as cold as ice
Do you know what I mean?
The lyrics of Grace Jones's "Don't Mess With The Messer" are a warning to men not to underestimate her. She starts by challenging the assumption that she is a girl easy to approach because of her attractive appearance. She then goes on to warn her potential suitors, Johnny and his friend, that she is a powerful force, the queen bee. She offers them something that they desire, but also makes clear that once they enter her world, they are entirely at her mercy.
The warning in the chorus of the song, "Don't mess with the messer," emphasizes that Grace Jones is not to be trifled with. She presents herself as a confident, self-assured woman who knows what she wants and won't take any nonsense. This song is an excellent example of the type of women-centered songs Grace Jones is known for. The lyrics celebrate female power, independence, and assertiveness, without the need for male validation.
Overall, "Don't Mess With The Messer" is a song about autonomy, empowerment, and the importance of not underestimating people based on appearances. Grace Jones's lyrics remind listeners that they should always respect and acknowledge others' power and that underestimating someone can lead to being ensnared in a trap.
Line by Line Meaning
So you think I'm a girl you'd like to meet
You believe that I am a woman that you want to get to know.
Because I look good enough to eat?
Is that because you find me physically attractive?
I don't mean to stay inside that heart
I don't intend to be in a committed relationship with you.
There's a world that we desire
There is an ideal world that we both wish to live in.
Seeking out the star that's higher
We aim to reach a greater goal or ambition.
Johnny, now you're the honey trapped in my tree
You, Johnny, have become the victim of my trap and are now under my control.
You should have known better
You should have realized the consequences beforehand.
Should have known better, messing with love's queen bee
You should have anticipated the danger of getting involved with someone like me.
Don't mess with the messer
Don't try to cross me, I am not to be trifled with.
I ain't sugar, I ain't spice
I'm not what you may expect or perceive me to be.
I'm laying everything all nice
I am arranging everything so that it appears good, but it is not necessarily true or genuine.
I can be as cold as ice
I can be extremely unfeeling and merciless when it comes to protecting myself and my interests.
Well hello, you're Johnny's friend, aren't you?
I recognize you as one of Johnny's acquaintances.
He sent you to see me
Johnny has orchestrated this meeting between us.
He was a good worker for this queen bee
Johnny was useful to me, but he is no longer of service.
Anyway, I have something I'll give
Regardless, I do have something to offer.
If it's a working man's desire
If it is something that a hardworking person desires.
Boy, are you gonna be tired
You are going to be exhausted by the task at hand.
Better not mess, better not mess
It would be wise not to cross or interfere with me.
Better not mess with the messer
It would be unwise to cross me.
Don't mess, don't mess
Do not attempt to cross or disrupt me.
Don't mess with the messer
Do not attempt to cross or disrupt me.
Writer(s): Grace Jones, Pierre Papadiamandis
Contributed by Brayden J. Suggest a correction in the comments below.