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".
Sinning
Grace Jones Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
By command that I won't go (? ),
If your a stranger your life is in danger,
So guard your lives.
I've a vocation of verse meditation,
I know if it's to ditch,
Optimum (? ),
No fantasy,
You're stuck with me,
No wonder evil, none is there to be found.
Sinning every day,
Cussing all the way,
Sinning every day,
Cussing all the way.
No fantasy,
You'er trapped with me,
Just don't get tired and I won't bring you down,
Sinning every day,
Cussing all the way,
Sinning every day,
Cussing all the way.
Rather be a bitch, just look at me,
Bein' a witch is what I'd rather be,
You just make me mad, I'll let you see,
What I'd rather be,
What I'd rather (be/feel),
Bad as I can be,
Mad as I can be,
What I'd rather see,
What I'd rather be,
Bad as I can be,
Bad as I can be.
No fantasy,
Your stuck with me,
There ae no reasons on this earth to be found.
Sinning every day,
Cussing all the way,
Sinning every day,
Cussing all the way.
No fantasy,
You're trapped with me,
Just don't get tired and I won't bring you down,
Bad as I can be.
Sinning every day,
Cussing all the way,
Sinning every day,
Cussing all the way.
Rather be a bitch, just look at me,
Bein' a witch is what I'd rather be,
You just make me mad, I'll let you see,
What I'd rather be,
What I'd rather (be/feel),
Bad as I can be,
Mad as I can be,
What I'd rather see,
Mad as I can be,
What I'd rather be,
Bad as I can be.
that's what I would rather be,
Just as bad as I can be,
That's what I would rather be,
Just as bad as I can be,
That's what I would rather be.
The song "Sinning" by Grace Jones is a melodramatic and highly suggestive tune about personal freedom, rebellion, and witchcraft. In the opening lines, Jones sings of the devil and hell, suggesting that she is not a stranger to darkness, and that her own vocation is one of "verse meditation". She presents herself as a witch, empowering herself with the authority to curse and sin as she pleases, without any regard for the opinions of others. Her words indicate a desire to be as bad as she can be and to fulfill her desires without compromise. The song also suggests that anyone who confronts her is risking danger, and therefore, she is not averse to using her perceived powers against them.
The lyrics are peppered with references to witchcraft and the occult, which were common ways for women to express their frustrations and assert their independence during an era of extreme oppression. The use of curse words, such as "cussing," emphasizes Jones' defiance and contempt for social conventions. The line "rather be a bitch" is a provocative statement that reclaims a derogatory term and recasts it as a form of power.
The song's message of embracing individuality, sinning, and expressing oneself boldly struck a chord with audiences and has become one of Grace Jones' most popular songs. Its controversial themes and bold visuals, such as the album cover featuring Jones holding a snake, helped cement her reputation as a fearless icon of the LGBTQ+ community and the counterculture of the 1980s.
Line by Line Meaning
Back in the night is the father of hell,
The origin of evil can be traced back to the past.
By command that I won't go (? ),
I will not obey any command that goes against my beliefs.
If you're a stranger your life is in danger,
If you are unfamiliar, you may be at risk.
So guard your lives.
Therefore, be vigilant in order to protect yourself.
I've a vocation of verse meditation,
I feel called to express myself through poetry and reflection.
I know if it's to ditch,
I am aware when something is worth abandoning.
Optimum (? ),
I strive to achieve the best possible outcome.
Yes I'm a witch.
I am not afraid to embrace my fierce and mystical side.
No fantasy,
This is not just an imaginary scenario.
You're stuck with me,
You are forced to deal with me, whether you like it or not.
No wonder evil, none is there to be found.
There is no obvious source or explanation for the presence of wrongdoing.
Sinning every day, Cussing all the way, Sinning every day, Cussing all the way.
I openly indulge in my vices and use profanity on a regular basis.
Just don't get tired and I won't bring you down,
As long as you don't lose your energy or enthusiasm, I won't negatively affect you.
Rather be a bitch, just look at me,
I would prefer to be strong, assertive, and confident, like the archetype of the 'bitch.'
Bein' a witch is what I'd rather be,
But I would also embrace my witchy qualities and perceive them as empowering.
You just make me mad, I'll let you see,
If you provoke me, you will witness my temper and rage.
What I'd rather see,
I desire to witness the manifestation of my personal vision and aspirations.
Bad as I can be, Mad as I can be, What I'd rather see, Mad as I can be, What I'd rather be, Bad as I can be.
My ideal self is characterized by being bold, rebellious, and unapologetically emotional.
There ae no reasons on this earth to be found.
There is no logical explanation for certain phenomena or actions in the world.
Rather be a bitch, just look at me, Bein' a witch is what I'd rather be, You just make me mad, I'll let you see, What I'd rather be, What I'd rather (be/feel), Bad as I can be, Mad as I can be, What I'd rather see, Mad as I can be, What I'd rather be, Bad as I can be.
This refrain reiterates my preference for the 'bitch' and witch archetypes, and emphasizes my desire to fully embody my ideals.
That's what I would rather be, Just as bad as I can be,
This final line restates my desire to embrace my fierce and rebellious nature, despite its potential to go against societal norms.
That's what I would rather be, Just as bad as I can be, That's what I would rather be.
I am confident in my preferences and choices, and will continue to embody them.
Lyrics © O/B/O APRA AMCOS
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