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".
The Fashion Show
Grace Jones Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Uh, baby.. Uh-huh
Keep it up, keep it up
Keep it up
Uh baby
To the rhythm
Don't cry
Your life is the rhythm
You work to the rhythm
You slave
To the rhythm, to the rhythm, uh
To the rhythm
Uh, baby
To the rhythm, to the rhythm, uh
To the rhythm
You slave to the rhythm
To the rhythm, to the rhythm, uh
To the rhythm, to the rhythm
To the rhythm, to the rhythm
To the rhythm, to the rhythm, uh
To the rhythm
Work all day as men who know
Work all day to keep the flow
To the rhythm, to the rhythm, uh
To the rhythm
To keep the flow
To the rhythm, to the rhythm, uh
To the rhythm
Build on up
Don't break the chain
Sparks will fly
Keep it up, keep it up
See, never stop the action
Keep it up
Jean-Paul Goude: "I mean all black people were just, you know ‘do it to me, sock it to me’ and all that stuff, and there she was, you know, singing ‘La Vie en Rose’ in French. It was great, you know. So I thought what a wonderful, erm, perspective. No I never saw her at a fashion show."
The Fashion Show by Grace Jones is a vibrant and lively pop song with an infectious beat that encourages listeners to keep moving and never stop the action. The lyrics refer to the importance of rhythm and how it informs our daily lives. The opening lines of the song, "She's born in Jamaica, raised in America.. and she was really an American girl, I mean, with Jamaican parents" suggest that the song may be a tribute to Jones herself and the cultural influences that shaped her into the unique artist she is.
The repetitive refrain, "slave to the rhythm," seems to suggest that we are all caught up in the rhythms of life, perhaps likening us to the enslaved people who were forced to work in time with the rhythm of the drum. However, the overall message is one of celebration and joy. The song encourages us to keep moving, keep working, and keep building on up. The lyrics also include references to "the flow," suggesting that there is a natural order to life, and by staying in rhythm, we can achieve great things.
Line by Line Meaning
Jean-Paul Goude: "She's born in Jamaica, raised in America.. and she was really an American girl, I mean, with Jamaican parents."
Grace Jones is an American girl who grew up in Jamaica with Jamaican parents.
Uh, baby.. Uh-huh
Grace addresses the listener with affection.
Keep it up, keep it up
Grace encourages the listener to continue with their current activity.
Keep it up
Grace continues to motivate the listener.
Slave to the rhythm
Grace sings about being controlled by the beat of music.
Uh baby
Grace emotionally connects with the listener.
To the rhythm
Grace repeats the idea of being controlled by music.
Don't cry
Grace soothes or encourages someone who is upset.
Your life is the rhythm
Grace suggests that someone's life is dominated by music.
You work to the rhythm
Grace suggests that someone works in time to the beat of music.
You slave
Grace implies that someone works incredibly hard.
To the rhythm, to the rhythm, uh
Grace repeats the refrain, emphasizing the theme of music.
You slave to the rhythm
Grace reiterates that people work hard to the rhythm of music.
Work all day as men who know
Grace describes the hard-working nature of certain people.
Work all day to keep the flow
Grace explains that some people work all day to keep the rhythm and flow of music going.
To keep the flow
Grace repeats the idea that music's flow and rhythm must be maintained.
Build on up
Grace encourages positive growth or progress.
Don't break the chain
Grace counsels against disrupting a process or pattern.
Sparks will fly
Grace alludes to a moment of excitement or tension arising from a situation.
Keep it up, keep it up
Grace reinforces the idea of perseverance in the pursuit of a goal.
See, never stop the action
Grace advises against stopping the momentum of an activity.
Jean-Paul Goude: "I mean all black people were just, you know ‘do it to me, sock it to me’ and all that stuff, and there she was, you know, singing ‘La Vie en Rose’ in French. It was great, you know. So I thought what a wonderful, erm, perspective. No I never saw her at a fashion show."
Jean-Paul Goude admires Grace's unique perspective, particularly as a black woman singing in French. He clarifies that he never saw her perform at a fashion show.
Contributed by Zachary P. Suggest a correction in the comments below.