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".
Walking In The Rain
Grace Jones Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Looking at the Billboard, oh so bland
Summing up the people, checking out the race
Doing what I'm doing, feeling out of place.
Walking
walking, in the rain.
Feeling like a woman, looking like a man
Sounding like a "no-no," making what I can.
Singing in the darkness, shining in the night
The coming conclusion, right isn't right.
Walking
walking, in the rain.
Come in all you jesters!, Enter all you fools.
Sit down "no-no", old girl fools.
Trip the light fantastic, dance the spiral hips
Coming conclusion, gotten off your lips.
Walking
walking, in the rain.
Walking
walking, in the rain.
The lyrics to Grace Jones's "Walking In The Rain" present a complex narrative of a person wandering aimlessly in the rain, unsure of their place in society. The opening two lines set the scene with the singer expressing boredom and dissatisfaction with the world around them. They observe the blandness of the billboards and make judgments about the people passing by, all while feeling out of place. The repetition of "walking in the rain" throughout the song serves not only as a literal description of the singer's actions but also as a metaphor for their solitary journey in life.
The second verse introduces a gender-bending quality to the lyrics. The singer describes themselves feeling like a woman but looking like a man while also making "what I can" in terms of their livelihood. They sing in the darkness and shine in the night, perhaps suggesting a duality or complexity to their existence. The chorus is repeated once more, emphasizing the singer's continued movement through the rain.
The final verse invites "all you jesters" and "old girl fools" to join the singer's journey, encouraging them to let go of societal constraints and dance freely. The conclusion of the song seems to be a call to action, urging listeners to break free from convention and live life on their own terms.
Line by Line Meaning
Walking down the street, kicking cans
Taking a stroll down the street, kicking cans as I move along.
Looking at the Billboard, oh so bland
Observing the Billboard which looks so uninteresting.
Summing up the people, checking out the race
Taking stock of people and surveying the race.
Doing what I'm doing, feeling out of place
Carrying out my activity, feeling isolated.
Walking
walking, in the rain.
Strolling aimlessly in the rain.
Feeling like a woman, looking like a man
Experiencing life as a female but appearing masculine.
Sounding like a "no-no," making what I can.
Being judged negatively for making a living with my talents.
Singing in the darkness, shining in the night
Singing in obscurity and illuminating the darkness with my presence.
The coming conclusion, right isn't right.
Foreseeing that things will not end well, as what appears right is actually not.
Walking
walking, in the rain.
Strolling aimlessly in the rain.
Come in all you jesters!, Enter all you fools.
Inviting all the jokers and foolish individuals to join in.
Sit down "no-no", old girl fools.
Urging those who are deemed unacceptable by society to relax and be themselves.
Trip the light fantastic, dance the spiral hips
Dancing and expressing freedom in a unique, creative manner.
Coming conclusion, gotten off your lips.
Predicting an outcome that is now visible to all.
Walking
walking, in the rain.
Strolling aimlessly in the rain.
Walking
walking, in the rain.
Strolling aimlessly in the rain.
Lyrics © Sony/ATV Music Publishing LLC
Written by: VINCENT F. BELL
Lyrics Licensed & Provided by LyricFind
@Bass-jl9tw
Walking down the street
Kicking cans
Looking at the billboards
Oh so rad
Summing up the people
Checking out the race
Doing what I'm doing
Feeling out of place
Walking, walking
In the rain
Feeling like a woman
Looking like a man
Sounding like a no-no
Making what I can
Whistling in the darkness
Shining in the night
Coming to conclusions
Right is night is tight
Walking, walking
In the rain
Come in all you jesters
Enter all you fools
Sit down no-no's
Vulgar fools
Trip the light fantastic
Dance the swivel hips
Coming to conclusions
Button up your lips
Walking, walking
In the rain
Walking, walking
In the rain
@martinpatrick8964
I consider this album one of the greatest albums ever recorded. The creation of avant-garde R&B rock and soul is some achievement! Ms Jones had the Grace to fulfil a musical vision with Sly and Robbie that help change music in the 1980s.
@edwardpalumbo5934
King Street Garden and Gun club in Charleston S.C. is the first time I heard Grace.
@danjpoche
It holds up all these years and still feels current/timeless and moves you to sway and dance. All female performers after her owe everything to Grace as she was the original to bring music and art together. She's THE amazing Grace !
@NormAppleton
It is, like the B-52's and DEVO. Millions of people were awoken
@karinegrandvoinet2038
dub & new wave sound too
@scottharrison9913
I can't wait until the day this album is considered the masterpiece classic that it is...it'll happen
@Woolliscroft1
I already consider it so. Well said.
@fisherdole196
I totaly agree.
@emmanuelsalazar9424
I believe it already is.
@britboyrugby
This sounds as if it was created yesterday. She was decades ahead of the curve.