The Grace Jones song Chrissie Hynde wrote because she “wanted to do reggae”
The enigmatic Grace Jones left a colossal impact on pop culture during the 1970s and 1980s, but it often remains understated. Her influence is profound, her talents multifaceted, and as a model, musician, actor, and quintessential style icon, Jones harnessed an array of mediums to convey her artistic vision, unapologetically redefining stereotypes and expanding the boundaries of female artistry.
Jones’ song ‘Private Life’ was initially written by The Pretenders’ Chrissie Hynde, who wrote the song for the band’s debut album, Pretenders. The same year, however, Jones recorded her own version of the song for her first post-disco album, Warm Leatherette, which she released as the third single from the album. It signalled a fresh chapter in Jones’ career, shedding her disco persona and embracing an entirely new image, venturing into genres such as reggae, rock, and new wave.
This was a real game-changer, particularly for an unsuspecting Hynde, who heard the version and was taken aback by how perfect Jones’ reimagining was. In the liner notes to Island Records’ 1998 compilation Private Life: The Compass Point Sessions, Hynde says: “When I first heard Grace’s version I thought ‘Now that’s how it’s supposed to sound!’ In fact it was one of the high points of my career – what with Sly and Robbie being the masters, and Grace Jones with her scorching delivery.”
It’s almost as if the song was born to be a Jones hit, especially considering the reason why Hynde wrote it in the first place. In her mind, she “wanted to do reggae” like “all other London punks”. For the Jones composition, the rhythmic backbone was expertly by the renowned Jamaican musical maestros Sly Dunbar and Robbie Shakespeare. These seasoned session musicians have a rich history, having laid down reggae grooves for iconic figures like Bob Dylan and Maxi Pries, among many others.
In 2008, Dunbar recalled that the template for Jones’ early ’80s new wave and urban hybrid originated from this song. He said: “It came from Peter (Tosh) at that time, and we were doing gigs with the Stones and with Santana, so we used to sit and listen. This is when we start opening the snare to get more ‘crack’ on the back beat and more ‘choof’ with the foot drum.”
Jones’ cover songs have become solidified in the annals of music history. Along with her endearing personality and natural charm, her musical endeavours have crafted a lasting legacy as one of music’s biggest and most profound pioneers. Even when covering Joy Division’s ‘She’s Lost Control’, or Iggy Pop’s ‘Nightclubbing’, Jones adds her unique touch of spellbinding allure.
Jones remains an unequivocal icon who steadfastly defies confinement to any single medium or style. Perpetually in a state of evolution, she continues to exude power and innovation. It’s difficult to envision the landscape of modern pop music without her unmatched influence.
