Prince didn't really do "filler." If you look at the mid-80s, the guy was basically a faucet of genius that nobody could turn off, and She's Always in My Hair is the living proof of that. Most artists would kill to have a song this infectious, this gritty, and this emotionally resonant as a lead single. Prince? He tucked it away on the back of the "Raspberry Beret" 12-inch.
It's weird.
Actually, it's more than weird; it’s a testament to how much material he was sitting on during the Around the World in a Day era. You have this heavy, distorted guitar riff—maybe one of his best—paired with a lyric that is surprisingly vulnerable for a guy who was currently the biggest rock star on the planet. He’s complaining, but he’s also confessing. He’s annoyed, but he’s grateful. It’s that duality that makes the track stick to your ribs forty years later.
The Real Woman Behind the Song
Whenever fans talk about She's Always in My Hair by Prince, the first question is always: Who is he talking about? This isn't a vague poetic construct. It’s about Jill Jones.
Jill was part of the inner circle, a brilliant singer in her own right, and someone who stayed loyal to Prince when things got chaotic. The lyrics describe a woman who is there when he’s "down," even when he’s being a total jerk or seeing other people. "Whenever I feel like quittin' / She tells me I'm the one," he sings. It’s a song about someone whose devotion is actually kind of exhausting to the person receiving it because they know they don't deserve it.
Jill Jones herself has confirmed this over the years. She was the one who would show up with food or just a kind word while he was busy being "The Artist." The "hair" metaphor isn't about physical hair, obviously. It’s about someone being constantly present, constantly in your space, and constantly in your head.
It’s almost a proto-grunge song if you think about the texture. That thick, swirling psychedelic rock sound wasn't what people expected after Purple Rain. It was a hard pivot.
Why the B-Side Status Matters
Back in 1985, B-sides weren't just "extra tracks." They were a secret handshake between the artist and the hardcore fans. If you owned the "Raspberry Beret" 45 or the maxi-single, you knew a version of Prince that the casual radio listener didn't get. You got the guy who played almost every instrument on the track himself at Sunset Sound in Los Angeles.
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Recorded in late 1983, the song sat in the vault for a while. Prince had this habit of "banking" masterpieces. Think about that for a second. He had She's Always in My Hair just sitting on a shelf while he was filming a movie and touring the world.
The production is remarkably dense. You've got these layered backing vocals—all Prince—that create a sort of wall of sound. It’s claustrophobic. It mirrors the feeling of the lyrics. The drums are dry and hitting hard, providing a foundation for that iconic, modulated synth-and-guitar combo that defines the Minneapolis Sound's more experimental edge.
Breaking Down the Sound: More Than Just Funk
If you try to label this as just "funk," you’re missing the point entirely. It’s a rock song. It’s a psychedelic trip.
The guitar work here is legendary among Prince aficionados. He uses a specific kind of "thick" distortion that feels more like Jimi Hendrix than James Brown. The soloing isn't flashy in a "look at me" way; it's melodic and a bit jagged. It cuts through the mix like a serrated knife.
- The bassline is surprisingly simple but relentless.
- The use of the Linn LM-1 drum machine—a Prince staple—is dialed in perfectly here, giving it that robotic but soulful heartbeat.
- The vocal performance moves from a rhythmic, almost spoken-word delivery in the verses to a full-throated, soulful scream by the end.
Honestly, the ending of the song is where the real magic happens. It dissolves into this long, looping groove where Prince just riffs on the central theme. It’s one of those tracks where you don't want the fade-out to happen. You want to stay in that room with him.
The 12-Inch Extended Version
If you haven’t heard the extended version of She's Always in My Hair by Prince, you haven't really heard the song. The "New Mix" goes for over six minutes. In this version, the psychedelic elements are pushed even further.
There are these weird, bubbling synth effects and extra vocal ad-libs that make the whole thing feel much more "live" and dangerous. Prince was a master of the 12-inch format because he understood that a song shouldn't just be longer; it should be an experience. He pulls the track apart and puts it back together right in front of you.
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Critics at the time, and even now, often point to this B-side as a high-water mark for his 80s output. Writing for Pitchfork or Rolling Stone, music historians often cite this era as his creative peak precisely because his "throwaway" tracks were better than most people's "Greatest Hits."
Why D'Angelo and Others Covered It
You can tell how good a song is by who tries to remake it. D'Angelo, the neo-soul architect, did a famous cover for the Scream 2 soundtrack. He slowed it down, turned up the "stank" on the groove, and turned it into a soulful slow-burn.
Why did he pick this one?
Because it’s a "musician’s song." It has a sophisticated chord progression that hides behind a simple-sounding riff. It’s got soul, but it’s got teeth. Sheila E. has also kept the song alive in her sets, reminding everyone that this wasn't just a studio fluke—it’s a formidable live weapon.
When Prince played it live—which he did, frequently, throughout his career—it usually became a massive guitar workout. He knew the fans loved it. He knew it was one of his "coolest" moments. There’s a specific live version from the One Nite Alone tour where he just shreds for minutes on end, proving that even twenty years later, the song hadn't aged a day.
The Narrative of the "Annoying" Muse
The lyrics are actually kind of funny if you look at them through a modern lens. Prince is basically saying, "I'm trying to be miserable and mysterious, but this girl keeps being nice to me and it's ruining my vibe."
- "She's always in my hair / But I don't care."
- "Maybe I'm a fool / But I think I'm in love."
It’s the classic trope of the person who is "too good" for you. It adds a human layer to the Prince mythos. Usually, he was the aggressor, the lover, the one in control. In this song, he’s the one being pursued by kindness, and he doesn't quite know what to do with it. It’s a rare glimpse into a more relatable, slightly annoyed version of the Purple One.
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How to Truly Appreciate the Track Today
To get the full effect of She's Always in My Hair by Prince, you need to stop listening to it on tiny phone speakers. This is a song built on low-end frequencies and complex stereo panning.
- Find the original 1985 12-inch mix if you can. It's available on most streaming platforms under the The B-Sides or Ultimate collections.
- Listen for the "pre-scream" breath. Right before the song kicks into high gear, you can hear Prince's sheer physical energy.
- Pay attention to the background chatter and the way the instruments bleed into each other. It was recorded in a way that feels organic, not sterilized by modern digital editing.
There’s a reason this song keeps appearing in "Best of" lists despite never being an "A-side" single. It captures a specific mood—that 3:00 AM feeling where you're tired, you're wired, and you're thinking about that one person who won't leave your mind.
Digging Deeper into the Prince Vault
If you love this track, you have to understand that it’s part of a larger ecosystem. It belongs to the same era as "17 Days" and "Erotic City." These were the "Black Album" style tracks that existed underneath the pop sheen of "Purple Rain" and "Around the World in a Day."
Prince was living a double life musically. On one hand, he was the pop prince; on the other, he was a gritty, experimental funk-rocker who wanted to push boundaries. She's Always in My Hair is the bridge between those two worlds. It’s catchy enough for the radio, but weird enough for the underground.
The track was eventually given a wider release on The Hits/The B-Sides in 1993, which is where a whole new generation discovered it. For many, it was the standout track on a three-disc set filled with literal number-one hits. That says everything you need to know about its quality.
Actionable Steps for Prince Fans and New Listeners
If you want to dive deeper into the world of Prince’s B-sides and the specific vibe of this song, here is how to navigate it:
- Check out the Jill Jones self-titled album (1987). It was produced by Prince and features that same sonic DNA. It's often overlooked but is a masterpiece of the era.
- Compare the "Raspberry Beret" B-side to "17 Days" (the B-side to "When Doves Cry"). You’ll notice a pattern of Prince putting his most emotionally raw, guitar-heavy work on the back of his most "poppy" singles.
- Watch live footage from the 20TEN tour or the Hit n Run tours. Prince often used this song as a mid-set transition to showcase his band's tightest grooves.
- Listen for the influence. Once you hear the guitar tone in this track, you’ll start hearing it in everything from Lenny Kravitz to modern psych-rock bands like Tame Impala.
The song isn't just a piece of nostalgia. It’s a masterclass in production, songwriting, and the art of the B-side. It reminds us that sometimes, the best stuff isn't what’s pushed to the front—it’s what’s hidden just beneath the surface. Go back and give it a spin, loud. You'll realize pretty quickly why she's still in his hair, and now, she’s in yours too.