Traffic Jamming
Grace Jones’ “Pull Up To The Bumper” is, I hope you’ll agree, an absolutely ridiculous tune. The album it comes from, 1981’s “Nightclubbing” is itself a brilliant record, from the outstanding cover of the David Bowie penned title track to the reggae tones of “I’ve Seen That Face Before” and the sensational ballad that closes the album, “I’ve Done It Again”. It is a record that flows brilliantly and works wonderfully as a cohesive whole, while also being innovative and featuring an array of seemingly incongruous styles. Grace Jones, it is difficult to deny, is a fascinating artist. But while her carefully crafted and consistently intriguing and slightly menacing public image may in itself be worthy of note and consideration,
I have always felt that her music has been somewhat overshadowed by her persona. And this is a great shame because in fact her recorded output is often highly inventive and progressive, unique in some senses, and technically very accomplished. Her vocal range is relatively wide at 2 1/2 octaves, and her mastery of technique is more impressive than she is given credit for, with her almost spoken monotone delivery in some songs itself an interesting instrument, and in stark contrast to her other soprano singing style which is surprising smooth and soft. And her early 80s output, working closely with the legendary Sly and Robbie rhythm section, the incredible Wally Badarou on keys, and enjoying the considerable production talents of Chris Blackwell and Alex Sadkin, is always interesting to behold, often diverse and ground-breaking, and quite simply downright excellent. But “Pull Up To The Bumper”, as well as possibly her most well-known track, is also an absolute stormer.
There are numerous tunes that are guaranteed to move a crowd, and this is a particularly prime example of a massive crowd-pleaser. But it somehow adds something different to the mix, providing an incessantly funky groove, but one which also filters the most extremely dark and dirty elements of the sensuality and sexiness of disco. If Donna Summer's I Feel Love is an extended audio orgasm on vinyl, played out in dreamy comfort on satin sheets, "Pull Up..." is the stripped down, raw passion of a wild night in the midst of urban jungle. A calculated and slightly disturbing seduction. Jones' outright sexual confidence, her clear beauty coupled with an almost androgynous kind of detachment is as beguiling as it is intimidating.
Like I say I think her music is underrated, but more than that I think she is that rare kind of star who seems to transcend easy categorisation or description. Part performance artist, part disco diva, part model, part singer, part actress, and part muse, but never less than wholly impressive in all categories. There are rumours of a new long-player to be released this year, but whether it will see the light of day is a matter of debate as two full-length albums still remain recorded but unreleased from the mid-90s. Whatever the case, whether it is your cup of tea, you can bet your bottom dollar that whatever she chooses to do it will be interesting, and an artist of such individuality should surely be celebrated. That having been said, I sure as hell wouldn’t want to meet her in a dark alley. She has always scared the bejeezus out of me!
I have always felt that her music has been somewhat overshadowed by her persona. And this is a great shame because in fact her recorded output is often highly inventive and progressive, unique in some senses, and technically very accomplished. Her vocal range is relatively wide at 2 1/2 octaves, and her mastery of technique is more impressive than she is given credit for, with her almost spoken monotone delivery in some songs itself an interesting instrument, and in stark contrast to her other soprano singing style which is surprising smooth and soft. And her early 80s output, working closely with the legendary Sly and Robbie rhythm section, the incredible Wally Badarou on keys, and enjoying the considerable production talents of Chris Blackwell and Alex Sadkin, is always interesting to behold, often diverse and ground-breaking, and quite simply downright excellent. But “Pull Up To The Bumper”, as well as possibly her most well-known track, is also an absolute stormer.
There are numerous tunes that are guaranteed to move a crowd, and this is a particularly prime example of a massive crowd-pleaser. But it somehow adds something different to the mix, providing an incessantly funky groove, but one which also filters the most extremely dark and dirty elements of the sensuality and sexiness of disco. If Donna Summer's I Feel Love is an extended audio orgasm on vinyl, played out in dreamy comfort on satin sheets, "Pull Up..." is the stripped down, raw passion of a wild night in the midst of urban jungle. A calculated and slightly disturbing seduction. Jones' outright sexual confidence, her clear beauty coupled with an almost androgynous kind of detachment is as beguiling as it is intimidating.
Like I say I think her music is underrated, but more than that I think she is that rare kind of star who seems to transcend easy categorisation or description. Part performance artist, part disco diva, part model, part singer, part actress, and part muse, but never less than wholly impressive in all categories. There are rumours of a new long-player to be released this year, but whether it will see the light of day is a matter of debate as two full-length albums still remain recorded but unreleased from the mid-90s. Whatever the case, whether it is your cup of tea, you can bet your bottom dollar that whatever she chooses to do it will be interesting, and an artist of such individuality should surely be celebrated. That having been said, I sure as hell wouldn’t want to meet her in a dark alley. She has always scared the bejeezus out of me!
posted by Twelve Bar at 4:23 PM
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