A fearless, almost intimidating, choice of significantly reworked cover versions, combined with the use of peerlessly drill-practised session musicians. The album is, of course, named after the Iggy Pop track from his Bowie collaboration The Idiot. All of her covers are astutely chosen; Bill Withers" Use Me and Flash and the Pan"s Walking in the Rain are canny reworkings and, as with all good covers, the style in which they are reworked becomes a statement in itself. (Contrary to popular belief there isn"t a Police cover on this album. Demolition Man was written for her by Sting, who, in typical graceless style, then decided he liked the song and got The Police to record a lacklustre version later on.) But the album"s undoubted centrepiece is an original composition and a work of cocksure funk disco genius. Pull Up to the Bumper remains a bona-fide dancefloor filler and one powered by a delicious irony at that. Jones" fanbase at the time was mainly comprised of white gay men, who idolised this chiselled, masculine woman who sang unashamedly and quite obviously about the joys of an, ahem, alternative sexual practice for her, that wasn"t so alternative for them. For this recording, La Jones" pair of aces in the hole came in the shape of Sly Dunbar on dub echo-treated metronomic drums and Robbie Shakespeare dealing out tar-thick bass wobble. Ensconced in Island"s Compass Point studios in the Bahamas the statuesque beauty, aided by her two lieutenants, laid down a world-class album.