LA's Dengue Fever has been a critical favorite for years with their unique take on Cambodian psychedelic pop, lively stage shows and touching band documentary Sleepwalking through the Mekong.

This Sunday, Dengue Fever will be playing alongside Grace Jones and Of Montreal at the Hollywood Bowl. With that in mind, we asked the band to discuss their favorites from the innovative art pop icon Grace Jones. Participating in this brainstorming session were Senon Williams (bass), Paul Smith (drums) and David Ralicke (horns).

“Pull Up To The Bumper”

”A classic song. The bass line alone I could listen to for hours. This song is a visual experience and a visceral dialogue of our urban night trips.” Senon Williams

“Man, 'Pull Up To The Bumper' was the funk. Even haters couldn't help love that track. I have many foggy good time memories of that one.” David Ralicke

“Slave to the Rhythm”

“The diva says dance, so I dance.  I'll be the slave, she'll be the master.  I think our relationship is off to great start.  When we see her backstage at the Hollywood Bowl I'm sure she'll acknowledge me with a knowing wink, or have me arrested, which ever.” Paul Smith

“Warm Leatherette”

“This is a bizarre cover by Grace.  Originally done by The Normal, it somehow makes crashing a car sexy.  I hope she has good insurance.  If you didn't think Grace Jones was a fan of the bizarre, now you have proof.” Paul Smith

“I've Seen That Face Before (Libertango)”

”This song blows me away. It really influenced me on Dengue Fever tunes 'Sober Driver' and 'Clipped Wings'…very pure rhythm and melody with no fat.” Senon Williams

“Demolition Man”

“That's a trombone she blows up in that video and it was rad. Made me wanna blow up my trombone too. When The Police version came out I thought they were doing a weak version of her tune. Ha!” David Ralicke

“Corporate Cannibal”

“This song reminds us that Grace Jones can do what many artists can't: Permeate any medium with a strong artistic vision.  The Orwellian feeling she gets with the video is great considering she doesn't use many images other than her distorted self.” Paul Smith

LA Weekly