model Jenny McCarthy
, in her book, Love, Lust & Faking It: The Naked Truth About Sex, Lies, and True Romance
, listed this song amongst her selections of the best songs to play while getting busy with the horizontal mambo
. Recorded by Danish synth-pop act 'Hess Is More' (named for headliner Michael Hess and other family members in the group) and featuring the vocal talents of aptly named Vietnamese
singer Bang Chau, the song, framed as an audition
to perform musically, is a thinly veiled metaphor
for the male sexual fantasy of a woman pleading for permission to pleasure the man.
A soft, synthetic set of piano notes, like river water flowing over rocks, interspersed with higher-pitched droplets of electronica, sets the scene. Each part, then, begins with Hess, the man, speaking in a fairly lecherous and suggestive tone, inviting the other person, the woman, to perform or continue performing (musically) and then evaluating their performance, telling them each time that it was good.... but they'll have to do better to get the job. He first speaks the words, "Hello, sweet pie," possibly under the impression that this is a common English-language endearment caught somewhere between 'sweet pea' and 'sweetie pie.' He then suggests getting 'straight to business'....
His intimations are followed in each instance by the woman, sexily growling out the chorus
over the slow and clubby, artificial drumbeat:
I'm on the mike,
I'll try to give you
what you like,
I can be soft,
I can be hard,
Let me do
the B part,
The comments of the 'boss' inevitably imply the musk of sexuality -- "I really like what you're doing here.... yet, I think you're gonna have to work a little harder, baby."
The vid, which you may view here
, was shot in a Copenhagen hotel clad in golden sepia
tones. It depicts the woman, for the most part, standing inside the circle of a model train
track on a hard tiled floor, the train passing around her feet. The man begins by speaking to her from his chair while she stands, then descends the short set of steps separating them to stand uncomfortably close to her in the circle, then dances awkwardly with her inside the circle over a low-and-slow brass set. His face is seen, hers never is above the nose -- even when the taller man is standing behind her, his face pressed to hers, camera angles work to show his face while obscuring hers -- reducing her to a sexually charged, pleading mouth.
As apparent as the theme of sexual domination by the man is in the song, and even moreso in the vid, I was surprised that some women I know seem to find the song as effectively erotic and seductive as Jenny McCarthy suggest in including it on her list. I am given to understanding, as well, that it receives a fair turn of play at strip club
s. And, naturally, at the end of the video, the train passes back (away from the viewer) between the woman's slightly akimbo feet (which point toward the viewer), obviously symbolizing penetrative sexual intercourse
, in which the vagina
of the woman is vaginally penetrated by the man's penis
entering her through the vagina. Or it could simply symbolize something to do with a cigar.