Well, the title is certainly not misleading. The Electric Lady – a likely subversion of the male fantasy of the Jimi Hendrix classic Electric Ladyland – is a more synth and electronically focused record than even its predecessor, even down to the Overtures. As a result it is probably more cohesive on a sonic level than The ArchAndroid, even though both are still largely defined by Monáe’s electric explosive personality.
It is still as varied as its predecessor, with elements from jazz and funk to folk and even Latin influences, and so fits in as the fourth and fifth parts of this Metropolis series. But, as the inclusion of more circles on the album cover seem to imply – with both the narrative and even Janelle Monáe adding credos to this – Electric Lady’s ideas were originally not supposed to be part of this series, and as such this functions as a prequel and sequel. It is then appropriate to call this The Godfather II of this series, in that it’s a prequel that incorporates elements of a separate story, and in that this too is absolutely fantastic.
Like The ArchAndroid this is split up via Suites, but unlike that album this is also split up into other sections indicated by this album’s inclusion of skits. In the grand tradition of the radio DJ incorporated onto the album, The Electric Lady subverts the tradition by of course making them a robot. As well as indicating clearer tonal change points, it also gives Monáe the opportunity to give some more metaphorical commentary on race and gender, representing as many multiple perspectives as there are clones on that album cover (they are also a lot funnier than many skits).
Monáe again bodies many personas, and after the Morricone/Barry inspired IV Overture (more on that latter person latter), we get “Give Em What They Love,” whose most obvious influence is present on the track in big bold letter. Prince’s influence extends to a fair few songs on this album, but here he is stronger than he has been in years, and I also want to think the energy from this partnership is part of the reason Prince’s last two albums were his best in ages (a shame we never got that far for him in Record Club, seriously, 2014 was a great Prince year). It’s hard for any artist to hold their own with such a ball of charisma, but fortunately Monáe does, pushing her authority and voice to the point of strain but never breaking before a fabulous guitar solo to end things off (I honestly don’t know if that was from Prince 0r Kellindo Parker, but whoever it was: good job!)
The funk extends into the next track, Q.U.E.E.N, with the fun and bouncy guitar lines and synth. According to Monáe herself, Q.U.E.E.N stands for “Queer community, Untouchables, Emigrants, Excommunicated, Negroid,” and despite those lofty ambitious and themes of slavery, this is probably one of the most accessible tracks she has written. I’m not familiar with the work of Erykah Badu, and I have to see she was a little too quiet (whether herself or in the mix) to make any kind of huge impression, and that is especially true when Monáe explodes into a truly fantastic rap verse. Rightfully angry and political among lush strings (one that leaps out to me is, “They keep us underground working hard for the greedy/ But when it’s time pay they turn around and call us needy”), this for me is one of the high points on the album, and the rhythm itself is one she returns to throughout the album. Then comes the title track, another standout and single, who even without Solange Knowles being on the track I would have made the Destiny’s Child comparisons (particularly with the backing vocals). Monáe returns to that previous rap rhythm and has some strong vocals on here, but I have to say if Solange’s music is as strong on here as she is on her albums I’ve seriously been missing out on some good music.
The tone changes into songs slight slower and more atmospheric after the first skit. A wonderful piece of R&B and Soul, “PrimeTime,” and the first explicit instance of this being a prequel, it is interesting as here is one of the first instances of Cindi Mayweather (Monáe’s character) being depicted in an explicitly sexual way. Here it is with the character of Joey Vice as opposed to Anthony Greendown, Vice being played here by Miguel, an artist who I tend to be mixed on but like all people on here is a great (anyone who’s seen Miguel’s last album cover knows he like to think himself a sex god).
“We Are Rock and Roll” is an intriguing track, despite not being one of the big album stand outs, because of its instrumentation. It thinks of itself as old school rock and roll, but thanks to its contemporary production can’t display as anything other than incredibly modern. I mention this because the next song, “Dance Apocalyptic,” is the ultimate example of this interesting contrast, the result of its place in the Metropolis timeline. It sounds like a throwback, something that wouldn’t be far out of the Grease soundtrack, and yet its themes of apocalypse and rebellion (as we recall from TheArchAndroid, dancing is a sign of rebellion) create an interesting contrast. It’s a nostalgic apocalypse; a fond reminder of the glory of the end. And its placement on the album here adds so much context and subtext that, although a great dance song, improves its content as opposed to being just a single. “Dance Apocalyptic” is very much the “Backseat Freestyle” of The Electric Lady.
The end of this Suite is peculiar in how much it sounds like the beginning to the next one. “Look into My Eyes” is the product of a Bond Score having a baby with the theme of True Detective’s first series, and evidence that Eon Productions should scrap whatever Sam Smith plans they probably have for the Spectre Bond song and just get Monáe, because on a pure sonic level this is one of my favourite songs from the album (Such a shame it’s so short). But the way that this song so fluidly moves into the Overture for the next Suite, one would think they were the same song if they weren’t looking properly. The first section of this Overture would be the John Barry score than Monáe’s bond movie accompanies, and the next two tracks feature some great jazz and Latin sections that make it one of the most diverse pieces in the Janelle Monáe canon. And that is saying something.
Unfortunately this then moves into one of the weaker songs of the album, at least for me. It’s not that “It’s Code” is a bad song, just compared to many tracks off The Electric Lady it is not as memorable, which is also a shame because I love the Motown era the song is clearly trying to imitate, specifically the Jackson Five. Fortunately the energy picks up with the Boogie Night-ish disco track “Ghetto Woman,” which returns to that rap rhythm from “Q.U.E.E.N” and has some great guitar work on the back end of the track.
After the “Our Favourite Fugitive” interlude is where some of my favourite tracks of the whole project take place. The first of these is “Victory” a track of hip hop soul (that for my money should be a go too track for all samplers) which has a fantastic percussive core, and a fluid and moving melody coming from Monáe’s voice. Of all the Cindi Battle songs posing as love songs, this is probably my favourite because of how universal its ultimate message of being victorious is. It then moves into another highlight, the smooth and seductive “Can’t Live Without Your Love”. A song with such a groove that I don’t know where its clicks end and mine begin, and some great things going on in the back end of the production with the male chorus voices and the orchestral section, this kind of Michael Jackson neo-soul with a retro edge adds more to this add mix of past and future, as well as the simple pining for lost love being incredibly effective.
“Sally Ride,” is a genre mash up that optimises the weird kinds of experimentations that occur on the back end of these two albums. This song, as well as bringing back the character of Mary from The ArchAndroid to give a positive message of sexual liberation, is also a tribute to first American woman to go into space. The orchestral sections of this track mirror that said flight, but it also some “Stairway to Heaven” style flutes, and by the end moves into a straight on Prince Rocker.
“Dorothy Dandridge Eyes” may be a little too close to the previous few tracks for my liking, but it is still a fantastic piece of funk and soul in its own right, the comes with some great guitar work that ascends scales to mirror that feeling of ascension. This is appropriate for the final track, “What An Experience,” a Marvinesque mix of R&B and Gospel that adds to the already established idea of Cindi Mayweather as a religious “One” figure. This one-two for me is not as strong of an ending to an impressive piece as “BooBopByeYa” was, but then again very few pieces are, and the trumpets and organs still help bring a grandiose conclusion to the production that still leaves a room for what is to come. Again, fitting the idea of both prequel and sequel.
The Electric Lady is as long, grand and full of ideas as its predecessor, and like The AcrhAndroid is a great album filled with many different styles. The reason I would give the one up to its predecessor, however, comes twofold. One, I think I appreciated more how The ArchAndroid fit together thematically and narratively rather than sonically here, as it allowed for a little more instrumentation. Two, on The Electric Lady I could hear more of what she was influenced by then what she was inspired by.
Thankfully the amount of guest stars on this album has not reached latter day Michael Jackson levels of absurd, but let’s hope that she focuses her sights even more on making those final two Suites hit the perfect, climatic mark sonically and narratively. And anyway, if her past records are anything to go by anyway, the music will be nothing less than great
What did you think of the album, though?
Janelle Monáe Rankings
- The ArchAndroid
- The Electric Lady
- Metropolis: The Chase Suite