The Electric Lady

Prince, Erykah Badu, Esperanza Spalding, Solange, and Miguel contribute to the fourth and fifth Metropolis suites, but its not as if Janelle Monae and their Wondaland associates were short on creative energy. Equally as detailed and as entertaining as The ArchAndroid, The Electric Lady is likewise a product of overactive imaginations and detailed concept engineering, and it also plays out like a sci-fi opera-slash-variety program with style and era-hopping galore. Suite four is the albums busier and more ostentatious half, more star-studded and less focused, highlighted by the bopping "Dance Apocalyptic" and the strutting Badu duet "Q.U.E.E.N." Suite five is considerably stronger with a handful of firmly R&B-rooted gems. The inspiration for its overture is noted in the liners as "Stevie Wonder listening to Os Mutantes on vinyl (circa 1973)," but shades of Stevies 70s work are heard later in more obvious ways. "Ghetto Woman" is impeccably layered soul-funk, fluid and robust at once, with chunky percussion and synthesizer lines bounding about as Monae delivers a performance as proud and as powerful as Stevies "Black Man." It contains an autobiographical 30-second verse that is probably swift and dense enough to make early supporter Big Boi beam with pride. The enraptured liquid glide of "Dorothy Dandridge Eyes," featuring Spalding, recalls "I Cant Help It," co-written by Stevie for Michael Jacksons Off the Wall. Earlier, on "Its Code," Monae channels the yearning Jackson 5-era MJ. "Cant Live Without Your Love," presumably a paean to human love interest Anthony Greendown has Monae -- or Cindi Mayweather, aka Electric Lady Number One -- yearning like never before. The album is sure to astound Monaes sci-fi/theater-geek following. Its second half cannot be denied by those who simply value creative R&B that owes to the past and sounds fresh. Anyone can appreciate the phenomenal interludes, which are close to 3 Feet High and Rising level. Power-up to the Droid Rebel Alliance and the Get-Free Crew indeed. ~ Andy Kellman

3年ぶりの新作。2719年のアンドロイドと21世紀のエレクトリック・レディーという二つの視点が……という毎度の面倒臭そうなコンセプトがあるものの、そのややこしさを楽曲の多彩さに昇華できる、底なしの音楽的素養もジャネル・モネイの魅力だ。プリンスへの憧憬を見せた前作を経て今回は殿下本人を迎えていたり、先行シングルの"Q.U.E.E.N."では共演のエリカ・バドゥの向こうを張り堂々と主張するなど、よりスケールアップした振る舞いが満載。彼女らしいSF感からロックやファンクやR&Bやレトロ・ポップ、そしてエスペランサ・スポルディングと歌う最高にメロウなMJオマージュまで手を変え品を変え楽しませてくれる、お高く留まらないサーヴィス精神もいいんです。またも傑作!
bounce (C)池谷昌之