I have to be honest with you up front, I wanted to LOVE this album. I am a big fan of the idea of Janelle Monae; I like what she represents and what she's trying to do, and her potential is definitely there based on her 2010 debut album The Archandroid and her excellent performance opening for of Montreal at the Town Ballroom that year. I love the fact that like Santigold, Janelle Monae eschews skin and performs fully clothed, while providing a positive role model for the children at a time when pop music is doing a lousy job of it, and I love her for her burning artistic ambition. Janelle Monae in short is what we need, and bless her she's reaching for that gold ring. Unfortunately on her sophomore effort, Electric Lady, she doesn't quite reach it, and it pains me to say that.
A continuation of the black to the future sci-fi framework begun on her 2007 debut EP Metropolis: The Chase Suite, Electric Lady once again finds Monae tackling another variety of moods and genres, but unlike the almost acutely realized The Archandroid, this 19 track effort largely seems undercooked and at times genuinely boring in spite of the host of guest stars that dot the album. Even "Give Them What They Love," a duet between Monae and one of her patrons Prince, a match made in heaven on paper, comes off as limp, along with current single "Dance Apocalyptic," which sounds thin and oddly strained. All too frequently Monae's voice is lost in the mix, and on "Electric Lady," a sisterhood/empowerment anthem with Solange Knowles and "Q.U.E.E.N." with Erykah Badu, she kind of gets shown up by her guest stars.
The sophomore jinx can be tough, and Electric Lady isn't an ignoble failure or without joy: "Dorothy Dandridge Eyes," Monae's collaboration with Esperanza Spalding swings thanks to a sparkling samba groove and excellent vocal performances by both artists; while "Primetime" soars thanks to some great vocal chemistry between Janelle and guest star Miguel (whoever he is) and some Princely guitar work from Wondaland's Kellindo Parker. "Electric Lady," has genuine fire courtesy of the Solange's assertive vocals and a classic bottom heavy rhythm section that gives the jam genuine impact.
The album is also decidedly positive in terms of it's overall messages regarding inclusion, unity, tolerance and respect. Janelle Monae definitely is aware of her responsibilities as a young 21st Century pop star attempting to righteously play in the sandbox previously occupied by Michael Jackson and his younger sister Janet (before it all went wrong), and her focus on being a positive artist and hard working performer is still inspirational and an example for the children. The problem is that she's holding back on this album while simultaneously trying to connect to a pop audience, and the results don't live up to The Archandroid. There is a distinct possibility that the material on Electric Lady might translate better in a live setting, and that's certainly a possibility that I'd pursue again given the chance because she's a spectacular live performer, and she still has something to say. Hopefully her next album is a better realized expression of what Janelle Monae is all about.
Grade: B-
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