The Electric Lady

When Janelle Monáe’s debut LP The ArchAndroid dropped in 2010, it introduced the world to a consummate artist with little time for labels. Her tuxedoed stage persona and omnipresent pompadour challenged norms for female self-presentation in the world of popular music. The record itself upended expectations for an R&B newcomer, taking no prisoners with a rich afro-futurist concept more characteristic, both in its scope and its sheer musicality, of a much more firmly established artist. And her startling versatility, bouncing effortlessly between classic pop, R&B balladry, progressive rock, funked-up punk, and folky psychedelia, brazenly defied her listeners to pigeonhole her.The Electric Lady, comprising Suites IV and V of Monáe’s seven-part Metropolis sequence, is, at 67 minutes, one minute shorter than The ArchAndroid, but it’s no less ambitious. For this installment in the saga of android-cum-resistance-leader-cum-Messiah Cindi Mayweather, Monáe leaves some of the genre explorations behind in order to dig more deeply into explicitly African American musical traditions. There’s still plenty of diversity, however, as a glance at the guest list indicates: Prince, Solange Knowles, Erykah Badu, Miguel, and Esperanza Spalding occupy vastly different artistic space. But Monáe is comfortable working alongside them all, synthesizing reggae, smooth R&B, hip-hop, Motown, West Coast jazz, and electric blues with a gleeful catholicity and a singular vision that call to mind no lesser luminary than the mighty Stevland Judkins himself.Monáe’s renewed focus on black music is reflective of The Electric Lady’s unabashed Girl Power, Black Power ethos. From the afro-feminist anthem “Q.U.E.E.N.”:"My crown too heavy like Queen NefertitiGimme back my pyramid, I'm trying to free Kansas City…You can take my wings but I'm still goin' flyAnd even when you edit me the booty don't lie"Themes of freedom permeate The Electric Lady: freedom from economic oppression, freedom from sexual repression, freedom from racism, freedom from self-doubt. Far from growing overbearing, Monáe's politics invest her music with the revolutionary fervor of a young black woman from Kansas City in an era of Barack Obama and Trayvon Martin. The revolution may not be televised, but you will be able to dance to it. Moreover, the political is always personal, as The Electric Lady’s multiple fine love songs (“It’s Code,” “We Were Rock & Roll,” “What an Experience”) and hymns to spiritual empowerment (“Victory”) attest. “I'll keep singing songs until the pain goes,” she sings on the lattermost cut, one of many highlights. “'Cause to be victorious/You must find glory in the little things.”In a recent Rolling Stone interview, Monáe said, "I want to redefine beauty and goals for young women. It's about breaking down stereotypes, fighting against oppression, trying to save the world." That’s a tall order for anybody, even a young, gifted, black woman like Ms. Monáe. But to listen to The Electric Lady is to believe once more in the power of music to change the world, even if that world is a thousand years in the future. "What an Experience" indeed.

What an experience as Ms. Janelle says. This album is great. When I first bought this album yesterday I was like "19 tracks is a lot and I'll be skipping some tracks for sure" But that wasn't the case. I am actually pressing repeat! I listened to the album about three times straight through already. It's great. "Victory" deserves a Grammy nod for Record of the Year. Seriously I got emotional listening to it the first and second time. A great chapter of her planned saga of the for the ArchAndroid, Ms. Cindi Mayweather. This is truly an album with a concept and point of view. Every song fits, no song feels out of place, the interludes really keep everything glued together too. Also she is a pretty good rapper, so glad no guest rappers on her tracks. Love "Victory" lovely beat and great message-finding glory in the little things, "Electric Lady" song with a purpose, perfectly praising confident women everywhere, "Primetime" a love ballad that does not degrade nor disgust me, Q.U.E.E.N" one of the most insightful raps I've heard in a long time-"While you selling dope, we going to keep selling HOPE"-beautiful.I love how the guests artists don't overpower the song. Its so annoying when you're jamming to a beautiful song and all of a sudden 2 Chainz or some other equally annoying rapper pops in jacks up the song, sorry Ms. Chrissette. Well that isn't the case here. All the cameos, Prince, Erkyah Badu, Solange, Miguel, and Esperanza are more of a collaboration instead of an apparent scramble for an artist to fill a gap. Ms. Monae seemed to have put thought into selecting the featured artists and how the final product would compliment her work. Overall this album is lovely and will remain in my rotation for a long time. Hopefully I can see her perform next time she heads to Minneapolis.

When Janelle Monae first hit my radar. I was immediately intrigued. Watching her growth over the last couple of years, especially her true-the-core tribute to The Jackson Five "I Want You Back" on award shows, I never fully drowned myself in her debut because there were a lot of tracks and it was the kind of album that demanded numerous listenings from start to finish. It is a perfect example of why allowing less disciplined fans pick and chose their favorite songs to download isn't always ideal. Some albums were created as a complete vision."Electric Lady" with its nearly 20 songs is again a thoroughly creative endeavor. It has interludes that intertwine between songs that while not essential, I figure over time to experience "Electric Lady", it will come with new awakenings. Again there are several different styles and genres of music. Immediately, the neo-soul mid tempo pseudo ballads strike a chord. "Can't Live Without Your Love", Dorothy Dandridge" and "What an Experience", all near the end of the album, are quite beautiful. The first single, "Q.U.E.E.N" and "Ghetto Woman" create a different feel.While "The Arch Android Experience" didn't exactly set sales records, its wonderful to see how "Electric Lady" shows tremendous growth in several different international territories. La Monae seems to have cleverly avoided any sophomore jinx some three years after she first hit the scene. I and probably many more of her core fans are rooting for a Gold or even Platinum album. The lady creatively deserves it. Like Annie Lennox's "Diva", "Dr. Buzzard's Original Savannah Band" and/or albums like Grace Jones' "Warm Leatherette", the concept album is in fine health.

The case was cracked, but the contents were fine. Both cd and liner notes were in great shape.

Excelente disco, 2 LPs de 180 gramos, excelente calidad de audio.

Une interprète qui sort du lot ,unique en son genre. Quelle chanteuse formidable! On ne peut rester en place. excellent produit. Reçu dans les délais prévus.

リーゼント・ヘアの個性的なルックスと数多のジャンルを軽々と乗り越えた自由な音楽作りで、衝撃のデビューを飾った黒人女性シンガー、ジャネル・モネイの2作目。実は本作、購入当初いまいちピンと来ずしばらく寝かせていたが、時間を置き聴き直すと俄然印象が変わり現在は愛聴している。奇抜なコンセプトは前作と同一。施設入院患者モネイの空想、或いは別人格として生みだされた28世紀のアンドロイド、シンディー・メイウェザーから伝達されたという曲の数々は、メイウェザーに仕組まれた運命を巡るオペラ調の壮大なSF劇。本作では前作に続きドラマの第4・5章が展開される。R&B・ヒップホップを軸にあらゆるジャンルを飲み込んだ雑多な音作りは健在だが、前半第4章はポップス仕様、後半第5章はR&B色を強めた仕様と色を変えている。全体に前作よりも渋めのテイストだ。第4章は前作で取り込んだ幅広い層にアピールするポップス・サイド、豪華なゲスト陣は大方こちらに集中する。殿下を呼び寄せロック・ギターの刺々しいリフと遊ばせるM2、ホーン・ギター・ビートによるジリジリしたグルーヴと分厚いシンセ・サウンドを絡ませ、何処か80年代のMJを彷彿させる会心ファンクM3等は実に格好良い。しかし前作の様に、訳のわからない膨大な音の洪水が次々押し寄せる衝撃はない。また前作と一番の違いはその即効性。前作にはどんな音を纏おうが、メロディが一度で耳へ強烈に吸い付くキャッチーさがあった。本作は鳴っている音自体は派手だが、その良さが伝わる迄に何回か聴き返す必要がある。また平たく言うと前半は「薄め」の曲が多く、前作のポップながら耳にねっとりまとわりつく感じが無い為、一部は強い印象を残さない。その点ポップスの軽みと黒人音楽の濃厚さを絶妙にブレンドした前作プロデューサー、ビッグ・ボイの裁量は見事だった。唯一の例外はウクレレと女声コーラス隊がかしましく騒ぎ出すM9、文句なくキャッチーな逸品だ。第5章はよりR&Bファンにアピールしたしっとり目の構成で、どちらかと言えばこちらでモネイの新境地が伺える。モネイの麗しい歌、伴奏のシンセを生楽器に差し替えれば往年のフリー・ソウル作品に収められても違和感ないM12、循環するコード進行と突進するビートが成す緊張感が、スティービー・ワンダーの「Black Man」を彷彿させるファンクM13等良曲が揃う。完成度はこちらの方が高い気がするが、逆にポップス・ファンは大人しいと感じるかも。デビュー作が余りに大傑作故どうしても損な見方をしてしまう本作だが、大成功作の後だけあり相当慎重丁寧に創られた力作だと思う。ただ前作の凄まじい爆発力を期待すると肩すかしを食うのでご注意を。モネイの同士患者によれば、本作が届けられた直後モネイは忽然と施設から姿を消したとのこと。次作で彼女は再びメイウェザーとして、それとも全く別人格として戻ってくるのだろうか？ 次の展開が楽しみ。

I enjoyed the previous album a great deal, but this one is addictive. Motown meets hip hop in a futuristic funk. Every song has me singing along.

デビュー作『The Arch Android』がグラミー賞にノミネートされた，テキサス出身の女性R&Bシンガー，ジャネール・モネイの2ndアルバム。今どきのシンセ・サウンドがあるかと思えば，古びたオーケストラ・サウンドもあり，メロウなところもあれば，サイケもちょっと入ってたり。極めて多彩なんですけど，それでいて，ぎりぎりR&Bの枠の中におさまっているという何とも個性的で摩訶不思議なサウンドが面白いですね。　古びた，おどろおどろしいストリングスが印象的な間奏曲で幕を開けるSuiteⅣ。ファンカデリックを現代に持ってきたかのようなちょっとサイケな「Givin' 'Em What They Love」に，ノイジーなシンセをタイトに刻んだサウンドがユニークな「Q.U.E.E.N.」と何やら混沌とした雰囲気ですが，タイトル曲「Electric Lady」がイイですね。メロウでスリリング，いかにも80年代って感じのメロディーに，キュートだけど凛とした歌声。滑らかなラップも絡めています。しなやかにステップを踏むビートも小粋。穏やかに揺れるスロー「Primetime」は，実に甘美で夢心地。ミゲルとデュエットしています。「We Were Rock & Roll」は，軽快に疾走するアップテンポ。そして，SuiteⅣを締めくくる「Look Into My Eyes」。この曲が秀逸です。哀感を帯びた幻想的でミステリアスなオーケストラ・サウンド。曇天の下の古城なんていうノスタルジックなヨーロッパの風景を思い浮かべてしまうバラード。冒頭の間奏曲はここにつながっていたんですね。で，後半のSuiteⅤ。同じメロディーながらも何とも煌びやかで甘美にアレンジされた間奏曲でスタートします。ここからは極上のメロウ・チューンが目白押し。「It's Code」は，とろけてしまいそうなほど甘美でロマンティックなミッドテンポ。モネイのキュートな歌声も夢見心地です。孤高のメロディーを毅然と歌い上げる「Victory」では，モネイの伸びやかな歌声が素晴らしいですね。ヘブンリーで浮遊感のある「Can't Live Without Your Love」は，そよ風のような穏やかなスウィングが心地良いです。「Sally Ride」は，メロディアスな中にもブルース・ロックのような激しい情感のこもったナンバー。後半の盛り上がりが最高に熱いです。そして，「Dorothy Dandridge Eyes」。これがまた素晴らしい曲なんです。夜の闇をしなやかに舞うかのようなミステリアスでクールなサウンドに，キュートで神秘的なモネイの歌声が絶妙にマッチ。何とも心地良いです。ここまで多彩で独創的なアルバムは久しぶりです。聴き応えがあります。メロウ・チューン好きの僕にとっては，特に後半のSuiteⅤは最高でした。これは秀作です。