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Dads and Robots: Reel Steel

Never judge a film by it's trailer - that is exactly what I did with Real Steel and I nearly missed out on what is a moving, funny and heart-warming film. Damn it, this film made me cry and that is probably the biggest compliment I can give it. 

At it's heart Real Steel is a father and son flick and in that lies a hint to why it affected me so much. What makes this film so interesting is the story of Charlie Kenton (Wolverine) and his estranged 11 year old son Max Kenton (Dakota Goyo, a better Jake Lloyd... you know, the kid from the Star Wars: Episode 1) which is at times very difficult to watch. 

Max is a washed up ex-boxer who controls fighting robots - and he is very bad at it. For the first hour or so, we watch his robots get destroyed and Max take advantage of the little good will that he has left from people who care about him. Even when his ex-baby mama dies, Max is only interested in his son because of the potential financial gain. I'll tell you what, Hugh Jackman is a very good actor because in lesser hands his character would stray too far into dick territory and lose the audience. With that said Jackman is charismatic and the transformation he experiences throughout this film is believable and surprisingly subtle.

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The trailer sells this film as a happier family version of Transformers and like Mr Bay's creation, I didn't expect it to have much of a story - so to watch this almost unvarnished story of a father that initially doesn't care for his son and only sees him as a means to an end was oddly refreshing. The film is a little over 2 hours and throughout that time the two are piecing together their relationship until you get to the inevitable happy ending. And that happy ending has been earned, I felt like I have been put in the ring with one of these robots.

For the little boy in me, it was pretty cool watching robots beat each other up in a context that doesn't involve the end of the world. The robot fighting was an after thought for me when the film finished, not because the visuals were bad or I found the fight scenes boring - it was simply because the film really wasn't about the bots for me. 

This film was a huge surprise, It made me all warm and fuzzy and, the kicker, it made me miss my dad. It made me think of all the arguments we had and all the shit I used to bitch about - it also made me realise how lucky I was that he was there to listen to me bitch. It made me think about how I never told my dad that I loved him and by the end of this film I realised what a huge mistake that was and how I may regret it for the rest of my life.

But yeh, very good film.


                          
                           Real Bear

Alternative: Marshall Mathers LP 2

I believe that Eminem is the best rapper alive and the second greatest rapper of all time (rest in peace Notorious BIG).  That is just my opinion and people have the right to differ.

But I was nervous about Marshall Mather LP 2. I thought it was a mistake to name the album after one of his three classic records (the other two being Slim Shady LP and Relapse. Again, my opinion).  MMLP was generational defining – it was the soundtrack of my teenage years. I was angry, sensitive, stupid and irrational as a kid and it was amazing to hear all of these traits reflected back at me – from a white boy no less.

For me, the only sour point to Em’s catalogue is Recovery. It was that record, not Relapse, where he sounded unsure of himself. He sounded too forced, uncomfortable and importantly devoid of humour. Humour is the one ingredient that people overlook when it comes to hip-hop, it is a vital piece of the cog. Notorious BIG had it in spades, so does Redman and so did Eminem but he lost it in Recovery. I hated the pop-hooks and the constant screaming verses.

So, yes, I was scared that I would be disappointed when it came to finally listening to MMLP2. Berserk dampened a lot of my fears but as soon as I heard the Ri-Ri assisted The Monster, I started to worry again.

Although I pre-ordered the album, I also illegally downloaded it when it leaked a couple days before it’s 5^th November release date. What I heard surprised me and says a lot about Eminem’s place among today’s rap elite.

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First things first, this album is not as good or close to being as good as the first Marshall Mathers LP. Surprised, right? 

A big reason for this is the lack of Dr Dre anywhere on this album. I don’t know if Eminem thinks that Dre beats no longer cut it in hip-hop but the musical foundation the good Doctor provided him in Relapse says very different. In fact, it was the illusion of Dre that provided one of the highlights on this new album – Brainless sounds like a Dr Dre beat, with its running piano lines and smacking drum beat. It was great to hear.

Another mark against the album is the number of choruses that are sung by pop artists. Don’t get me wrong, the choruses are not as bad as the ones on Recovery, but they did leave me a little disappointed. It kept the album from feeling more ‘hard-core’ than it could have. For instance, Legacy could have been a great song but the chorus makes it almost unlistenable.

The biggest mistake on this album is the song Stronger than I was. It is a terrible, terrible, terrible song. Just terrible. I have played this album for a little over a week and not once have I managed to listen to this song all the way through. Eminem cannot sing, his whole career tells you as much and yes he has gotten away with it in the past but this was a step too far. I discovered that there was a rap verse on this song through agreat video review by the fellas over at Dead End Hip Hop and it is sensational but it still doesn’t save that song. It is just bad. So bad.

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Given the little time I have had with MMLP 2, I am reluctant to make any absolute judgements about it. I thought Recovery was the best thing since The Eminem Show and I ended up growing out of love with it to the point where I regarded to be a lesser album that Encore. But what I will say is this I felt more at ease with this Eminem album than I did with his last three offerings.

If you're not a fan of Eminem, you will not like this album. If you are a fan of one element of the Eminem ethos, you still may not like this album. But if you’ve been a fan since ‘My name is’ and you appreciate the different elements to his character and how he has evolved as an MC, the likelihood is that you will love this album. There is some wacky Slim Shady LP shit on here (So much better, Brainless), some Marshall Mathers joints (Bad Guy) and some songs which will have your jaw on the floor (Rap God).

Importantly, this album sounds fresh and makes you feel like Eminem is breaking new ground as an MC and a lot of credit has to go to Rick Rubin and his (ironically) nostalgia inducing beats.  I loved Rhyme or Reason from the moment I heard it – the beat is unlike anything I've heard Eminem rap on which made it so refreshing. The same can be said for Love Game, which I believe should have been the first single for this album. Kendrick Lemar holds his own on the song until Eminem shows why he is truly one of the greatest with his second verse.

But the highlight from the Rick Rubin joints for me is So Far, a truly unique Eminem song. This is a song that grew on me with every listen – again, it is unlike any other Eminem track that I have heard and the whitest hip-hop track to come out of Dr Dre’s camp since… well, White Trash Party, I suppose. What makes the song interesting is not the way the beat switches up but the way Eminem tells a story about an aging successful hip-hop star who, like all parents, struggle with new technology and pop-culture. Jay-Z tried to do the same thing with a track off of his much maligned comeback album, Kingdom Come – it didn’t work. So Far is a very mature and self-aware hip-hop track which many are overlooking.

This new mature outlook is more prevalent on the track Headlights. Again, if you have been an Eminem fan from the start you will understand why this track is important, emotional and shocking. Shit, I mean just listen to the first song from the previous Marshall Mathers LP. It also illustrates why Eminem is one of the best rappers working today – I don’t think as audience members we deserved or needed to hear this very personal song, but he put it out anyway.

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Marshall Mathers LP 2 surprised me by being better than I expected it to be. It isn’t a very consistent album, the feel of the album is very erratic and the lows of the album sometime reach ground floor. I am also very uncomfortable with how comfortable I was with the homophobic and sexist lyrics on this album – I just carried on nodding away to the beat.

But at its best, some songs on this album rival anything Eminem has ever released. His word play is still second to none ("maybe that’s why I’m so bananas, I appeal to all walks of life") and he still makes you laugh when you don’t want to ("I’ve got 99 problems but a bitch ain’t one, she’s all 99 of em, I need a machine gun").

The album finds Eminem at a very interesting point in his life and he is very aware of this.It is clear that Eminem is not like many rappers doing their thing today - Em is embracing his evolution and his transformation into being an elder states-person of hip-hop 

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I want to finish by talking about Evil Twin. It is the greatest Eminem song of all damn time.

Just my opinion.

                               Chocolate Slim

Calendar Girls is golden

I can’t even tell you how I got round to watching Calendar Girls, but I regret not watching it sooner. Pride and an inflated ego stopped me from watching one of the most charming, well-acted and heart-warming British films I have ever seen. I own Notting Hill for crying out loud but I never gave this much superior film the time of day. Shame on me.

Maybe one of the reasons why it took me so long to watch Calendar Girls is because I considered the film to be ‘too white’ and It is exactly that – I only saw one black face which funnily enough was the daughter of one of the Calendar women. There are themes and ideas in this film that transcend race and class and all that – family, love friendship, death and of course, sex, being key among them. What surprised me most, though, is the sophisticated way this film chooses to depict the said themes and how three dimensional all the characters are, even the smaller roles – this is not a simple film by any means.

Take Penelope Wilton’s character for example (known as Lady Crawley to most of us) – Ruth at first is a shy, very self-conscious about her body and mentally downtrodden thanks to her struggling marriage. She uses the calendar as a way to rekindle her husband’s interest in her but it doesn’t have the desired effect. Instead of the experience being the end of her, it transforms her into a white English Aretha Franklin-esc character full of self worth. I am doing her metamorphosis in the film a disservice but let me say that it takes a hell of an actress to pull the range of emotions Wilton displays in this film.

Wilton isn’t even the half of it – the whole damn cast is fantastic. This whole film could have been cringe worthy throughout, and I expected it be, but it wasn’t. It was funny – consistently funny and a lot of credit has to go to Mirren and Walters but, as I said, everyone plays their part. One thing though, where the hell was Dame Judi Dench?

So, if you haven't already, give Calendar Girls a try, even if you consider yourself to be a gangster of Dr Dre proportions. I have a feeling that this film may surprise you.   

      Dame Chocolate

In defense of Katie's Rachel

I carry a small candle for Katie Holmes, a light that has been present since my teenage years. I was head-over-heels in love with Joey Porter and I remained that way until the end of Dawson’s Creek - no matter how many times she played best friend against best friend.

So with that in mind, I accept that I may hold a bias view when I discuss Holmes’ turn in Batman Begins. She has been described as the weak link in the movie, one of the worst casting decisions made by Nolan and describedcruelly as ‘terrible’ as Rachel Dawes. Hand on heart, I don’t see what others see in this movie, especially if I compare Holmes’ performance with that of Maggie Gyllenhaal’s.

The test for both actresses is whether you believe they are the long-time friend of Bruce Wayne and whether you buy their ‘destined to be together’ plot arch – Holmes does nothing that makes me question these points.

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At a push, Holmes’ Dawes is more crudely written than Gyllenhaal’s – the speech she makes to Bruce after he admits to nearly killing Joe Chill is, well, unfortunate. You could also point to the hotel scene when she meets Bruce again after his time in self-imposed exile. These moments feel forced and I blame the words given to Holmes rather than her performance of those words.  

I also can’t help feeling that a lot of the hate towards Holmes’ stems from who she was romantically linked with at the time. As I have said previously, audiences find it difficult to separate an actor’s personal life from their professional. Holmes did not give a barnstorming performance but neither did Jake’s sister and I have yet to read a review where Gyllenhaal has been lampooned.

(Sigh) I can feel my inner Holme’s flame burning as I write this. As I said at the beginning, I may be biased when it comes to this subject. I don’t know.

                                           Chocolate Dawes

Top 10 Nolan Batman moments.

I love the Christopher Nolan Batman films with all my soul – I truly believe each film is a classic. What Nolan did for the character is not easy – he made Batman, in the eyes of the mainstream audience, into a serious character. Previously, under different directorial regimes, I just couldn’t take character seriously.

But as well as all three films being wonderful, there are moments in the Nolan series that just make you remember why you love movies. Moments that force you to say “wow” and moments that conjure a chill at the back of your neck. 

These are my favourite 10 moments in the Nolan Batman series. 

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Ten: Ras al Ghul reveal

I feel that Batman Begins gets a bad rap among fans and critics – I think it is a very good film that expertly lays the ground work for The Dark Knight and The Dark Knight Rises. There are moments in the film that are as good as any in the series.

I remember the first time I watched Begins and seeing Bruce Wayne’s birthday scene and being blown away. The tension from the whole film pretty much builds to this moment. You realise that the real big bad of the film was a bloke you thought was a good guy and probably dead – Liam Neeson’s Ras al Ghul. From this moment on, I knew this was a very different Batman story than those that came before.

Nine: The Lau Extraction

This scene is the best bad ass “Batman” moment in series. I love it because it brings home a point that Heath Ledger’s Joker mentions earlier in The Dark Knight, “Batman has no jurisdiction.” It is the clearest demonstration of why Batman is more important than the Gotham City Police.

It is also just very cool.

Eight: Do you feel in charge?

As I have said before on this blog, I am shit scared of Bane and you only have to watch the below scene to understand why. In a moment, with a light touch of the shoulder, the whole dynamic of the conversation between Bane and John Daggett (played by the bloody brilliant Ben Mandelsohn) changes – and it is shocking.

Seven: Ninja Batman

Something that people overlook about Batman is that he is supposed to be a fiercely intelligent individual that thinks on his feet – a detective if you will. That is best illustrated in the Ninja initiation scene in Batman Begins.

First off, Ninja’s are just bloody cool anyway, so this scene was always going to stick with me. But I love the way that in this one scene you see Bruce using all of the knowledge Ras has passed on to him (or the knowledge we have seen him pass). This is where you pretty much see the transformation – this is the birth of Batman.

Six: The Bane walk

You take the boss hostage and threaten his life in front of his people who are ebbing closer and closer towards you. So you fight them with the help of a bloke that dresses as a bat, but more men keep coming. Chief among those approaching you is a big bastard with his hands on the collar of his jacket. 

Question: What do you do? My answer: Shit myself.

Five: Joker’s coward

The thing with me is that I keep forgetting how great Ledger’s performance was as the Joker. I try to downplay it because of the incredible hype it gets but when you watch The Dark Knight you realise what a remarkable performance it is. Truly jaw dropping.

One of my favourite moment is when he taunts a police officer into an altercation. It is the way that Ledger achieves being extremely threatening and funny at the same time. 

I chuckle every time Ledger mouths “six” in this scene - I don't know why. And when he drops his “do you know why I use a knife speech” you realise what Ledger was doing in this film was not normal.

Four: Joker reveal

There is probably nothing I can say about this moment that hasn’t already been written. It is my third favourite introduction to a film behind The Godfather ("I believe in America") and The Lion King ("Circle of life"). It is already iconic and rightly so.

Every time someone argues with me that Nolan isn’t a technically gifted director, I mention this scene because it is nigh near perfect beginning to a wonderful film.

Three: Hi

And yes for a third time in a row I choose a Joker moment – I left out so many. 

I’m really not that bothered about the rest of this scene (which is awesome in its own right), it is just the “hi” moment that delights me. Again, it shows you the level of detail Ledger put into his performance.

Firstly, it’s funny and secondly, for that to be the first word you say to a man who you ruined is just sadistic. 

Two: Darkness is Bane’s ally

Tom Hardy’s Bane is one of my favourite villains of all time and just surpasses the Joker. As I have said before, I find him trulyterrifying and is an evil that speaks to my generation.

The fight scene in the sewers between Bane and Batman encapsulates everything terrifying about the character – but it is his “darkness” speech that tips me over the edge every time. Terrifying.

One: Fire Engine 

It is just funny.

I remember laughing out loud in the cinema when I saw this visual gag. The thing is, I wasn’t the only one laughing.

Again, it sharply shows two important elements to the Joker, his humour and sadistic nature. But somehow, his humour is the thing that shines through the most – at least for me it is. I really don’t know what that says about me as a human being.

But this is the one moment I love the most in the whole series. It is small but it says a lot. 

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And that is my lot. 

                                           Chocolate Bats

Alternative: Tales from a lonely planet

I’ve never pretended to be a comic book expert – I’m not – but thanks to the explosion of films which were inspired by the medium I have started to appreciate them a lot more.

It is all about storytelling and like TV and film, some of the best stories can be found at the grassroots level.

“Tales from a lonely planet” is a collection of stories by grassroots comic book writers and artists put together by Stu Perrins. Importantly, all proceeds from the anthology will go to Cancer Research UK.

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It is the editor of the anthology that kicks off matters with his satirical strip “No such thing as bad press”. I must admit, the artwork of Nick Gonzo put me off at first but once I started to read the story his contribution became evident. 

Gonzo adds a lot of charm to Perrins’ funny and sharp writing and by end of the story you want to read more about the adventures of Harvey Spig.

But it is the next strip, “Dogs” by Niall Doonan which is the stand out piece of the anthology. Inspired by the characters of Tarantino’s iconic debut film, it follows a hilarious conversation about one of the Dogs becoming a vegetarian. It is a little gem of a strip – it’s surreal, laugh out loud funny and also strangely familiar. The art work by Trystan Mitchell is just fantastic and adds even more quality to the strip.

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Every story in ‘lonely planet’ is peppered generously with humour, but I also enjoyed how different the art in each story was. No story looks the same and this makes starting a new strip feel like a breath of fresh air. There will probably be some strips in this book that may not be to everyone’s taste, but that’s fine – that’s the point.

What this book demonstrates is just how unique comics are. There are ideas and little fables in this anthology that will stay with for a while (Blas Bigatti’s piece is just beautiful) and they show you that comics can be so much more than your Batmans or Supermans.

I loved “Tales from a lonely planet” and I applaud Mr Perrins for putting this together. Importantly, I can’t wait to see what these artists come up with next. 

Where is the Bane love?

Tom Hardy is 5 feet 9 inches tall. I am an inch shorter than this man. I say this because time and again I have been described as a man of below average height – which is true – yet, Tom Hardy is only an inch taller. I take this as an empowering piece of information.

Despite Hardy’s height impediment, he is one of the most physically imposing actors I have seen on the screen – I put him up there with Arnold Schwarzenegger. His performance in Bronson echoed that of a young Robert De Nero, as did his impressive turn in Warrior – but for me, it’s his turn as Bane that shows how special he is.

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I love The Dark Knight Rises – I think it is brilliant, ambitious and most of all brave. I also admit that the film is very much flawed, but not to the extent some believe it is. For instance, I do not think that there is much technical difference between The Dark Knight Rises and its much celebrated predecessor, The Dark Knight. The only difference to my mind is Heath Ledger.

Now when I think of The Joker, I don’t think of the comic book incarnations or Jack Nicholson for that matter, I think of Ledger – that tells you what a hell of a job he did in TDK. But Tom Hardy has done the same thing for the character Bane.

I can safely say, hand on heart, that if I was walking down the street late at night, I’d be more scared of the brute slowly walking towards me with his hands on the collars of his jacket than the bloke skipping and laughing next to him. Don’t get me wrong, I’d brown my pants if I encountered both of them – but Hardy’s Bane strikes me with more fear.

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I fear Bane more because it doesn’t take much to imagine a real life version of this character – and many of them at that. I don’t believe there many Joker’s in this world, this is despite the horrible events of the Aurora shooting.

Bane is a terrorist. He is smart, he is manipulative and his logic makes a warped kind of sense. While The Joker had no motive or ideology other than to create chaos – the presence of such things in Bane utterly terrifies me.

It is the rooting of this character in a post 9/11 reality and the addition of a physical menace that makes him special. Honest to god, he scares me.

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Let’s also not forget that all of Hardy’s performance was with a mask on. He had to portray a range of feelings with a mask on. I mean, stand in front of a mirror with a balaclava over your mouth – now act angry, tough, surprised, calm, worried, sad and happy. It isn’t as easy as it looks.

I accept that the voice is an acquired taste – I liked it, but I understand why it has been ridiculed. I don’t think the character would have been as menacing if he had an American or British accent. Maybe they were going for a non-Arabic foreign accent. Since 9/11, the foreign is a lot more threatening than the domestic.

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I truly believe that in time people will start to see The Dark Knight Rises the same way they see The Dark Knight – as a generational defining movie with outstanding performances. I accept that Hardy’s Bane will never be as beloved as Ledger’s Joker, and that is ok, but I feel his character and his work on that film deserves a lot more respect that it has gotten.

               The Dark Bear.    

The Unfinished Western: Cowboys and Aliens

I'm writing about a film that I didn’t finish watching. I think of the utter and complete tosh that I've managed to sit through in my life and realise just how special this film, Cowboys and Aliens, is. I mean, I've finished Spiderman 3, Catwoman and Batman and Robin. The latter was so bad that the director, Joel Schumacher apologised for the film – yet I've watched that film many times.

The only other film that I abandoned midway was You’ve Got Mail in 1998. My uncle took me, my sisters and our cousins to see that film. I was so mystified by how bad that film was that I walked out and spent half an hour in the arcade.

But Cowboys and Aliens is different, this Jon Favreau joint should have been a good, if nothing else, fun film.

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I sat and watched the first hour of this film and not once did I smile. For a film called Cowboys and Aliens not to rise one smirk from my face suggests that there is a fundamental flaw in its DNA.

The warning signs were there from the very beginning – Daniel Craig scowled far too much and Mr Ford played the grumpy old man too well for my liking. I found myself getting angry at Daniel Craig for playing his character just as he would Bond and that isn’t what I signed up to watch. 

But for me it was Sam Rockwell’s character which indexed the very reason why this film didn’t work. I assume that Rockwell’s Doc was supposed to be the comedy relief of this piece and that relief never materialised. I felt for Rockwell in this film because given the right material he is a fantastic actor, but you get the impression that he and the film itself was just weighed down by a need to be taken seriously.

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The blame for the faults of this film has to be put on the door of the director. Jon Favreau should have known better – why on earth he thought this film should be a straight and serious movie is beyond me. The title and premise is Cowboys and Aliens for crying out loud.

You honestly wouldn’t be able to tell that this film is related to Iron Man, Elf, Zathura and (little gem of a film) Made. You couldn’t even tell that it was a second cousin of Swingers.  

This film should have been light, fast moving and silly – but it plods along at an excruciatingly slow pace. This film should have been bogged down with stupid jokes, not tired western-film cliches.

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At the end of the day it comes down to me losing my patience, something that I rarely do when it comes to films. 

The hour that I watched of this film didn’t intrigue me or give me sufficient reason to hang on beside my better judgement – many films have made me make that poor decision.

Not only is Cowboys and Aliens a bad film (I can handle and enjoy bad films), it is a disappointing film that feels very lazy and that is something I cannot stomach.

As an aside, this film made me appreciate the much panned Wild Wild West. WWW and its stars knew that the films was ridiculous. Ridiculous is fun to watch. Ridiculousness is an ingredient that this film sorely needed. 

                             Master Bear

Guest Post: The show must go on

This lovely little piece was written by my friend Jess Everett. One of the few sad things about being a new father is the fact that I haven't had many opportunities to go to the cinema - first world problems and all that, right? But there is something special about being in an enclosed space with smelly strangers, as Jess explains below.

As an aside, Jess has one of the best speaking voices known to man. Just saying.

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Attending the movies is a communal experience and some movies were just meant to be seen in the theatre. Much like music aficionados who claim the only way to really know a band is to see them live, or sports fans who travel continents not only for the joy of cheering on their team but also to experience being part of the crowd, when you go to a theatre and watch a movie you become part of something.

Inspiring films move us more when watched with others. The dread in a horror movie becomes more real as the person behind you gasps and screams. Jokes are more enjoyable when others are laughing with you. And epic moments are more memorable when you high-five the stranger next you (this actually happened to me during the first screening of Attack of The Clones. Apparently the gentleman really enjoyed a good Yoda fight).

Movies are a defining moment for generations. Anyone who experienced the first Star Wars trilogy in the theatre has an immediate connection. Growing up and watching every Harry Potter movie, waiting in anticipation for the next Lord of the Rings, and knowing every song lyric to The Lion King are moments that connect us all.

We all remember our first movie. The thrill of watching the screen light up and seeing larger than imaginable characters flood your view. The goosebumps that leave you feeling nervous and excited, and the joy of having your very own popcorn and sneaking ninja cuddles*with your movie date.

Although cinemas have been pricing themselves out of relevancy for years, I will continue to make the sacrifice as long as I can afford it. Why? Because for me there is nothing like a night out at the movies.

*The phrase “ninja cuddle” and its adorable relevance to movie theatre watching is borrowed from the film loving @8bitbatman

Alternative: Janelle Monae's Electric Lady

Outkast’s 2006 album, Idlewild, was very important to me for two reasons. The first reason was that it proved Outkast, Andre 3000 and Big Boi, are no more. I knew it instantly after listening to that album that they no longer saw themselves as a unit. I haven’t been persuaded by the line both members have used over the years - “we are taking a break” “we are still family” – listening to Idlewild will tell you that they are done.

Secondly and more positively, Idlewild was important because it was the first time I heard Janelle Monae. She was the silver lining on that album. We both heard the death of one of black music’s greatest and most innovative bands and the birth of fearless young artist.

Fast forward to 2010 and Janelle Monae showed that I was right to take notice. She released an album which left my jaw on the floor. Although I am 26 years old, I feel like an old bastard and regularly complain about the quality of music today – especially black music. The ArchAndroid was all my complaints answered. It was ambitious, expansive and it took risks jovially – sometimes it missed the mark spectacularly (Make the bus, for example) but most of the time it hit highs that left me in goosebumps (Oh, maker).

The ArchAndroid is a modern day classic. I genuinely thought Monae did a Nas, she made her Illmatic and would be hard pressed to repeat the trick.

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With Electric Lady, Janelle has proved how special she is. Monae has grown remarkably as an artist and it shines blindly through on this album. Electric lady doesn’t manically bounce from genre to genre like its predecessor, this is more of a traditional R’n’B album.

When I say R’n’B, I am not talking about her contemporaries such as Beyonce or Rihanna, I am talking the R’n’B of Prince, Stevie, Michael and Aretha and Marvin – that is who you must compare Janelle to after hearing this album. I can give no greater compliment than that.  

Suite four is where all the fireworks are stored. It tells you a lot about Janelle’s confidence when she starts the album off with His Royal Purpleness. What makes ‘Give em what they love’ spectacular is not only the appearance of Prince (by the way, this is the Controversy, Dirty Mind, Sexy MF Prince and not the jut found religion Prince), but the fact that Monae isn’t an afterthought once the song has finished. She stands toe to toe with the great Purple one and this prologues the greatness in the album.

In fact, every guest appearance on this album manage to sprinkle a little bit of magic to the proceedings and threaten to overshadow the headliner – but every single time Monae manages to rise above them. When Badu strolls silkily onto the funky-ass Q.U.E.E.N like a panther, Monae has a fierce rhyme reminiscent of Chuck D and KRS-1 to bat her off with. Janelle response to Solange’s irresistible 90’s TLC vide with a grin-inducing serenading rap-verse that makes you ache for Left Eye.  

When Primetime, featuring Mugel, rolls around you start to appreciate the change in Janelle Monae’s attitude and you suddenly realise a great flaw in her previous album. This Monae is much more open than the one listeners met on The ArchAndoid.  “Tonight, I don’t want to be mysterious with you”, she says on what can only be described as a bedroom jam, a song which would have never appeared on ArchAndoid. She no longer strictly sticks to her alter-ego Cindi when she is performing, in Primetime you feel like you are getting your first glimpse of Janelle.

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Although Suite four may have all the headliners, the best of the album is found on Suite five. This is the Suite which propels this from just being a great album to being a jaw dropping one. Suite five shows you that Janelle wanted achieve more on this album other than catch people’s ear and show them how many different genre’s she can pull off.

If you close your eyes, you can see a young Michael Jackson shuffling around and singing It’s Code with his brothers backing him up.  Ghetto Woman could happily sit in the middle of Stevie Wonder’s classic Innervisions and not be out of place at all. This isn’t to say that Janelle Monae is trying to imitate these artist, you don’t get that impression at all – you feel like she understands what made the greats great and she taps into that and makes their style her own.

In this regard, Ghetto Woman is an extraordinary extraordinary song. She updates a sound which is timeless and familiar and entirely owned by a legendary artist and claims it as her own (I would kill for Stevie to cover this song). This is a worthy successor to Living in the City and after Kelindo does his usual fantastic guitar solo, Monae’s Andre 3000 like rap lifts this song into a stratosphere that I thought modern day R’n’B would never reach. I would love to know what Wonder thinks of this song.

Victory is my personal favourite. Again, this song shows how much more willing Monae is to open up to her audience. She feels vulnerable on this song, something that I never felt on her previous album. It is a song for when everything in your life has gone wrong and you need to find something, anything, to make you get up off the floor before the count. Again, there are shades of the greats on this song – Aretha and Ms Hill come to mind – but this song is totally Janelle’s own.

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By the time the closer comes to your ears with its 80s synth chords, you feel exhausted. It is a different exhaustion to the one you feel at the end of ArchAndoid – here you succinct impression is that Janelle has given you all that she can emotionally as well as talent wise.  

Some listeners will be disappointed with this album for not being The ArchAndoid and not being as experimental – I can understand that but I don’t feel that way at all. I have someone I can champion after the untimely death of Amy Winehouse. Janelle could be the woman to take black music out of its oversexaulised, boring and risk adverse state that it has been in for years.

I am not naïve enough to believe that this album will be a commercial success. I do think that people will come to this album and this artist slowly throughout the coming years and will see her for the innovator and trail blazer she is.

Janelle Monae is the real queen of the new school and at 27 I don’t think she will let go of that crown anytime soon.

Queen Bear