Lenny Kravitz: Blue Electric Light

An album review of Lenny Kravitz’ 12th record, Blue Electric Light

Lenny Kravitz

Blue Electric Light

Roxie / BMG

I haven’t listened to the last few Kravitz albums, but the first five were on high rotate, and sometimes they still are; certainly the first three. I can’t say I’ve cared about anything he’s done in the 21st Century — he never seemed like he was even supposed to make that particular leap, so rooted in the 20th Century’s tropes was (and is still) he. But, there were some hooky pop moments on the first of the latter batch of albums that I heard once or twice. And he was always at his best for me when he was going John Lennon-balladeer, not when he was trying to play the rocker. That worked early on, but helped usher in a whole wave of new retro rockers. Once the two-pieces dominated the early 00s and 2010s, it just seemed like there was less of a case needed for Lenny; at risk even of being the Drunk Uncle at the table.

Anyway, I wasn’t expecting too much when I dialled in for Blue Electric Light which might be why I got such a nice surprise. My immediate thought was that Lenny was leaning into his Inner Prince and away from his Outer Hendrix. And that’s always been his best positioning. But it particularly works well now, for more than obvious reasons. The overall feel of Blue Electric is funky pop, and it’s quite light in a sense — but that doesn’t mean there’s not the great drums we expect from Kravitz, and the guitars are by no means on hold. Old chum Craig Ross is still here, why there’s even a Talkbox solo, ffs. More than that, it’s bloody brilliant — an album highlight. (It’s also the sort of thing Prince would have done).

I know I’m at risk of a call from the Prince Police if I mention him too often, cries of untouchable and all that. But I really do hear this as subtle tribute to the Purple one. Songs like TK421 and Love Is My Religion even carry (very) Prince-sounded titles. Why, there’s even a Dearly beloved…like rallying call (at least sentiment-wise) to the album-opener, It’s Just Another Fine Day (In This Universe of Love), which, too, is another Prince-y sounding song title, or at the least the bit in parenthesis is.

Kravitz — ageless, a vampire — enjoys electronic programming here too, integrating it in a way far better than on the failure albums (Baptism from 20 years ago, instantly springs to mind there). And is in terrific voice (see: ageless, a vampire!)

It’s also just a damn catchy, fun time. Songs like Honey, Let It Ride, and Spirit In My Heart have those effortless-sounding hooks, so well crafted without any real evidence of toil; the looseness of jamming, the cool edge of it all, always such a part of the performance and the persona and the profile.

And then we get to the closing, title track, and it’s total Prince. The drum machine — even the title. That’s not to say this is his Purple Rain, but you can feel the influence flowing through.

And I’m here for it.

My favourite Kravitz album since 1995’s Circus, and that’s hopefully really saying something, as I adore that and the three that came before it.

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