Speaking of Earth, Wind & Fire: Jaguar II practically counts as a stop on the veteran band’s summer tour. They’re prominently featured on “Hollywood,” and the late Maurice White picks up a credit for a “Beijo” interpolation on “Smoke”; in the video, Monét slaps on a Verdine White mustache to reenact “September.” The ’70s revival aesthetic might recall Foxxy Cleopatra, teen Beyoncé’s Pam Grier-inspired character in Austin Powers, but Monét is taking more notes from the grown Beyoncé of Lemonade and Renaissance, building toward ambitious statements rooted in music that reminds her of family, culture, and home. The legacy guests, EW&F and Banton, are voices from Monét’s memories of family gatherings and her mom’s Sunday housecleaning soundtrack. She taps into her own generational nostalgia for “On My Mama,” a glammed-up flip of Chalie Boy’s 2009 song “I Look Good” designed for feeling yourself on a level only Texas rap braggadocio can match. Monét isn’t rapping, but you could play her right alongside Megan.
Jaguar II sounds like checking in someplace swanky: the arrangements are contractor-grade, rewardingly rich, augmented with the kind of live trumpet and violin you don’t get at home. It’s Monét’s longest release yet, with transitional moments (“Smoke Reprise”) and a track-to-track mix that isn’t quite continuous but clearly intended for fluid listening. The hooks come gift wrapped and hang around longer than Mylar balloons. “We keep it smooth like a Cadillac/With the diamond spinners in the back,” Monét coos on “Cadillac (A Pimp’s Anthem),” a dub-flavored soundtrack for low-riding ladies where a playful allusion to “five with the Black hand side”—as in “gimme some skin”—becomes a period-appropriate flirt.
Monét excels at striking this tone that’s classic, sexy, understated. Even when she makes it dirty, there’s a veneer of fantasy and metaphor, like how it still counts as a dress even if it’s mesh. “Might be too fine to hit it from behind,” she brags on “On My Mama,” a wink-wink you could almost blink and miss. “Stop (Asking Me 4 Shyt),” about hangers-on looking for unearned favors, feels like a complaint that could’ve been lodged by some jazz diva a century ago. “Stop askin’ me for money, get your own/I barely even just got on,” Monét objects, but her line readings feel more influenced by mellow ’90s R&B, so it’s easy to add a modernizing, “Don’t call my phone… bitch.” (Mercifully she does not try to rhyme anything with “Cash App,” whose brand placement is limited to those expensive-looking videos.)
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