Cee-Lo Green- The Ladykiller

Goodie Mob and Gnarls Barkley renaissance man brings the new-fasioned Hot Buttered Soul...

Ah the contradictory duality of success on Youtube. Pity OK Go’s success with their legendary “treadmills” video to Here It Goes Again. They may work to top viewing figures with every ensuing smart video, but cruicially, no one’s buying the music.

The success of Cee-Lo Green’s video to Fuck You requires no introduction. Two million views in seven days, it was the viral hit of 2010, but thankfully, people liked the actual song enough to go out and buy it, beating the woeful Williams/Barlow Brokeback-fest Shame to number one.

Of course, Fuck You is such a brilliant pop song (even the idea of it as a kiss off brings a smile to the face) that threatens to hang like a proverbial albatross over his third solo album, The Ladykiller. The fact it doesn’t is a testament to the quality of people working with Green, and the authenticity of his update of a classic soul sound.

Lady Killer Theme starts proceedings with tongue firmly in cheek: part Shaft, part Ironside theme. It makes it clear Green wants to have fun. After setting his lot out, Bright Lights Bigger City acts as a curveball- not straight classic soul, but a gleaming modern pop production. Introduced with punchy synth chords, Green is our guide through a Saturday night on the pull, surrounded by beautiful women- but classy; his night isn’t ending in a kebab shop. Bond-theme strings bleed in, swirling it to a heady climax.

It stands as the biggest suprise here, and from this point Green and from this point it’s what you expect- voice located somewhere between Gaye and Hayes, songs a clear pop update of the Temptations at their best- but isn’t that why you bought the entry ticket?

Despite the influences weighing heavy, Cee-Lo is entirely his own man, filled with confidence on confection like It’s OK and Satisfied, or plagued by insecurities on ballads like Bodies and I Want You. It’s obvious that he is the star here, and the album loses a little something when he shares his stage with Lauren Bennett on Love Gun. However, the presence of Earth Wind & Fire’s Philip Bailey on percussion through Fool For You is refreshingly welcome.

Lights are certainly down for the album conclusion: a cover of Band of Horses’ No One’s Gonna Love You. Green wrings every last drop of emotion out of the heartbreaking lyrics. It’s introspective on the verses, and then takes a giant leap on the skyscraping choruses. It’s quite extraordinary, and it’s no suprise it’s produced to ubiquitous pop king Paul Epworth.

What amazes most is the unity of it all, despite the work of over 10 writers and 9 or so producers, certainly more so than either of his other two solo albums. It’s the space Cee-Lo allows his voice that achieves this, and it also allows this clear shot at the mainstream to keep the right side of commercial, never straying to crass or cynical.

4/5

Best Tracks:

Fuck You
No One’s Gonna Love You
Bright Lights Bigger City
Bodies