Gnarls Barkley - St. Elsewhere
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CD Details
Artist: Gnarls BarkleyEdition: Music CD
CD Release Date: 2006-05-09
Music Label: Downtown
Soundtracks:
- Go-Go Gadeget Gospel
- Crazy
- St. Elsewhere
- Gone Daddy Gone
- Smiley Faces
- The Boogie Monster
- Feng Shui
- Just a Thought
- Transformer
- Who Cares?
- On-Line
- Necromancing
- Storm Coming
- The Last Time
Music reviews of St. Elsewhere
Music Review: IGNORE THE BAD REVIEWS (do not miss this moment in time)
Rating: 5 Stars
Gnarls Barkley
1.) This song shows a nice blend of hyper drum programming and gospel style vocals--reminiscent of rapid drum moments from Cee Lo's two solo albums, but not quite reaching the tech grandeur of Bombs over Baghdad.
2.) This song, as my friend Big E would say, is a complete monster of a single reaching its peak and walking away in just three gloriously unflawed minutes.
3.) This song is immediately gorgeous, perfectly rolling off the end of Crazy with all the depth of the darkest moments of Demon Days, but with Cee-Lo's solid-gold crooning blanketing the track like fancy linens. Although this track possesses some amazing atmospheric wind sounds, it refuses to linger as it adopts the same painfully short song length as the last two. At this point the album is moving along so quickly that I have to stop it to finish typing. Each of these gems, thus far, could be set to repeat for at least 15 minutes a piece without me getting tired of them. This song could best be described as shimmery with a rich aftertaste (laughing at myself, though it's SO true).
4.) Now we see a big mood shift to this amazing Violent Femmes cover (actually written by Willie Dixon, I think). This song demonstrates a playful side just as successfully as the seemingly more sentimental songs that proceed it. Already in less than 15 minutes this duo has shown a range that completely pulverizes anything similar that might have come before it. Attempting to meld the interests of indie music with those of neo-soul, or possibly even R&B, is no small task indeed and yet they make it feel entirely effortless. Furthermore this specific song seems to put Cee-Lo's whole catalogue to bed. He sounds better than he has ever sounded in his entire career. The mood of this song bathes the listener in a comforting sense of calm sentiment. This is the point when Cee-Lo finally joins the likes of Curtis Mayfield and Stevie Wonder. Congradulations C, my man, you have officially arrived!
5.) OK, here comes more playfulness and humor like "Daddy's Gone" provided earlier. Some talk of monsters and vampires, thematically reminiscent of "Dracula's Wedding" from The Love Below, except here Dangermouse creates a uniquely subdued sound environment filled with muted organ notes and distant muted drums in a minimal pattern. The song wraps up with a line from Cee-Lo saying something about getting head, which solidifies the humor of the track without distracting or stopping for the sake of telling a joke.
6.) Alright Dangermouse, flipping it again hunh? On this one we hear a twinkling chime-like melodic part reminiscent of a cross between 50's elevator music and something you might expect from the Neptunes. Both nostalgic and somewhat mainstream feeling at the same time, but once again keeping things painfully short. Without exaggeration, every one of these songs could play at least twice as long without becoming even slightly overplayed. Cee-lo's voice here shows more of his talking-rap approach with only very slight hints of melody in his voice.
7.) This song begins with Cee-Lo in a mock-capella feel. Dangermouse teases by dropping a distorted drum part and then muting it back repeatedly, as a Spanish guitar minds it's own business underneath the mildly rampant drum overlay. These drums play out in uneven chunks pausing repeatedly again-and-again. Cee-Lo's singing approach here is unique. He has done something similar to this before, but here is feels absolutely brand new. Dangermouse continues to experiment as the track advances, letting the drums flip and turn as Cee-Lo pauses from singing. DM is also utilizing an interesting phased synth part here and there, and the song ends with many interesting little sound effects creating a confident yet experimental tone.
8.) This is a mode many die hard Cee-Lo fans will not walk away happy without hearing: fast drums and a rapid rap-sing approach. However, they continue to reinvent each other by lacing the track with layers of pitch shifted vocals in the background coming in and out in high and low pitches. Yeah, this song has a fresh almost Asian mood to it's quick clicks and flute tones that seem to freshen up the listening experience again.
9.) The sentiment returns with gorgeous back up singing, only to be interrupted periodically by a P-Funk-esque voice paired with the playful programming which has reared its head periodically throughout the album (some kind of 50's film noire sample involved). Well matched by Cee-Lo's best effort to be cute and adorable for ladies, delivering lines like: "It's deep you could be so shallow," which I must admit I grinned at too. Here we see some more of their mutual love for the organ, but also a moment where the dynamic and passion of the album suffers very slightly for the sake of trying something different through sudden periodic mood shifts.
10.) I have no clue how to describe this. It has echoing disco-ish flutes and starts with a truly new vocal style from Cee-Lo: one in which he sing very soft in a very low Berry White kind of voice. Towards the end of the song we can just make out the frumpy little synth that has been bumping along underneath the whole time-another element reminding me of George Clinton & co.
11.) If the album ended now I would ball my eyes out, and alas not only does it not end, but the reinvention continues with an odd necrophilia themed lyric layed over a lackadaisical piano and the shuffling stomp of more distorted drums, this time paired with an uncommon yet natural sounding vocal distortion. The vocal style is more of Cee-Lo's spoken-word-ish approach and not so much really fully singing or rapping, but just talking. Also an interesting touch is the jazz guitar solo morphing with organ-like fringes. The noodling piano is so peculiar with this morbid theme and the jazzyness of it all wrapped around an irrie tone and these distorted textures. This track is quite unique, but a welcome addition.
12.) Here comes that great singing again, without distortion, but with a drum presence very similar to the previous song, though even more glitchy and sudden. Oops, I spoke too soon-Dangermouse drops some crazy fast woodblock that sounds equally Florida/booty and Outkast/tech. Cee-Lo is creating a vibe like something huge is coming crashing down, in terms of the emotion in his voice. There is something hilarious about the booty beat mixed with a serious vocal attitude.
13.) Here we lighten up into a softer electric-jazz with that odd guitar sound that they have fallen into three or so times on this album so far. This is somewhat sentimental, but with cleaner drums and a much more casual tone like perhaps he's thinking about a woman while he's brushing his teeth or getting dressed quickly. It is laid back in the melody but upbeat in the drums. I really have this overwhelming feeling like this is a driving song because it feels rushed but introspective. Quite a peculiar place to end. Then you hear a film projector flapping, which is matched by the film projector sond in the intro.
Clocking in at just 37 minutes, I doubt anyone can resist the urge to push the play button again once the CD ends (but I am admittedly a wierd guy). This album is infectious on a level only rivaled by the greatest soul albums ever released. This is the Super Fly or Inner Visions of our time, and you should make no mistakes about that. I can't wait for someone to tell me that they don't like this, so I can look at them like they are a damn fool who lost their ever loving mind!!!! You could probably play this for your mom (except the necrophelia song--that's a bit much) and yet it is the most cutting edge work to come out in at least the last five years. I am ecstatic about my purchase to say the absolute least. I can't believe this is on an indie label that I have never heard of. I bet all the major label execs are foaming at the mouth to take a big bite out of this cash cow (or maybe not--who knows). At any rate, with no guest appearances at all, Dangermouse and Cee-lo certainly have quite an achievement on your hands (insert standing ovation here). I would not hesitate for a moment to say that this is easily album of the year material-no question at all.
Description of St. Elsewhere
Gnarls Barkley is the highly anticipated collaboration from Danger Mouse and Cee-Lo. Danger Mouse is one of the most important artist/producers in music today. "Demon Days" sold over 5 million worldwide and Dangerdoom's "The Mouse And The Mask" sold over 100,000 units. Accolades include GQ's "Men Of The Year" honor; Spin's "Eccentric Genius Of The Year", NME's "Hottest Hip-Hop Producer In The World", Entertainment Weekly's "Album Of The Year", Grammy nomination for Producer Of The Year, and more. Cee-Lo is a Grammy-nominated, founding member of Goodie Mob. He wrote and produced the Pussycat Dolls #1 smash hit "Don't Cha", and his two solo albums for Arista scanned over 500,000 units combined. He also wrote hit singles for Ludacris, Common, P Diddy, Trick Daddy, and others. "Goodie Mob" has sold over two million albums worldwide. "Crazy", from this release, is all over UK's Radio One.In 2006, Danger Mouse is King Midas of the music world. He has an uncanny knack for creating jagged, dense, frenzied beats and odd, eerie, vivid soundscapes that never compromise the music's natural flow. Meanwhile, rapper and singer Cee-Lo, a veteran of Atlanta's Dirty South scene, has never been one to be constrained by hip-hop conventions, and is a willing partner in adventure. The result is an intrepid psychedelic blend of pop, hip-hop, soul, and rock that consistently challenges and delights. It's no wonder that "Crazy," with its modest riff, irresistible hook, and disarming opening line ("I remember when, I remember, I remember when I lost my mind") became a worldwide Internet sensation a full six months before the official release of St. Elsewhere. But that relatively simple soul-pop gem is the tamest track on this wide-ranging, often dark and introspective collaboration. (In fact, the duo considers Gnarls Barkley to be a wholly new creation, as opposed to a collaboration of existing artists.) "Everybody is somebody, but nobody wants to be themselves," Cee-Lo croons on "Who Cares?" He and Danger Mouse try very hard not to be their old selves as they creatively and confidently break down boundaries, but the brilliant cores of their musical personae--Cee-Lo's eccentric spiritual soul man and Danger's bold sonic explorer--remain. --Marc Greilsamer
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