The Lady Killer

Cee Lo Green (aka Thomas Callaway) is one of the most intriguing artists of modern times. Green possesses one of the most soulful voices out there as a vocally, yet he additionally indulges into rap (he was a member of Goodie Mob back in the day). Perhaps the prominence of Green's soulful, unmistakable voice bowed in his turn with Danger Mouse in the exceptional duo Gnarls Barkley where Green's superb vocal performance made "Crazy" a mega-crossover hit. On The Lady Killer, Green spoils the listener with his distinctive vocals, mixed with his ingenious production work that expertly mixes anachronistic 70s soul and modern hip-hop sensibility. 'The Lady Killer' probably should have failed to make a cohesive effort given Cee-Lo's schizophrenic tendencies as a musician, but instead, the effort is one that is more `exceptional' than `flawed' in nature. Built loosely around the concept of `killing ladies,' 'The Lady Killer' is certainly enjoyable (maybe entertaining is the word).

After an odd, manic introduction sets the tone ("The Lady Killer Theme (Intro)), the synthesizer/string-laden/neo-soul produced "Bright Lights Bigger City" proves to be a smart, soulful opener. The strings are lovely and truly heighten the `1970s' sound which Green is trying to convey. The `hook' is solid, if simple and Green's vocals are exceptional. On viral hit and first single "F$%& You," Green has crafted a `once-in-a lifetime' novelty cut that greatly heightens his somewhat underrated profile. The track has surprising been embraced despite its profanity laden songwriting. In all respects, it is a `five-star' performance with superb production work (think 1960s/70s), catchy, strong songwriting, and a `killer' performance by Cee-Lo.

"Wildflower" is enjoyable as well, if less of a `victory lap' than "F$%& You." The hook of "Wildflower" is the highlight of the track, finding Green singing: "wonderful wildflower, oh open up, let me see... share your sunshine with me." "Bodies" is a true highlight, featuring superb production work with a full bass line underpinning the whole production work (not to mention superbly produced drums). Easily one of my favorite tracks, the hook is unmistakable here: "They said that chivalry is dead, then why is her body in my bed/ at sunrise morning papers read, they found a body in my bed!" "Love Gun," featuring Lauren Bennett follows, though the track itself seems a bit too indulgent and manic for even Green's own good. Bennett's guest vocals are assertive and captivating, but you cannot help but feel as a listener perhaps it's the slightest bit much. The track is best when Cee Lo performs, meaning Bennett never overshadows Green in the least.

"Satisfied," like "Love Gun" is solid, though not `valedictory.' Green's lower register is exploited here and while it sounds ok, all listeners will be happier when Green ascends into his golden, shining upper register. "I Want You" atones for any missteps as of yet with absolutely gorgeous vocals by Green and superb production work. "Cry Baby" may be less memorable than "I Want You," but it is potent and well constructed. "Fool For You" featuring Philip Bailey is better, with the beautiful sounds of 1970s soul pervading the production work. Cee Lo's lead vocals here are fantastic, particularly his upper register.

"It's OK" and "Old Fashioned" are exceptional moments. On "It's OK," the vocal production is stunning with Cee Lo's vocals sounding `clear as a bell.' As always the hook is exceptional ("It's ok, to say that you love you, I think of you, still thinking of you..."). On second single "Old Fashioned" Cee Lo really gets to show of his distinct vocals. "No One's Gonna Love You" proves to be a superb closing track that is brief in duration. The reprise of "The Lady Killer Theme" (this time an outro) closes the album.

Essentially, The Lady Killer is a superb effort and one that stands out from the more `generic' R&B of 2010 easily. I wish more artists would embrace being `unique' like Cee Lo, Janelle Monáe, and Erykah Badu; it would make for a much more interesting music scene in the R&B world. 4 stars.

Why have more people not reviewed this? The Lady Killer is one of the most amazing albums I have heard in years. I am usually a rock music type of person, but I can make an exception for this album. All of the songs are very catchy and very well done. The whole thing has a very strong retro / Motown vibe. Just listen to the song samples and you'll be hooked. Give this one a try, even if you don't normally like the hip-hop genre.

After nearly eight years away from solo recording and wading through other projects such as the universally acclained Gnarles Barkley projects with Danger Mouse,this multi talented vocalist/songwriter/producer/rapper and Georgia native drops his third effort under his own name. As a man with a wide range of emotion and power in his voice,writing and production style this album brings in all of the different types of things that Cee Lo values musically:the cross generational funk/soul/R&B/hip-hop potentcy of his musical sound,his dramatic style of transitioning between minor chords in the manner of many of his forbearers and perhaps most importantly his vocal style. Because on the surface one might see Cee Lo as something of an oversinger because of the loud,gospel fired wail of his voice. But fact of the matter is he also knows about a lesson many R&B vocalists have had to learn the hard way often enough these days. That is that if one UNDER-sings enough in order to maintain a certain "less is more" ethic than one might just find themselves with a dull,boring sound as a result. It's all too common for someone to confuse the difference between oversinging and a spiritually involved and often joyous singer whose only pushing themselves to the very end of their ability. And this represents not only the nature of Cee-Lo's singing but his music and general persona. One of the best examples of this overall on this album is "Bright Lights Bigger City" which is wrapped in a swath of echoplexed electro new wave style polyphonic synth bursts,a tight and pulsing beat and one of the cleanest,funkiest early 80's Louis Johnson bumping bassline courtesy of Tony Reyes. A good section of this album showcases a mixture of Cee Lo's southern roots and Chicago/Detroit style soul slickness as well on songs such as "F**ck You","Wildflower","Satified","I Want You","Cry Baby" and "It's OK". Not only is the music as supercharged a retro soul/funk sound as Cee-Lo's voice but manage their combination of the slick moves and blue light parties of Northern Soul but also the BBQ rib grease and breaded chicken wings style hump of late 60's Southern funk. "Bodies" on the other hand is an extremely exciting song;an intensely passionately sensual lyric expressing Cee-Lo's sense of sexual and romantic prowess married to a dramatic,string filled midtempo arrangement right out of the Ike Hayes/Curtis Mayfield schools of cinematic soul. Philip Bailey shows up to lend his still angelic vocals to the backround of the very stop/start Charles Stepney style sound of "Fool For You" and the album concludes with the chunky soul ballads "Old Fasioned" and "No One's Gonna Love You". This is by no means a hip-hop album in the exact sense but since it's produced in a somewhat hip-hop friendly fasion as much retro soul today is you'll get the same of this being a simiarly themed siphon through which the music flows as opposed to merely a carbon copy tribute. It's on albums like this that musically and vocally the past,present and future of R&B/soul/funk and hip-hop meet at the crossroads.