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Gnarls Barkley slam dunks conformity
By Tyler Casey
Comprised of Cee-Lo, of Goodie Mob fame, and Danger Mouse, who was behind the infamous Beatles/Jay-Z mash-up “The Grey Album,” Gnarls Barkley offers a fun, if not sometimes unsatisfying, romp through pop culture.
With a name straight out of the bizarro Basketball Hall Of Fame and a sound that can only be described as indescribable, Gnarls Barkley is not your ordinary group.
And their debut output, “St. Elsewhere,” isn’t your ordinary album. Instead it’s a wonderfully eclectic genre-bending trip through hip-hop, indie rock, soul and techno.
Comprised of Cee-Lo of Goodie Mob fame and Danger Mouse, who was behind the infamous Beatles/Jay-Z mash-up “The Grey Album,” Gnarls Barkley offers a fun, if not sometimes unsatisfying, romp through pop culture. From a faithful cover of “Gone Daddy Gone” (by Milwaukee’s own Violent Femmes) to the gospel-and-guitar infused “Just A Thought” to the funked-up champagne soul sounds of “On Line,” no one can accuse Gnarls Barkley of being formulaic.
For the most part, Cee-Lo’s vocals and Danger’s ever-improving production coexist perfectly. With two accomplished artists known for originality, “St. Elsewhere” doesn’t skimp on fresh ideas.
In fact, the strength of their pre-Gnarls careers is a weakness for “St. Elsewhere.” It’s hard to imagine that the same Cee-Lo who ripped Dungeon Family’s “Excalibur” and Goodie Mob’s “I Refuse Limitations” is putting out Hallmark-worthy lines like “Your worries and fears / become your friends / and they end up smiling at you” on the track “Smiley Faces.”
Danger Mouse is a serviceable producer but sometimes his beats are too simplistic for what Cee-Lo is capable of. On “Who Cares,” Cee-Lo’s vocals are overshadowed on the hook by Danger Mouse’s clunky production.
That said, “St. Elsewhere” is a highly enjoyable album, unlike anything else you’ll hear this summer. Danger’s production is evolving nicely with each new project he works on and Cee-Lo manages to remain one of the most entertaining voices in music.
The end result is a cohesive album that’s short on filler and promises to be one of the best (I won’t even try to slap a label on it) albums of 2006.
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