Bold Statement by the Critic, in which He Provokes His Readers


Cee-Lo’s debut album is as experimental and boundary-pushing as the dystopian visions of El-P or the ambient soundscapes of the Anticon collective. In a world where the radio is dominated by the two-step derivations of Timbaland and the Neptunes, this album takes its inspiration from the sounds of 70s soul and funk, and finds a sexy groove that is uplifting without being preachy. Cee-Lo throws soulful singing, fast-paced raps, bouncing beats and chunky guitar into the fusion pot, resulting in a unique statement of artistic intent that places him at the forefront of modern hip-hop.


An Explanatory Statement by the Critic, in which He Backpedals Furiously


The confusion and mixed reaction this album has been getting is understandable. It is very much a personal and thoughtful record, with few obvious radio singles (‘Closet Freak’ being the obvious exception). Cee-Lo spends as much time singing as he does rapping, and his nasal drawl can grow wearing over 73 minutes, a length increased by several unnecessary and repetitive tracks, namely ‘Bass Head Jazz’, which noodles aimlessly in a sea of lite beats and muted trumpet. Nevertheless, the positive elements far outweigh any negatives here.


Spirituality is very much at the core of this album. One of the liner photos pictures Cee-Lo garbed in the white robes of a gospel choir, and it is revealing as to his intent here. Like the great soul records of the 70s, this is an album which attempts to bridge the very human nature of the artist with the joy of the God who inspires him. Unlike the artists in the resurgent neo-soul movement, however, Cee-Lo forsakes blatant imitation of his forebears, choosing instead to graft elements of their sound onto the thoroughly modern Southern bounce of Outkast (itself, as is well-documented, indebted to George Clinton’s psychedelic funk). The end product is thoroughly convincing in its spiritual belief, presenting Cee-Lo as a flawed individual, prey to the temptations and vices of this world, but with his faith very much focused on the next, striving to live a positive and decent life. Compared to the rote thanks to God made by every pop star (“I’d like to thank God for giving me the strength to make millions of dollars pretending to be a virgin...”), such honest conviction is refreshing.


As mentioned before, the obvious single on the album is ‘Closet Freak’, where a brassy groove drives this ode to free expression and free love into a righteous fervor. John Popper makes a unusually tasteful and effective appearance on ‘Country Love’, one of many tracks here where Cee-Lo sings. His voice has a limited range, but is used well, serving the slow burn of these songs far more effectively than a straightforward rap. The closing ballad, ‘Young Man (Sierra’s Song)', is stripped down to basic instrumentation, framing a final appeal for positivity (“Oh I wish you’d do more than just keeping it real, why don’t you try being true...”). Hearing Cee-Lo stretch to hit notes increases the plaintive, hopeful nature of this track, making it far more compelling than a more technically proficient singer could have done.


All in all, this is one of the more adventurous albums of the year, showing a way that hip-hop can move forward while still embracing its past. Cee-Lo’s open embrace of spirituality is a welcome change from the materialistic bent of much of today’s hip-hop, and he manages to make music that is engaging and innovative, while still maintaining clear links to the history of modern music.