It was inevitable that these two would have to fight past their idiosyncrasies (producer Danger Mouse's short attention span, singer Cee-Lo's ease with throwing vocals together on the fly) and deliver something more focused, something that doesn't require so much sorting through. Hit the big time on the strength of one of those, though, and the world has big-time demands.
The joy of this duo's debut was a kind of erratic, anything-goes lightning-bottling its chintzy, slapdash qualities were more than made up for by the number of bottles containing honest-to-god scraps of actual lightning.
Album DescriptionSince Gnarls Barkley jumped into everyone's consciousness on the back of a single called "Crazy", would you forgive me the groaning joke if I said their follow-up sounded a little like someone prescribed mood stabilizers? That's the gripe you'll probably hear from most people: The Odd Couple is flatter, in both directions.
See more Your browser does not support the audio element. Elsewhere could have been seen coming a mile away. Although Gnarls Barkley topping the charts was a slight fluke, the excellence of St. Much like DJ Shadow's Private Press, Danger Mouse relies on samples from the downcast end of obscure '60s pop - prog, psych, and Italian soundtrack music (his most valuable lieutenant here, Daniele Luppi, has the requisite Italian connection). Even when he's floating another mass of wise, serene gibberish, DM simply drops another production trick to keep things tight. With the help of Danger Mouse's platinum ear and intricate vocal productions, Green is revealed as a top-notch post-millennial soul singer. The focus on instability doesn't end there - paranoia, suicidal tendencies, and multiple personalities are all in the cards, and there's also "Necromancer": "She was cool when I met her, but I think I like her better dead." Then, just to make sure listeners understand this is a concept album and not a message from a mind playing tricks on itself, they drop "The Boogie Monster" (although even the lyrics here can give pause: "I used to wonder why he looked familiar, and then I realized it was a mirror"). Over detached backings, Green croons, growls, scats, and generally delivers fine neo-soul vocals while Danger Mouse blankets the tracks with choruses of disembodied harmonies and a well-placed string section or crackling organ to conjure an appropriately minor chord atmosphere. The hit "Crazy" and the title track are perfect examples. The reasons for greatness here include DM's uncommon facility for writing (or sampling) simple hooks that stick, his creation of productions that entertain but don't detract from the main action, and his ability to coax a parade of enticing vocal performances from Green. Elsewhere is as good as Danger Mouse's two earlier landmarks (Gorillaz's Demon Days and Danger Doom's The Mouse and the Mask), but not because of any inherent similarities in the three records. And if the vocal performances are twisted with the type of unbalanced wisdom not seen in pop music since Sly Stone (or at least OutKast), credit Cee-Lo Green, the former Goodie Mob seer/sage/freak. Elsewhere sounds like one of the best rap-based pop productions since the second Gorillaz album, then look no further than the common link, producer Danger Mouse.
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Who is Gnarls Barkley, and how did he ascend to the top of the British charts with a song that brings an eerie clarity to the cloud of mental illness? (Hint: It wasn't just the fact that Britain began factoring download data into its chart equations.) If St. Purchase and download this album in a wide variety of formats depending on your needs.
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