With “Fuck You,” he’s managed to craft a stellar runner-up. Lyrically, it’s simultaneously foul-mouthed and sweetly naive—one minute, he’s apologizing to his old crush for being broke; the next, he’s casually assaulting her with a cluster of f-bombs, his smooth falsetto and whiney croon stroking soulful pleasure zones untapped since Marvin Gaye’s prime. Despite Green’s trademark quirkiness, he’s never sounded so old-school, reveling in Motown nuance, big Hammond organ trills, and crackling drums. No longer hiding behind the kooky musical frameworks of Gnarls Barkley (or hiding in the shadow of collaborator/producer Danger Mouse), Green progresses as an artist by looking back.
Of course, he hasn’t completely dialed down the weirdness. On the Chad Hugo-produced film-noir joint “Bodies,” the swirling sounds are disorienting, a blaring snare march and muted trumpet circling around Green’s dramatic belting. When he wails, “They found a body in my bed!” in the song’s mysterious chorus, it’s unclear whether he’s referring to a dozing lover or a corpse.
And who knew Band of Horses penned a show tune with “No One’s Gonna Love You”? Cee Lo Green did. The original became a slow dance staple for indie-rock proms, working blissful magic with emotional contrast, the music’s reserved glow heightened by Ben Bridwell’s widescreen love lyrics. Instead of simply paying tribute to a beloved track, Green flexes his maximalist muscles, replacing the original’s spaced-out guitars with a surging orchestral sweep, taking liberties with the melodic pacing and phrasing. Green’s is the IMAX version, excavating the song’s bruised, beating heart with the flair of a true showman.
Fuck cordiality. With The Lady Killer, Cee Lo Green is out for blood. Track after track, he triumphs.
