Meet the Lady Killer, Cee Lo Green’s newest alter ego. He’s best known as the rockstar counterpart to Danger Mouse in the psychedelic, Euro-pop group Gnarls Barkley. Those who have followed him prior to the Gnarls inception know him as the soulful, fire-spitting rapper in the homegrown super-group Goodie Mob. Regrettably, very few know him as a solo artist.
Fortunately for us, Cee Lo Green has given us another chance to appreciate his talents. This is the multi-talented rapper-singer-writer-producer-spoken-word artist’s third solo effort, and although his previous releases solidified his capabilities of solo stardom, The Lady Killer is the boost he needs to launch into the mainstream pop stratosphere on his own.
The Lady Killer loosely tells the story of a jilted lover who loses his love, finds a new one, courts her, breaks her heart, tries to win her back and finally rekindles that love. Heavily influenced by ‘60s and ‘70s Motown-era soul, Green manages to shape a nostalgic sound into contemporary relevance.
The first single, “F**k You,” is a witty yet snarky, emotionally charged kiss-off to a gold-digging ex-lover and her new beau. Green laments, “If I was richer/I’d still be with ya/Now ain’t that some s**t?” The definitive doo-wop sound softens the profanity-laced diatribe, but only just a tad.
On “Bodies,” Green, seemingly channeling Marvin Gaye’s sensual side, beautifully alludes to his Lady Killer persona. Dark and sexy, Green paints a story of a chivalry that leads to a passionate overnight stay. The slow, syncopated tempo accompanied by the breathy voice of a woman matches the relaxed, sensuous flow.
“Cry Baby” is a goodbye ode to his new love. The up-tempo track is accented by a jazzy horns section, which is quite opposite to the message of the song. Sad and remorseful, Green belts out an apologetic farewell to his inconsolable lover.
Once The Lady Killer realizes how much he actually loves that woman, “Old Fashioned,” the pinnacle of the album, serves as his attempt to right his wrongs and prove how reliable and unchanging his love is. “It’s right on time and it’s timeless/And it’ll be right here for always,” he sings in the hook. Reminiscent of Jackie Wilson and Smokey Robinson, Green sings with just as much passion as his soulful predecessors. A cover of indie folk-pop act Band of Horses’ “No One’s Gonna Love You” is Green’s final shot at professing his undying love.
Green sings with so much conviction and bravado, it becomes easy to forgive the fact that he’s no longer the rapper that many of us grew up listening to. At least he stays true to his creative roots with slick wordplay and soulful melodies.
