And even twelve years later, it’s still irresistible.Įnter your email address, and you'll get an email every time there's a new post. Danger Mouse conjures up some of his best sonic landscapes. Cee-Lo’s vocal performances are as awe-inspiring as ever. Elsewhere is a rewarding piece of neo-soul that finds each of its members doing what they do best. Its weakest tracks are still highly enjoyable, and as far as their sonic palette wanders, they still have a consistent voice. Elsewhere might be a little eccentric-maybe even scatter-brained.
There’s some goofiness that gets a little out there, such as the Monser Mash redux “ Boogie Monster.” Other tracks are just a little forgettable. Not everything is a slam dunk, of course. “ Transformer” revisits the church service of the first track. “ Feng Shui” is a brief yet enjoyable piece of hip-hop-meets-kung-fu-soundtrack. “ Smiley Faces” is a convincing piece of Motown nostalgia, save for some background synths and tape loops. Elsewhere” is a mournful R&B lament dressed up in a vintage hip-hop beat and Danger Mouse’s signature cinematics. The record opens with “ Go Go Gadget Gospel,” an anthem for a strobe-lit, hyperspeed church service that sets the stage for “Crazy,” which is just as contagious as it was twelve years ago.
COVER OR ALBUM GNARLS BARKLEY ST. ELSEWHERE SERIES
Rather, this disc is a journey a series of vignettes exploring various sonic environments and different personas. While nothing is as unforgettable as “Crazy,” that’s hardly the only memorable moment here. Elsewhere, they create a record that is far more than the sum of its parts. Danger Mouse had risen to prominence through The Grey Album and had already produced Gorillaz’ Demon Days, which was itself a masterpiece of epic, sweeping genre jumping.Īnd on St. Cee-lo was a member of hip-hop group Goodie Mob. Elsewhere might be a debut record, but these are hardly amateurs. And any suspicions that “Crazy” was the only worthwhile thing they did were quickly tossed aside. They showed up everywhere, performing with a spellbinding theatricality.Īfter a couple years of being unable to ignore their enormous presence-and a killer Radiohead cover-I looked into their debut record. But over the next few months, Gnarls Barkley proved themselves a force of nature. Initially, most people considered it a great single by an unlikely duo with a ridiculous name. Paul’s writings in 2 Corinthians 2.Īnd, it was as infectious as all get out. In the mid 2000s, I’m not sure there was anyone who was safe from Gnarls Barkley and the earworm that was “Crazy.” It was a maniacal track driven by a dark bassline and Cee-Lo Green’s impossibly huge voice-not to mention a pretty great thesis on St.
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