Tag Archives: 2010

Cee Lo Green: The Lady Killer

He’s finally done it: the man that famously counseled André 3000 to unleash his crazy side has produced a work as cohesive, enjoyable and bizarre as he always promised. Comparisons to The Love Below are as inevitable as they are warranted – where André gave us Prince and jazz-steeped sex-anthems, Green takes the revivalist route, channeling neo-soul and homage-laden Motown into fourteen of the most economical songs he’s ever written. The Closet Freak isn’t known for his restraint (past albums were brutally creative, but dreadfully messy), nor will he ever live down Gnarls Barkley, but here Green comes into his own, limiting guest spots to two fantastic features. Not a single verse of The Lady Killer is hip-hop, a bold decision but a successful one: Green’s a showman at heart, and channels all that same energy and contradictory, metaphorical imagery into his crooned vocals. The Lady Killer himself is an alter-ego, a Casanova that just might be actually murdering the women he seduces, as in the chilling starkness of “Bodies” and the tear-jerking (necrophiliac?) balladry of “Wildflower”.

This review didn’t have to mention the colossal success of “Fuck You” for a reason: Cee Lo hit this one out of the park.


Originally published in The Peak, November 2010. 

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Stuff We Like: Violent Jay’s Twitter Feed.

The talkative half of the Insane Clown Posse raps about collecting severed heads, keeps his dignity after having his phone eaten by a pelican, spreads the word of God via Evangelical Christian Shock-Rock, starts the world’s first Waffle-House Brawl (please, please look up their mugshots), and puts the white face-paint over his goatee because he does not give a damn. Seriously, have you ever tried to read his tweets? It’s the diary of a suburban madman, he’s lost and confused. Gems like “I’m about to take JJ to Toys R Us cuz I ran over his bike this morning” and “I made friends with a big raccoon at home, fed him lunch meat by hand. Now he keeps sellin me out, tippin over garbage cans and shit. Furry hoe” are the tip of the iceberg here. It doesn’t matter what his music sounds like: when a man makes a Western movie called “Big Money Rustlaz” and doesn’t even bother to take off his clown makeup? That is the sort of thing that earns a man’s respect. Please follow him.

MMFWCLJ or whatever.

Originally published in The Peak, November 2010. ‘Stuff We Like’ is a brief comedic column, generally commenting on things we find hilarious, or, you know, Like. If this article creates any ICP fans, I apologize deeply and sincerely. 

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The Creepshow – They All Fall Down

Heavy on the Vincent Price melodrama, every album by poppy Ontario psychobillies The Creepshow opens with an ominous sermon by organist Reverend McGinty. The theme this time? “Busy taking revenge.” This is the outfit’s third outing – second with vocalist Sarah “Sin” Blackwood – and though nothing is going to match the raw energy of her sister Hellcat on their debut “Sell Your Soul”, the clean production and flat-out enthusiasm on display here make for a solid entry. Taking their sermon setup as a full-on conceptual statement, this album displays a rare thematic consistency for the genre (no, Zombies and B-Movies don’t count): it’s a psychobilly road trip  to exact revenge, packed with all the speeding cars, pulpy murders and thumping standup-bass lines we’ve learned to expect from this oufit. Pleasingly consistent and increasingly poppy, The Creepshow know how to write catchy songs: from the doo-wop of “Sleep Tight” to Less-Than-Jake doppelganger “Hellbound”, Sin never misses a beat handling double-duty on guitar and vocals. Sure the wailing man-choruses and opening tracks get repetitive (they back-loaded this one, listen through!), but for a band that cribs equally from The Misfits and The Stray Cats, who expected otherwise? This is Canadian pop-psychobilly at its most promising – it just needs more sting and variety.


Originally Published in The Peak, October 2010.

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