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. Paul’s writings in 2 Corinthians 2.
And, it was as infectious as all get out.
Initially, most people considered it a great single by an unlikely duo with a ridiculous name. But over the next few months, Gnarls Barkley proved themselves a force of nature. They showed up everywhere, performing with a spellbinding theatricality.
After a couple years of being unable to ignore their enormous presence—and a killer Radiohead cover—I looked into their debut record. And any suspicions that “Crazy” was the only worthwhile thing they did were quickly tossed aside.
St. Elsewhere might be a debut record, but these are hardly amateurs. Cee-lo was a member of hip-hop group Goodie Mob. 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.
And on St. Elsewhere, they create a record that is far more than the sum of its parts. While nothing is as unforgettable as “Crazy,” that’s hardly the only memorable moment here. Rather, this disc is a journey; a series of vignettes exploring various sonic environments and different personas.
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. “St. Elsewhere” is a mournful R&B lament dressed up in a vintage hip-hop beat and Danger Mouse’s signature cinematics. “Smiley Faces” is a convincing piece of Motown nostalgia, save for some background synths and tape loops. “Feng Shui” is a brief yet enjoyable piece of hip-hop-meets-kung-fu-soundtrack. “Transformer” revisits the church service of the first track.
Not everything is a slam dunk, of course. 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.
St. Elsewhere might be a little eccentric—maybe even scatter-brained. But I wouldn’t call it uneven. Its weakest tracks are still highly enjoyable, and as far as their sonic palette wanders, they still have a consistent voice.
In all, St. Elsewhere is a rewarding piece of neo-soul that finds each of its members doing what they do best. Cee-Lo’s vocal performances are as awe-inspiring as ever. Danger Mouse conjures up some of his best sonic landscapes. And even twelve years later, it’s still irresistible.