Cee Lo’s such a big name now he doesn’t even have to appear in his own music videos.
Tom: Cee Lo’s such a big name now he doesn’t even have to appear in his own music videos.
Tom: And what a music video. Studio backlot street, old-school singing and dancing, and a joyous disregard for continuity.
Tim: Video’s alright, but the song’s a bit dull – there’s no decent hook to get into, and his voice really doesn’t seem to be, well, used that much. This could kind of be anyone singing.
Tom: I do really like all the neo-Motown tracks that have come out this year: and Cee Lo does seem to be king of them all. This is the fifth single off the latest album, which is pushing it by any standards – but I can still see it being successful.
Tim: Perhaps, but if it is it’ll more likely be because it’s the new Cee Lo Green track, rather than just being a great track.
Tim: First off, something that may alienate a few readers: I don’t like cats. Not at all. Really not. So I’m immediately predisposed to not like this song all that much.
Tom: Now, I don’t mind cats, but it’s previously been established that I don’t like talky-songs. Cee-Lo’s got an incredible singing voice; why’s he not using it here?
Tim: Having said that, with it being standard Teddybears fare right from the outset, with genres splashing together all over the place, musically I don’t mind it. Verses aren’t particularly exciting, but I do like the chorus melody, which after a while becomes at the very least something you can bounce your head to.
Tom: Once I got used to exactly what was going on, I found myself… well, ‘liking it’ is probably a bit strong. Let’s go with ‘tolerating it’. It took my brain a good while to get around the fact that this isn’t really a Cee-Lo track, or a B-52s track, or… well, anything like I’d expect.
It seems that pretty much everything Cee-Lo touches turns to gold.
Tom: It seems that pretty much everything Cee-Lo touches turns to gold. I hope the second single off ‘The Ladykiller’ gets some attention, even though it doesn’t have the shock value of ‘Fuck You‘ – because it deserves it.
Tom: It doesn’t have quite the same singalong quality to it, but my word it’s an excellent track.
Tim: I agree.
Tom: This is neo-soul – like Motown only with modern production values – and I have the feeling that record labels are already hunting round for the next ten singers they’re going to try and shoehorn into that slot.
Tim: Probably, although one of the most likely contenders was voted off the X Factor, after being compared to just about any black person going (seriously – there was Marvin Gaye, Luther Vandross and, um, Lenny Henry).
Tom: Honestly, this song just makes me smile.
Tim: Yes. I really like the lyrics videos they’ve done – even if the song takes a bit of dip at one point, you can just follow the words like a dog watching TV, not really knowing what’s going on but enchanted by the pretty patterns.
Tom: It’s called “kinetic typography“, and it’s one of those things that’s easy to do – but very difficult to do well. Folks who try to rip it off will just… well, they’ll look like they’re ripping it off.
Thirty years of pop culture in three and a half minutes.
Tom: It’s been a few weeks, so let’s have some more mashups. First of all, here’s Miracles by Norwegian Recycling.
Tom: It’s one of those genius mashups that pulls in a dozen different sources to make a coherent whole. It doesn’t really seem to go anywhere, or do any building, but it’s just rather pleasant to listen to. It’s a run through thirty years of pop culture in three and a half minutes, and the video brings it all together nicely.
Tim: Ooh, I like that – I’ve always quite liked mashups that pile in a whole load of songs together just to see what happens, such as the United State of Pop ones, and Party Ben‘s Boulevard of Broken Songs, and this one pulls it off well.*
* There’s also Axis of Awesome’s Four Chord Song, which whilst not actually being a mashup is still fun to listen to.
Tom: There’s been some very clever autotuning on Cee-Lo Green, as well; while it still sounds like him, I’m fairly sure those aren’t exactly the notes he was originally singing…
Tim: Well, with so many songs you’re bound to need a little pitch correction on there just to keep them in the same key, surely.
Tom: No, it’s more than that: I think they’ve actually got him singing a different melody, not just a different key. I might be wrong, though.
Tim: The only thing I dislike about it is the Jason Derulo track – it’s one of his better ones, but it sounds like he forgot to write words to half the chorus, which gets me every time I hear it.
Tom: Second up, here’s a simple A+B mashup by Sam Flanagan. It’s called “Brimful of Bonkers”, and that tells you all you need to know really. Oh, but watch out for an unexpected cameo just after three minutes in.
Tom: It’s easy – there is, of course, not even any pitch correction to do – but it’s still a hell of a party tune. It could use being a bit shorter, but it’s good enough that I don’t really mind.
Tim: I thought that as well – it could easily lose the first verse/chorus, since it’s identical to the second. Anyway, you’re right, it is good, especially the cameo.
Tom: I know both the original songs off by heart, which normally would just make a mashup like this confusing – but this is just pulled together so nicely that it doesn’t matter.
Tim: Personally, I prefer it when I know the original songs – you get to think ‘Ooh, this is fun – never thought of these going together.’ And speaking of knowing the original songs, here’s a mixture of two Europlop favourites merged together by Benji of Sweden (apparently he’s the only one in the country) to form one big Bromance Killer:
Tim: Aside from the Radio Sweden jingle (which is surprisingly nonintrusive anyway), I think it’s ruddy marvellous, with him still managing to keep the big Lovekiller climax and all the energy that was originally there. Well done Mr Sweden.
Tom: Wow, that’s a belter. Bromance itself is steadily picking up more and more airplay and traction in the UK – the vocal remix with Love U Seek gets released on 25th October, which means it might well be a Big Autumn Hit.
It’s the kind of thing you want to shake a tambourine along to.
Tom: I wasn’t sure whether we could run this on Europlop. Firstly, because I think we’re trying to be vaguely family-friendly, and secondly because it’s neo-soul and completely the wrong type of music for this blog.
But I don’t care. Why? Because it’s genius. I can’t over-sell this. Cee-Lo Green, the singer from Gnarls Barkley, has a song simply entitled “Fuck You”. It’s catchy, it’s happy, it’s the kind of thing you want to shake a tambourine along to. You thought Lily Allen’s “Fuck You” was cheery? You ain’t heard nothin’ yet. And the backing singers! I love profane backing singers.
The release date is October 4th, and the full video – not that this dynamic type one isn’t awesome – is out soon.
Tim: Like it a lot, with special appreciation for the Xbox/Atari comparison and ‘I really hate your ass right now‘. On the scale of Fuck Yous…
Tom: I’m not going to draw a graph of that.
Tim: … it beats Eamon by quite a lot, and Lily Allen by quite a bit, but doesn’t quite match Frankee (due to her incredible vehemence in the chorus and the brilliant lines ‘your sex was whack‘ and ‘I didn’t catch your crabs‘).
Tom: Frankee might have had the novelty lines, but there’s no way a cheap cash-in record – and one that was blatantly a marketing ploy – beats Cee-Lo Goddamn Green.