Maligned by East Coast hip-hop classicists but embraced by hipsters and alt-rockers, Kid Cudi’s debut album was part of an important paradigm shift in rap music. Swapping Timberland boots and braggadocio for skinny jeans and emotive introspection, Man on the Moon: The End of Days marked the beginning of a more melodic, emotional era for rap music.
Its sequel, Man on the Moon II: The Legend of Mr. Rager, suffers from many of the same defects that held back Cudi’s debut—it’s bloated with a grandiose, unearned sense of self-importance. The lyrics are just as sophomoric and self-indulgent, with some sounding like they were torn straight out of the poetry notebook of an awkward 13-year-old.
But you will be hard-pressed to find a more sonically diverse rap album this year. Produced primarily by his manager, Emile, and “Day ‘n’ Night” architect Dot da Genius, Mr. Rager moves past the atmospheric house-rap sound of his debut into ‘90s grunge, trip-hop, turn-of-the-century backpacker rap, and contemporary indie. Despite the wide range of sounds, the album manages to be more grounded and coherent than its predecessor. It also has a decidedly gloomier vibe than his previous work—plodding, grimy drums and ghostly synths match Cudi’s lonely, stoned mopiness.
There’s nothing here to dance to, but the album is at its best when it channels its melancholic grooves into a kind of stoned, somnambulant funk. It’s like hearing the sounds of a club through the ears of a drugged-out zombie who has no interest in dancing. The only overtly radio-friendly cut is the Jim Jonsin-produced, Kanye West-featuring “Erase Me,” which samples Duran Duran but sounds more like Weezer’s Make Believe. While Cudi’s semi-melodic flows sound natural over synthy trip-hop beats, he sounds totally lost over chugging, palm-muted power chords. It’s bizarre, and it does not generate the crossover interest he was probably hoping to achieve.
Rap fans are quick to crucify artists who blatantly try to appeal to mainstream audiences, but Mr. Rager is seriously hindered by its lack of pop appeal and almost painfully self-absorbed lyrics. Cudi is probably proud of his refusal to make artistic compromises, but he could use a lesson from Cee Lo Green (who sings the hook on Mr. Rager’s opener). The Lady Killer, the onetime Goodie Mob and Gnarls Barkley member’s third solo effort, is a glossy, pop-oriented showcase of Cee Lo’s considerable vocal skills, but it’s also a much stronger album.
The Lady Killer, which also drops this week, is the most accessible that Cee Lo has ever been. The album is 50 minutes of immaculately produced retro-soul classicism, courtesy of British producers Fraser T. Smith and Paul Epworth (along with Bruno Mars’s production trio The Smeezingtons). From the Stax boogie of “I Want You” to the syrupy, string-laced cover of Band of Horses’ “No One’s Gonna Love You,” the whole album is glossy, catchy, and appealingly vintage-sounding.
But Cee Lo’s vocal performance is the main attraction. Recalling the vigor and power of Barry White and the understated crooning of D’Angelo, he’s both comfortable and charming, whether playing the part of a snubbed lover (on “Fool for You”) or a debonair ladies’ man (“Love Gun”).
Ever since debut single “Fuck You” became an instant viral smash when it was posted on Youtube at the end of the summer, Green has been poised finally to achieve a solo commercial breakthrough. The Internet attention he has received might not translate into album sales, but it’s hard to believe that mainstream solo success could elude someone as talented as Cee Lo forever. It might not be as personal or honest as Mr. Rager, but it’s a whole lot more fun.
