With
Red Lips, French disco pioneer
Cerrone attempted to recapture the innovative sound of his '70s and early-'80s work after his productions had devolved into mind-numbing, by-the-numbers Euro-disco by the 21st century. All of the instruments on
Red Lips were recorded live in the studio, with drumming by
Cerrone himself in lieu of programmed beats, and guitars, horns, and keyboards rather than sequenced electronics. In some ways, it's
Cerrone's Random Access Memories. Like that album, guest vocalists abound, including
Hot Chip's
Alexis Taylor,
Disclosure collaborator
Brendan Reilly, and Canadian dance-pop singer
Kiesza. All of the songs are relentlessly upbeat, radio-ready four-minute dance-pop songs (rather than the side-long prog-disco epics of
Cerrone's classic early albums), and the cheerful, escapist lyrics are almost entirely about love, dancing, or both. The only exception is "C'est Bon," a politically charged let's-all-get-along number sung by retro-soulster
Aloe Blacc. Certainly the musicianship and arrangements are impeccable, but even with differing vocalists, all of the tracks are so similar that it ends up being as tedious as the producer's later work.
Nile Rodgers' unmistakable guitar playing appears on "Illuminate Me," but he might as well have played on every one of them. The lyrics reference
James Brown and
Michael Jackson on first single "Move Me" and
Beyoncé and
Kanye West on "Ain't No Party (Like Monday Night)," but when
Sam Gray sings "Let's go supernatural" on "Time Machine," you question if he's even heard
Cerrone's immortal signature hit "Supernature." The only song on the album to break away from the formula is closing track "2nd Chance," which features drumming from Afro-beat legend
Tony Allen (best known for being a crucial part of
Fela Kuti's
Africa 70). It's easily the most refreshing, exciting track on the album. By all means, if
Red Lips inspires a new generation of club kids to become
Cerrone fans, more power to them, but it's simply not one of his better albums. ~ Paul Simpson