Only on ‘Cry Baby’ do we get some real darkness when a roving-eye Cee-Lo dumps his girlfriend before playing the victim himself. It’s hard to sympathise with, but at least shows that, from a man who spends a large part of the album proclaiming love and being the good guy, his flaws still remain; he just may find that there’s no way of making them translate into pop sales. But which is crazier: to continue to try and ignore those unglossy imperfections, or to return to the shadows?