T: In terms of spirituality, Goodie Mob seemed to be heavily Christian, while your solo stuff sounds more like you're into Buddhism. What do you follow?
C: There's a bit of Buddhism, a bit of that Baptist and that Christianity, and 5%. My awareness is abroad. To claim a religion is almost like to claim a gang or set, which would make you an adversary of another...and rightfully so, because you oppose their beliefs or question their beliefs. I think that there's validity in all of the interpretations. If not, there could be more than one. If spirituality is broad enough for there to be quite a few takes on it, then there should be some degree of validity in all of them. And I can accept that, and I can pull what I can relate to, what I can utilize as applying to myself, and you almost have your own hybrid theory of spiritualism. At this point it's non-denominational. I don't exclude or segregate myself away from anyone...in any shape, form, or fashion. I embrace anyone that is trying to seek or believe in something. To be faithful is very brave and very courageous. And I can appreciate those qualities in a man or a woman in this world that we live in. It is quite a stand to be spiritual in the least bit.

T: Talk about the Gnarls Barkley project?
C: That is that electric industrial Euro soul, that’s what I call it…if I can call it anything. It truly is shapeless and formless. My style and my approach is still water, and it runs so deep. So, with that project I got a chance to be a lil’ zany, of course a continuation of eccentricity, abstract and vague, and all of those wonderful things that make art exactly what it is. And that’s subject to interpretation. As far as the artiste himself, it does cater to and extend the legacy of Cee-Lo Green, and showcase the diversity and range and intention of Cee-Lo Green. It is a great project that I’m very, very proud of.

T: What are your favourite joints on the album?
C: I think people should check for…the whole album is so dope. Let me just give props to Dangermouse. He is a genius, man. He is insane, in a good way. His production is incomparable and exceptional, it’s wild and loose, and so am I, quite honestly. I don’t know any boundaries, and this was right up my alley to do what I do. Just in front of a different backdrop, being his production. Check for a song called Transformer, check for a song called Who Cares, and Go-Go Gadget Gospel, and When Was The Last Time You Danced.

T: How did you and Jazze come together?
C: I could just tell from the production and the sound choice and the sound quality we would sound good together. We did In the Wind with Trick Daddy, and All I Know with Field Mob, and Jazze had done You’re the One for me on Soul Machine. Then, one particular weekend I happened to be in Miami and a mutual friend of ours, his name is Big Zach, gave me a call and wanted to invite me down because at the time Jazze was recording a solo album. He said, I want you to come to Miami with us, and I said, I’m already in Miami. He said, when you leave. I said, Friday, and he said, we’ll be there Friday. I told them I would think about it, and I decided to go home at the last minute. As we were getting on the plane, they were getting off the plane. So, to make a long story short, I turned around and I stayed behind with ‘em. We went back to the hotel and did a little light shopping, and went to the studio and kicked it. We messed around did a wonderful song called Piano In the Dark. That was more or less the beginning. It was so organic and the energy was so kinetic between us. This was something that had to do with just me and him, like it wasn’t a third party collaboration. It seemed very faithful. We got back to Atlanta and I just started to come hang out and kick it with him, ‘cause they’re at Patchwerk Studios pretty much everyday. So, a couple songs came out of that. We just kinda did it informally; we weren’t even tripping over making a formal album. We were just recording and it started to become an album. So, like midway through that’s when we started to conceptualize and round it out to where it was a complete thought not just a collection of songs.