Celeb News: 'Unorthodox Jukebox' reviews | 71 - Page 3

omrimayo

This is such a GOOD album and I'm not a fan of his and this is so good!

WoozyFloozy

Deserves low to mid 70s. A surprisingly good album.

Sept

PopMatters: 80

http://www.popmatters.com/pm/review/...hodox-jukebox/
The path less traveled makes all the difference.

Quote:

Bruno Mars makes people a little crazy, on both sides of the issue. His fans have tended to gush about his old-school skills: the extravagantly hooky choruses, the impossibly angelic voice, the big, wide-open heart and puppy-dog devotion displayed on other people’s songs and his own hits from Doo-Wops and Hooligans. His detractors have been even more apoplectic about him, accusing him of calculating his adorability, looking backwards instead of forward, and a million other sins that boil down to Bruno Mars being ... well, Bruno Mars, really.

So what’s a guy supposed to do with that? Well, if you’re Peter Gene Hernández, you double down while still marking out a new path for your creation, Bruno Mars. Unorthodox Jukebox is just as hooky as anything he’s ever done, and is sung and arranged just as perfectly as his earlier work. But it’s a much less cutesy and much more grown-up record than Doo-Wops and Hooligans, and it’s a collection that shows a new edge that should please about half of his earlier haters ... and turn off about half of his former minivan-driving fans.

Take “Natalie”, for example. It’s full of blues signifiers like field-holler noises and handclaps, and it’s got more hooks than a pirate supply store (Anthony Hamilton, someone’s been listening to your albums besides me). But the Bruno Mars we know and hate/love would never have sung about “digging a ditch / for a gold-digging bitch” and promising to hunt her down and, well, we don’t know what, because he says “WOOOO!” instead of anything definite, but it’s something bad. This is not “Marry You” territory, here, but something else entirely.

Exhibit B: the album’s requisite reggae song, “Show Me”. Gone are the Jamaica-lite skank of “The Lazy Song” and his chorus on “Billionaire”—Mars comes hard here, riding the beat like Gregory Isaacs and tossing in dub effects like they actually mean something. It’s sexy, it’s affecting, and it’s real—no matter who you are.

Oh, and there’s a lot more sex and swearing here. His massive Prince-inspired slow jam “Gorilla” leads the way, as you might imagine, with a lot of chest-pounding and f-wording and mf-wording and hair-pulling and “You and me baby makin’ love like gorillas.” This may not be your cup of herbal tea, but that doesn’t really matter to Bruno Mars this time around.

The main musical inspiration for Mars and his production team, the Smeezingtons, seems to be the late 1970s/early 1980s pop. Big catchy first single “Locked Out of Heaven” starts out like an early Police single, with some straight-up regatta-de-blanc syncopation and a shockingly good Sting vocal impression. But the chorus opens up to turn into something less Police-y and more, dare I say it, Bruno Mars-y.

This approach doesn’t always work perfectly. “Moonshine” has an amusing Simple Minds-like lope, but the chorus ends up sounding a bit like “Heartbeat”, the epically icky mid-80s single from Don Johnson. If you remember “Heartbeat”, you’ll know why it tarnishes “Moonshine” by association. Much better is the Cameo/MJ/Prince funk of “Treasure”, which knows that a flirt beats a bleat any day, or closer “If I Knew”, which is EASILY the best Sam Cooke song of the year.

But I guess I’m just corny enough to prefer it when Mars looks to create something that’s truly his own. His pastiche skills have always been on point—never forget that the Smeezingtons co-wrote and produced Cee-Lo’s “**** You” or “Forget You” or whatever the kids are calling it these days—but it’s always refreshing to hear an artist search for something that is truly his or her own. The opener here, “Young Girls”, is as widescreen and wide-open as things get these days, with a thumping martial beat and the classic lament, “Oh you young wild girls / You’ll be the death of me.” Similarly, “Money Make Her Smile” is a slow thumper that steals musical and lyrical tropes from strip-club anthems, but seems to have its mind somewhere else, especially when it goes into the weird double-time segment after the chorus.

All in all, this is a truly accomplished and slick pop album, but its lyrical content will probably lose Bruno Mars some sales and some of his core audience. It’s a fair trade-off. The path less traveled makes all the difference.

Versace

It deserves more tbh.

IVY

umich

72 now

Rogue

I was listening to this album on my friend's iPhone. It's really a great album and I'm gonna go get it on Friday. He totally deserves any and all praise.

Bliss

Boston Globe's review added. Still 70 based on 12 critics.

IVY

IVY

Quote:

At first, Bruno Mars seemed an unlikely pop star. There he was, suddenly, in the summer of 2010: a pint-sized, fedora-wearing, ex-Elvis impersonator born Peter Hernandez, his stage name partially derived from an Italian wrestler known for his smothering bear-hug. He started as a successful songwriter with the absurdly named three-man production team the Smeezingtons (the brains behind Cee Lo's "**** You"), but found mainstream solo success thanks to a pair of hook-slinging guest-vocal spots on pop cuts ("Nothin' on You," "Billionaire") from B-level rappers (B.o.B, Travie McCoy). That he subsequently scored his own No. 1 hit with the syrupy "Just the Way You Are" — the apex of full-length debut Doo-Wops & Hooligans, which helped him score (gasp!) seven Grammy nods, including Album of the Year — felt less like a foregone conclusion and more a matter of a talented guy catching pop music at a decidedly low tide, after Justin Bieber's unexpected splash and before dance music's looming wave.

"It's for the masses, and I'm totally happy with that," Mars allowed at the time. But the singer's true personality — a wisecracking, self-deprecating goofball who tells reporters that he's "hung like a circumcised maggot" — seemed slightly at odds with his middle-of-the-road, kid- and grandma-friendly image. Isn't it amazing, though, the creative freedom that commercial success affords you? Thanks to Hooligans' six million in sales, the 27-year-old is now given the luxury to create the LP he's always envisioned for himself. Typically, a release backed by this sort of here’s-the-real-me PR mumbo-jumbo amounts to little more than, well, Rebirth. But Unorthodox Jukebox, Mars’ excellent second take, is the real deal: an utterly engaging, genre-hopping, hyper-catchy, 10-track affair that bucks 2012 pop's overreliance on dance-bass fuzz and gives Mars and his steely tenor room to stretch out.

Start with the lyrics, which get a desperately needed kick in the pants: Dude scatters a slew of f-bombs throughout, most notably on the Prince-channeling, Diplo-produced hump-fest "Gorilla," wherein he woos a seemingly willing lover ("Give it to me, motha****a") after laying bare his own failings ("I got a body full of liquor and a cocaine kicker"), not-so-subtly referencing his Vegas bathroom-stall drug arrest back in September 2010. And while labeled a throwback artist his first around (largely due to his infatuation with the '50s and '60s doo-wop freely pillaged for Hooligans), Mars shows a willingness here to incorporate various other genres — Solomon Burke-style soul ("If I Knew"), rock-reggae ("Locked Out of Heaven"), piano-anchored balladry ("When I Was Your Man"), even Donna Summer-esque disco ("Treasure").

It helps, of course, that, aside from adept Smeezingtons cohorts Phillip Lawrence and Ari Levine, Mars now comes armed with an A-list crew of producers — and not the usual Scandinavian suspects, either. Fusion-fanatic Mark Ronson cooks up spicy reggae-funk for first single "Locked out of Heaven," calling to mind both the Police and the Romantics; "Rolling in the Deep" mastermind Paul Epworth joins omnipresent pop maven Benny Blanco behind the boards for the two-timer tell-off "Natalie," a sort of methed-up "Dirty Diana" ("Look out for pretty little thing," Mars warns) assembled with fierce handclaps and hard-edged oooh-oooh vocal echos.

Not every stylistic stretch is as inspired: The Diplo-produced strip-club anthem "Money Makes Her Smile" feels uncomfortably scuzzy, while "Show Me," an honest attempt at dancehall (steel drums, tape effects, air horns, etc.), is straight-up silly. But the bulk of Unorthodox Jukebox benefits from presenting Bruno Mars as he truly imagines himself: a big belter with an ear for pop hooks, sure, but one unafraid to dive into murkier waters. Will radio DJs (and Grammy voters) favor such unorthodoxy? Will it move enough digital units to justify further indulging his creative fancy? Maybe, but Mars is definitely taking a chance by releasing such a far-reaching, decidedly club-unfriendly record; his next one might be a safer, far less inspired retreat. Enjoy this while it lasts.

Spin 8/10

http://www.spin.com/reviews/bruno-ma...gn=spintwitter

This is still not added I believe.

Imogene

GOOD REVIEWS

Can someone tell me if Vibe counts on metacritic?

Rolling Stone review: http://rhapsodyincolour.tumblr.com/image/37804608404

Billboard.com 77/100 - 'Unorthodox Jukebox': Track-By-Track Review

Quote:

Bruno Mars is extremely talented -- we've known this since he popped up without warning singing the hook on B.o.B's "Nothin' On You," and fully understood his versatility on his 2010 debut "Doo-Wops & Hooligans." We also know some of the things Bruno Mars likes: fedoras, monkeys, the music of Sting and the occasional tossed-off expletive, to name a few. But do we know who Bruno Mars is, as a performer, songwriter and person? Despite the accessibility of his music, Mars has not, for better or worse, developed the type of forceful musical personality that bleeds through the work of artists like Rihanna, Eminem and Lady Gaga. Mars croons love songs and heartbreak songs, often in spectacular fashion; but is that enough to make him an endearing -- and enduring -- pop presence?

The 27-year-old Hawaii native tries to answer that question on "Unorthodox Jukebox," his highly anticipated sophomore album that succeeds in mixing its safer stylistic choices with its relatively bold ideas. First single "Locked Out Of Heaven," for instance, remains dizzyingly enjoyable, its 80s influences sported proudly like cub scout badges; yet all the "Oh, YEAH, yeahs!" in the world couldn't make the song more than a lightweight affair. But when "Heaven" is experienced alongside the uncluttered R&B of "Moonshine" and dance floor sucker-punk "Money Make Her Smile," the low stakes are easy to forgive. After the success of "Doo-Wops & Hooligans," Mars should be allowed to cash in with a victory lap, but "Unorthodox Jukebox" is proudly living up to its titular rhyme by prodding at different musical ideas. Even when Mars clumsily swings for the fences, the listener has to commend him for picking up the bat.

Which songs on "Unorthodox Jukebox" are the standouts? Check out Billboard's track-by-track breakdown of Bruno's latest.

1. Young Girls - Bruno begins his sophomore campaign with a sleek arrangement and lyrics about recognizing sin while indulging in it. The songwriting instincts and throwback vibe (most clearly established from the backing vocals) remain from "Doo-Wops," but Mars and the Smeezingtons are further exploring the shaded earnestness from "It Will Rain" here.

2. Locked Out Of Heaven Yes, it apes the Police. No, that does not matter. "Locked Out Of Heaven" is Mars' best solo single to date, with the singer-songwriter yelping about fornication as a tossed salad of chopped guitars and vocal exclamations buttress his sumptuous leading-man act. Sometimes, the perfect lead single is hard to find; other times, it walks right up to you and delivers a big, cozy hug.

3. Gorilla - An ambitious arena-rock sex jam that cannot overcome its main lyric: "You and me, baby, making love like gorillas!" The drums and keyboards are nicely overwhelming, but the overall concept floats too far away to make a dent on the listener.

4. Treasure - Riding a groove that recalls the starry-eyed Phoenix single "If I Ever Feel Better," Mars and co. are all smiles as they deliver a deliberately disco-fied pop whirlwind. One gets the feeling that "Treasure," with its grand harmonies, classically kooky hooks and slyly sexual undertones, is the musical mode that makes Mars the happiest.

5. Moonshine Decidedly retro and caked with cheesy flecks of synthesizer, "Moonshine" finds Mars selling overly simple lines like "Take us to that special place/That place we went the last time, the last time." Even when Mars, the Smeezingtons, and writing guests Mark Ronson and Miike Snow's Andrew Wyatt are off their lyrical games, the production is so buttery that the listener can't help but get another sugar rush.

6. When I Was Your Man Mars' heart is tossed on the floor for all to see on this piano ballad, which chronicles a pre-fame heartbreak and will make for a killer lighters-in-the-air moment in concert. Although it's not quite an Alicia Keys-esque powerhouse, "When I Was Your Man" smartly allows Mars to momentarily remove his fedora and bare his soul.

7. Natalie - Handclaps and canned strings welcome the flip-side of "When I Was Your Man," with Mars lamenting the hypnotism of a "gold-digging bitch." The nimble production details -- different sounds seem to burst at every punctuation mark -- abet a vicious takedown of the titular female.

8. Show Me - Time to head to the islands! A Hawaiian breeze blows through this fun, steel-drum-laden (duh) piece of fluff. It may not be the best "Show Me" of the year -- we see you, Usher -- but the track makes for a stress-free cut on the back half of the album. It's gettin' freaky in this room, room, room!

9. Money Make Her Smile - Mars and the Smeezingtons fully realize their pop capabilities on "Money Make Her Smile," a creamy blend of rapid-fire chants, breathless percussion and propulsive electronic blips, the latter of which would make the Black Eyed Peas jealous. After spending most of the album toasting songwriting staples, Mars ventures into unexplored territory and scores.

10. If I Knew - "I wouldn't have done all the things that I have done/If I knew one day you'd come," Mars and friends sing on this short, sweet kiss-off. Although the "Doo-Wops" texture is once again installed, why look back on old tropes after reaching new heights on the previous track?

__________________________________________________ ________________

Bruno Mars’ ‘Unorthodox Jukebox’: What the Critics Are Saying

Bruno Mars’ second studio album, Unorthodox Jukebox, is exactly that — a surprising mix of sultry, funky, and genre-bending sounds. Fret not, fans: the pop singer’s signature retro-soul tunes about falling in love and heartbreak are still there, along with hints of reggae, old school Motown, and New Wave.

With the help of his production team The Smeezingtons, Jeff Bhasker, Mark Ronson and Diplo, Mars channels R. Kelly for the racy “Gorilla,” a tune about capping off a night of drinking in the bedroom, while the album’s lead-single, “Locked Out of Heaven,” has garnered comparisons to The Police.

Speaking to The Huffington Post, Mars says he was inspired by Amy Winehouse to experiment with diverse sounds: “I felt like everything I’ve been saying, everything I wanted to do, she did it… You couldn’t put it in a box ‘cause it could be played on rock stations, it could be played on rhythmic stations, it could be played on pop radio, and I’ve always wanted to make music like that — that could be spread out, and can’t be pigeon-held to one thing.”

Read below for what the critics are saying:

Jason Lipshutz of Billboard commends the album’s diversity: “Unorthodox Jukebox succeeds in mixing its safer stylistic choices with its relatively bold ideas. First single ‘Locked Out Of Heaven,’ for instance, remains dizzyingly enjoyable, its 80s influences sported proudly like cub scout badges; yet all the ‘Oh, YEAH, yeahs!’ in the world couldn’t make the song more than a lightweight affair. But when ‘Heaven’ is experienced alongside the uncluttered R&B of ‘Moonshine’ and dance floor sucker-punk ‘Money Make Her Smile,’ the low stakes are easy to forgive. After the success of Doo-Wops & Hooligans, Mars should be allowed to cash in with a victory lap, but Unorthodox Jukebox is proudly living up to its titular rhyme by prodding at different musical ideas. Even when Mars clumsily swings for the fences, the listener has to commend him for picking up the bat.”

Allison Stewart of Washington Post writes, “It used to be that there wasn’t much to know about Mars, except that he was very good at singing charming, edgeless, hip-hop-flavored ballads while wearing a variety of jaunty hats. His platinum-plus debut, Doo-Wops & Hooligans, earned Mars comparisons to fellow vanilla-flavored Hawaiian balladeer Jack Johnson, mostly because there didn’t seem to be much else to say about him. But a post-success arrest for cocaine possession added subtle bad-boy shadings to Mars’s image, and while Jukebox doesn’t take full advantage of the shift, it does kick the tires a little. It’s thematically darker than the breezy Hooligans, but musically it hews close to the formula established by its predecessor.”

New York Times’ Jon Caramanica hails Mars’ lyrics as “succinct writing, a little talky, but extremely conscious of the borders. It could work on the radio. It could work on Broadway. It could work in a jazz club. It could work in any cabaret in town. Mr. Mars builds a sturdy skeleton. If the muscles atop it are sometimes too lean, well, that’s both Mr. Mars’s calling card and his crutch. He has a feathery tone, and while he’s deceptive with his power, he is not a powerhouse. That’s why on this album, on songs when he wants to grab attention, he emphasizes a particular style or influence.”

Emily Tan of Idolator expounds on the album’s influences, “Unorthodox Jukebox (out December 11) doesn’t find Mars dodging genre labels so much as it finds him temporarily smothering himself in one before switching off to another. Working with production heavy hitters including Diplo, Mark Ronson and his crew The Smeezingtons, the songs openly pillage Bruno’s influences, but are slick and carefree enough that they sound fresh coming from him. The throughline (if there is one) would be the lyrics, which channel Keith Sweat and R. Kelly, and leave you with post-sex hair, wanting to take a cold shower.”

NPR’s Tom Moon criticizes the sultry singles, “Not everything on the new album is brilliant; in several tunes, the lyrics amount to generic sex talk, running status updates of his carnal whims and desires. At times it seems his skills as a composer might not be as fully developed as his wickedly expressive singing…” But Moon later adds, “even then, in the most X-rated moments, it’s clear that Mars has crazy potential. Maybe he’ll harness it differently on some project in the future, and settle into one lane on the expressway. For now, he’s all over the road, and it’s a pretty fun ride.”

Jody Rosen of Rolling Stone concludes by saying, “On his second album, Mars sings endlessly about sex — wild, wind-swept, Wagner*ian sex. The smuttiest song here, ‘Gorilla,’ has a backbeat that would make Mutt Lange quake in his boots and a lyric that R. Kelly would kill to have written: ‘You’re bangin’ on my chest/Bang, bang/Gorilla . . . you and me, making love like gorillas.’ From another performer, the bombast might be a deal-breaker, but from Mars — a master song-crafter and a nimble, soulful vocalist — it is the stuff of great pop. As on his 2010 debut, Doo Wops & Hooligans, he infuses his songs with old-fashioned crooning as classily antique as his wide-brimmed fedora. But there’s lots more: creamy Michael Jackson/Prince-schooled disco soul (‘Treasure’), frazzled Police-style rock reggae (‘Locked Out of Heaven’), Elton John-like balladry, Def Leppard grandiosity, dub reggae, all couched in beat-savvy modern production (Diplo, Jeff Bhasker, Mark Ronson). The result is a record that makes the competition sound sad and idea-starved by comparison.”

http://www.hollywoodreporter.com/new...ox-what-400876

IVY

Up to 73.

Bliss

Vibe doesn't count on Metacritic. And yay!

Imogene

Cute, but it can go down with one terrible review.

-USA Today
-Washington Post

Both count on Metacritic.
Bruno got excellent reviews from both of them but why they aren't added already?

Bliss

Down to 71. The A.V. Club gave it a 58.

IVY

Quote:

He’s an undeniable talent, desperately searching for an identity to claim as his own.