By now, you've heard Bruno Mars and you probably didn't know it. Surprised? Scared? Confused? While my reviews tend to bring out those emotions in people, Mars has quietly been a major player in the music industry in 2010. With features on a #1 single, a top 5 single, and a songwriting credit on one of the most buzzed about singles of the year, Mars set up a solo career through the use of his talent and not a tired gimmick. Novel concept, right?
Already producing a #1 single, Mars tends to be one of the pop/r&b nice guys, his recent cocaine bust not withstanding. He doesn't get out of that mindset too often, but when he does, it brings out a different and necessary side of the diminutive Hawaiian. The mot surprising piece of the record is Liquor Store Blues, a reggae-tinged ode to the joys of vices. Featuring a typically strong cameo from Damian Marley, it's not only notably lyrically stark (and ironic, considering Mars's recent trouble) but it's relevant to the current economic situation in the country. It's this type of edge that is missing from the rest of the record; Bruno Mars is given some dimension and a little roughness, something resembling a personality. Most of the time, he's nothing more than an idealized version of what someone "should" be, as opposed to a three dimensional person. Something like Our First Time could have fallen into that cliché, but it's aesthetically gorgeous and makes up for any potential syrupiness of the lyrics. Immediately putting me in mind of 90s Janet Jackson, its silky production and whispery delivery are solid mood setters, inching Mars closer to being an r&b singer. While the bright, shiny melodies of songs like Just the Way You Are may be his commercial bread and butter, it's on the darker, less obvious material where he really shines. Breaking out his falsetto (which has more than a passing resemblance to Robin Thicke), Mars balances his loverboy and nice guy images nicely on the song, creating a definite highlight. The only problem I have with The Other Side is that Bruno gets outdone by his guest stars, to the point where you kind of wish they had handled the song themselves. Mars doesn't sound bad or out of place; far from it, actually. The production just doesn't fit his voice. When I first listened (not knowing who was on the song), I thought it sounded like a Cee-Lo/Gnarls Barkley song; lo and behold, Green appears and absolutely manhandles his verse, his ginormous voice as expressive and emotive as ever. As a whole, it's ethereal (the wailing organ), retro (the handclaps and powerful hook), and a great way to close out the album.
The Lazy Song feels like Bruno's bad karaoke impression of Jason Mraz. While Mr. A-Z may rely too heavily on the quirky lyricism, he knows what works for him and he tends to write to his strengths. With mentions of teaching me how to dougie, P90X, and snuggies, it's a little too cutesy for me and is yet another left turn in terms of style on the record. Being diverse is a genuine asset of any artist, but if you're too diverse, you have no identity and this is the case with Mars. Lazy is hokey, too lightweight, and not clever enough to really be a "funny" listen. Grenade is a bit melodramatic to take seriously. While the verses are raw and well-written, the hook has too much going on (especially the weak Love Lockdown-ish percussion) and suggests Mars may need to seek some counseling for his suicidal streak. It's hyperbole to the max, talking about taking a bullet and jumping in front of a train for someone who doesn't even love you back, and it's another case of Mars's pen ruining an otherwise solid song. There's no denying that it's ridiculously catchy, but just listen to what you're singing along to and it's rather morbid. Count on Me shouldn't be as enjoyable as it is, but it's the song that Lazy aspires to be; breezy, feel good, and mostly acoustic, it's one of those universal friendship/love anthems that belong in a camera commercial but is too charming not to love. With a lush string section and a genuine vocal performance, it's one of the prettiest songs on the album and its extremely general message doesn't come off as being manipulative. You may not be challenged by Count, but everybody has someone that they want to reassure and someone whose love is, at its heart, innocent and joyous.
I shouldn't like Bruno Mars. He's cheesy and tends to settle for safe, middle of the road pop songs instead of challenging himself. As good of a songwriter as he can be, that's a bit frustrating, though I can hardly begrudge someone for trying to be as successful as they can be. Wops may be a little on the short side, but it's got enough big hooks and instantly hummable melodies to make up for that and work its way into your consciousness. I wouldn't call myself a Bruno Mars fan necessarily, as I think he gets a little too cutesy with his lyricism and doesn't make the best production choices sometimes, but I admire someone who's out there doing well by making pleasant, harmless music. Wops obviously isn't going to change the world, but it wasn't meant to be; sometimes its nice just to have a kind word, a gentle melody, and some peace of mind.
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