MARS TEEMS WITH NEW LIFE
Once you’ve been uptown, you never go back.
Nobody knows that better than Bruno Mars. The Hawaiian R&B star’s popularity exploded in 2014 with the infectious Uptown Funk, the Grammy-winning, bazillion-selling Mark Ronson single that brilliantly channelled (or, depending on your view, blatantly plagiarized), the classic ’80s funk and R&B of acts like Prince, The Time and The Gap Band.
So little wonder that Mars’ own third album 24K Magic (out Nov. 18), picks right up where Uptown Funk left off.
The retro-minded hitmaker dishes out another batch of classic funk, R&B and soul straight from the ’70s and ’80s playbooks of all the aforementioned heroes — along with nods to James Brown, Michael Jackson, George Clinton and P-Funk, the Four Tops and even Sir Mix-A-Lot for good measure.
Call it homage if you’re feeling generous. Call it derivative if you’re not. Call it entertainment instead of art if you must. But make no mistake: There is an art to entertainment. And on this lean 33-minute party soundtrack, Mars makes it clear he’s a master. Here’s a quick primer:
24K Magic (3:46): “Let’s start this party off right,” urges some vocorderized crooning — before the rest of the track obeys orders by laying down an irresistible ’80s synth-funk vibe midway between P-Funk, The Time and early hiphop, complete with handclaps and plenty of gang vocals.
Chunky (3:06): He likes big butts and he cannot lie. Bruno sings the praises of women with “big old hoops that drop it down in daisy dukes” over a four-on-the-floor disco funk vamp. But that’s not all Bruno is looking for in a woman: “She got to have her own money.” Sorry, golddiggers.
Perm (3:30): From the bottom to the top. Mars uses African-American hair relaxer as a lyrical metaphor — while borrowing liberally from the early ’70s sounds of James Brown, right down to the funky drummer backbeat, call-and-response vocals and slinky guitars.
That’s What I Like (3:26): It’s back to the ’80s with some smooth, pop-laced R&B — all the better to underpin Bruno’s silken seductions and promises to shower you with trips to Manhattan, Miami and Puerto Rico, along with gold jewelry and strawberry champagne.
Versace On The Floor (4:21): No, he’s not talking about the dance floor. Over another flowing, synth-heavy R&B track straight from the ’80s, Bruno is talking about where that expensive dress of yours is going to end up once you “kiss ‘til we’re naked, baby.” Guess that strawberry champagne did the trick.
Straight Up & Down (3:18): Now we’re back on the dance floor — where Mars is watching yet another woman while crooning groaners like, “I bet your momma named you good lookin’/‘Cause you sure look good to me.” Good thing he’s got that Manhattan apartment.
Calling All My Lovelies (4:10): Out come the synths — both keyboards and drums — to underscore this slick midtempo number about all the women Mars has on speed-dial, should you not answer his call. Among them: Halle Berry, who drops a voice-mail cameo.
Finesse (3:10): Having presumably got through to one of his many ladies, Bruno returns to the dance floor “dripping in finesse” — and just in time to take a spin through the ’80s R&B stylings of Michael Jackson, but updated with punchier snare and more bounce to the ounce.
Too Good To Say Goodbye (4:41): “I’ve made mistakes,” Mars admits on this closing cut of pianodriven, lightly orchestrated soul tinged with a dash of the Four Tops’ Ain’t No Woman. Well, perhaps he had. But nothing that won’t be forgiven by the masses, one suspects.