Album: Doo-wops and Hooligans
Words: 540
When someone asks you what genres of music you like some would say rock, country, hip-hop, or even pop. Each and every person has a different taste in what they like. This variation in taste has been the catalyst of many new styles. Some where along the chain of newly birthed styles came “Top 40’s” a genre that came from songs that were topping the charts. The confusion of this is that it is has become somewhat of an oxymoron due to the fact of artist focusing on achieving this style. But Top 40 shouldn’t be a style is should be just an accomplishment. Bruno Mars’ is an excellent example of such an artist; his style consists of all popular styles. He has no definitive approach on music, thus Mars has proven that marketing alone can create just enough hype for an album so that everyone listening ignores the fact that the lyrics are meaningless and that the music is average “Top 40” fodder.
Bruno Mars’ new album entitled “Doo-Wops and Hooligans” is mediocre. His falsetto voice coupled with the trite lyrics make the album catchy, however it’s anything but special. His album bespeaks a larger issue in the music industry: artists have ceased to be, and now are merely puppets for labels trying to make a quick buck. His album has features from artists like Damien Marley, B.O.B and Cee-Low Green. All three artists bring something else to the table: one reggae, one hip-hop, and one r&b. He starts of the album with the song Grenade, a song that is simply about him loving someone who in no way values the love he has for her. He continues this love ballad theme into the next song, Just the way you are, where he explains how amazing this girl he loves is. His third and forth songs are more of his sappy sudo-romantic attempt to please all. He has the perfect elements for a love/romance album but decides to change the pace at about the middle of the album with The lazy song where he just continues to talk about doing nothing for a total of 3:16, in which I would rather do nothing at all then listen to this song. The album continues with more nothing tracks like talking to the moon and count on me. The only two decent songs that made any impression on me in any manor were Liquor store blues and The other side. Both of these songs also happened to be songs with feature artists. The improvements on these songs were they contained some form of enthusiasm or care for entertainment. I felt as if the way each song was written Bruno had very little care on there affect on his listeners but that he was able to carry a large audience and make his way to his “Top 40” location. If only he were to choose one distinct style and possibly find a genre of his own then maybe he could carry his rank on the charts and carry a lasting career. The only thing done correctly in his entire project was accurately naming his album “Doo-wops and Hooligans” because all I heard were a few “Doo-wops” that only a “Hooligans” could like.
3 comments:
i like how you said "But Top 40 shouldn’t be a style is should be just an accomplishment.". That's a fairly accurate way of describing most pop music today
I appreciate the negative review of this album, which I know has received a lot of praise. I listen to the album and I hear some obvious weaknesses that I would consider production weaknesses and styling weaknesses. I like your use of the "Top 40 genre" as a descriptor for this album. In my estimation, these songs were simply meant to be played on the radio, and they sound as if they perfectly fit radio format requirements, in terms of length, mix, and heavy compression. Good review.
Nico
The use of the term "Top 40" gives the review strength, stating how praise, marketing, and sales does not make an album good, the music within has to be good. Much credit would be given to Bruno Mars making Top 40 but what exactly does that mean? This review is good by stating -- yes it did make Top 40 but it still wasn't good.
Post a Comment