BRUNO MARS24 K MAGIC FULL
Chock full of references from artists like New Edition, Silk, The Gap Band (Mars even sings Charlie Wilson’s signature “ooh wee’s”), H-Town and Tevin Campbell, it comes as no surprise that Mars teamed with Babyface (former frontman of The Deele) to collaborate on Too Good To Say Goodbye.īruno Mars did state that another inspiration for the album was to get people up and dancing, which many of these songs are good for. If original content is your shtick, then this album isn’t for you. This film never came into fruition and what we are left with is a 33-minute album consisting of nine tracks sounding very similar to existing songs from the late ‘80s and early ‘90s.
BRUNO MARS24 K MAGIC MOVIE
Mars claimed he had initially wanted to make a movie and 24K Magic was to be the vehicle through which the mood and time were set for the narrative.
Those who want their rich and modern synthesizer funk minus flash would do well to seek Bugz in the Attic's "Consequences," Dâm-Funk's "Galactic Fun," Amalia's "Welcome to Me," and Anderson Paak's "Am I Wrong," for starters.Pop Svengali, Bruno Mars makes the shift towards a complete R&B sound in his third, very short, studio album 24K Magic. Like much of what precedes it, the song is a blast. Freeze pushed their genre forward by fusing hip-hop to what they learned from electronic post-disco R&B pioneered by Leon Sylvers III, Kashif, and Jimmy Jam and Terry Lewis. In living color, decked out with a rattling breakbeat and zipping bassline, "Finesse" revisits the era when producers like Teddy Riley, Dave "Jam" Hall, and Dr. Lead single "24K Magic" is a scrupulous compound of early-'80s funk tricks, another needed injection of good-time energy into commercial airwaves, but the album's true triumph is buried near the end - not that it takes long to get there - and scrapes the dawn of the '90s. He's often just ampin' like Bobby, yet the performances are undeniable, dealt out with all the determination and attitude of a kid who just bought a custom lavender Razz with his paper route money. Almost all of the material involves Mars in winking bad-boy player mode. The clock is turned back a couple more decades to passable strutting James Brown-isms in "Perm," while "Too Good to Say Goodbye," co-written by Babyface, draws its structure and certain components from early-'70s Philly soul. Sonically, '80s here means the gamut and the aftershocks felt the following decade, from the sparking midtempo groove in "Chunky," which recalls Shalamar even more than album two's "Treasure," to some full-blooded new jack swing moves. This is less an affected retro-soul pastiche - like, say, The Return of Bruno - than it is an amusing '80s-centric tribute to black radio. On his third album, Mars, joined primarily by old comrades Philip Lawrence, Brody Brown, and James Fauntleroy, sheds the reggae and new wave inspirations and goes all-out R&B. Released four years after the multi-platinum Unorthodox Jukebox, 24K Magic - or XXIVK Magic, if you're foolish enough to go by the cover - might as well be considered the full-length sequel to "Uptown Funk," Bruno Mars' 2014 hit collaboration with Mark Ronson.