No pop chronicler in the organization best currently is as effective at reinventing peak 40"s past as Bruno Mars. Here"s a track-by-track overview to his latest album, "24K Magic."


No pop chronicler in the company right currently is as successful at reinventing height 40’s previous as Bruno Mars. Because his development, the singer-songwriter has actually shown the capability to capture the essence of what made so many kind of of the greats’ music timeless, making him one of the the majority of repetitively renowned artists of his era.

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2. “Chunky”: Cameo

If you’re talking a slow-and-basic strut based on sweet synths and also gently popping bass, you gotta invoke the type’s all-time gold standard: Cameo‘s 1986 pop-funk classic “Candy,” which the second track on Bruno’s brand-new LP echoes down to the letter structure of its one-word title. Also bubbling under the chorus to this one: a small little bit of “Outstanding,” the 1983 R&B No. 1 hit by Mars’ old friends The Space Band also.

3. “Perm”: James Brown

Reaching back a tiny further than many of the MTV-era grooves on 24K Magic, “Perm” networks the Godfather of Soul for the album’s sweatiest workout. Bruno already went a little James Brown on the album’s title track (“I’m a dangerous MAN through some money in my pocket!”), but right here, he and his band go full JB’s, with a supernegative spirit shuffle featuring Mars in near spoken-word develop as he provides his whoopingest rasp over the track: “Throw some PERM on your attitude!”

4. “That’s What I Like”: Jodeci

“That’s What I Like” is one of the leastern obviously past-indebted jams on 24K Magic — unchoose a lot of the album, you could get through the entirety track without obtaining any kind of specific sense of deja vu. But if you’re transported somewbelow by it, it’s most likely more to the beforehand ’90s than the ’80s — to R&B that had a tiny little of a New Jack Swing and hip-hop edge to it, choose the horny harmonies and also Uptvery own manufacturing of early on Jodeci.



5. “Versace on the Floor”: Freddie Jackson

Nobody’s storm was quieter in the mid ’80s than soul balladeer Freddie Jackson‘s, through eternal slow jams favor “You Are My Lady” and also “Rock Me Tonight (For Old Times Sake)”. The last crossover hit in certain reverbeprices throughout Bruno’s show-avoiding 24K Magic centerpiece, through Jackson’s aqueous synths and breezy guitars giving the plushest of beds for Mars to acquire intimate on.

6. “Straight Up & Down”: New Edition

Not so straight an homage, however the playful lilt of “Straight Up & Down” carries a little bit of the popcorn-love bounce of New Edition’s mid-’80s ballads — also if Mars’ decidedly PG-13 lyrical content might’ve been a tiny mature for the teen-pop crew back in those days. Also, can’t repeat the expression “Straight up” as many kind of times as this song does without giving a shout out to Paula Abdul, undoubtedly still forever Bruno’s girl.

7. “Calling All My Lovelies”: Silk

A molasses-slow groove looking to acquire down tonight by any kind of indicates, via enormous harmonies and also bass-voiced spoken-word pronouncements for punctuation — must be recognizable to any fan of early-’90s R&B, in specific Silk‘s Hot 100-topper “Freak Me.” And even though the song certainly didn’t need any kind of extra 1993 juice, an answering-machine message from Halle Berry and also a shoutout to Iesha — last repped for in pop music by a contemporaneous Anvarious other Bad Creation hit — set the early Clinton-era mood particularly well.

8. “Finesse”: Bobby Brown

“Straight Up & Down” might’ve offered you light Bobby B flashbacks, but within five secs of hearing “Finesse” you’ll be looking for Ghostbusters 2 on Netflix without even realizing it. Indeed, the penultimate track on 24K Magic feels like Bobby Brown‘s entire Don’t Be Cruel album condensed right into one three-minute floor-filler — everything from Bruno’s tightly clipped vocal shipment to the orchestral-stab synths to (of course) the song’s slamming New Jack beat.

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9. “Too Good to Say Goodbye”: Luther Vandross

For a large closing ballad via oversized emotions and also vocals getting to to the heavens, no much better traditional to be measured versus the Luther Vandross, one of the best R&B presences of the late ’80s and beforehand ’90s. Bruno’s closer likewise touches on a little of Diana Ross’ version of “Ain’t No Mountain High Enough” on its chorus, and that sitar-inflected intro leaves the R&B people altogether for Vandross’ preeminent peers in rock power-balladry: Bon Jovi.