Bruno Mars "Unorthodox Jukebox"

He might have intended for these songs to be played on an Unorthodox Jukebox, but there are traces of artists who may even be prominent on traditional ones; not just the artists you expect either.  

Neil Young/Crazy Horse "Americana"

In true Young fashion would he label his record Americana, and include old-fashioned R&B as well as livelier, or slightly obscure covers. You may recognize the majority of the titles, but not exactly the sound of these traditional folk and pop standards. I appreciate his approach; some may say it is disrespectful, but credit is given where it is due, and not everyone enjoys another’s point of view.     

Bobby Womack "The Bravest Man in the Universe"

Bobby Womack may just be The Bravest Man in the Universe making a comeback after 18 years; when it comes to an album of all-original material. Sixties’ soul with modern-day touches? Sounds risky.  He has worked with Albarn before, such as on the mystifying stylo. The title track sets the tone for what follows, and what ensues sounds like its’ accompaniment recalls sounds of the Beatles, but if not “Please Forgive My Heart,” and ignore my idiocy. The acoustic “Deep River” may not seem very poignant, but it is a short rush with more meaning than one can assume. The female vocalist of the past year, who sounds like she originated in the wrong decade, assists Womack in some “Dayglo Reflection.”                                                      The next cut sounds like pure magic, but at the same time reminds me of bands like REO and Styx (among others); it causes me to ask “What Happened To The Times” when music like that was being made? There is still great music among us! It may take a little bit more effort, or might be right in front of you, but you must be willing to listen with an open mind! Russel’s previous producer gig with Gil-Scot Heron led to what may be a “Stupid Introlude” to the next cut, but in those 21 seconds all your attention is focused on some of his last words, and they’re not basic. This may be a “Stupid” comparison, but I think of Stevie Wonder when he was looking for higher ground; it could have been simply the first line, but there are absolute differences (from the vocals to the percussion). The production of “If There Wasn’t Something There” could have even been an upcoming Timbaland track. The duet with Fatoumata Diawara is both a lesson and a blessing, or maybe that is just who the song is directed towards. The final song’s bloopy production and chugging beat is married to a melody over 170 years old! “Jubilee (Don’t Let No One Turn You Around)” turn you around, turn you around, don’t let no one turn… angsty, not profound?

Wiz Khalifa "O.N.I.F.C."

He’s still a Wiz, but now he seems more focused on “The Plan.” Just what is the plan? To become the O.N.I.F.C , and maybe even assist his pockets in gaining a lot of muscle. The verses can become tedious because of the sole ambition to stack cheese on cheese, and smoke some weed; some can say that it will only make the music suffer, but there’s more than meets the ears and more than that to offer. There are a lot of hooks, and beats that may cause you to “Fall Asleep,” but not because they lack solid songcraft; it is just the state they sometimes bring you to.  They might even be the saving grace; the formula causes this record to be very cohesive. I wouldn’t be surprised if the “Intro” was produced in a Dream he might have had, while it seques nicely into a song documenting his “Paperbond.”                                                              While track three seemed to be more about braggin’ while commentary arose on rivals “Bluffin,” I had to say that the outro took me by surprise. To top it off, he even faces “The Bluff,” but one good line is never enough (“Now point that camera at my pockets cause they saying ‘cheese," and there’s more, not just one, so roll those eyes at my fun; yes, it’s lame, and I know I’m done).                                                                                                      The first single is also his motto, and he makes more in a day then he would, by chance, in a lotto. “Make sure you do whatever is that you gotta do, that's your job/And n***** gon' hate, but that's no prob'/So hey f*** 'em, don't need nothing from 'em/Some n***** talking but the s*** they claiming don't mean nothing.” Well said Wiz. Another one of the best songs “Got Everything” I need, and he doesn’t even waste one line about weed. Courtney Noelle handles singing the infectious chorus well, and it’s absolutely about Amber Rose (I can tell). Success not only brings out the fakes, and the bluffs, but those who hate them for having all that stuff; “Cause jealousy and envy that's a trait for mostly b******/Not a man, so, you ain't one if you letting it show.”  The track featuring the line, and song four urge you to “Rise Above” the haters, and the negativity? “Let it Go.” I favor the latter because it is more relatable to myself; I don’t have that much cash, but that doesn’t mean I hate.                                                                                                                   As for some of the features? I skipped the 2 Chainz cut like “It’s Nothin,” and I have much respect for what he achieved in his life so far; I’m not just talking music. Lola Monroe is part of the Taylor “Initiation,” and is accepted, for her Minaj impersonation. The last verse features a phone message from Amber Rose, and while the song that follows is not a feature; it is one of the best sex anthems (or slow jams) to get “Up In It.” Juicy J wowed enough to be featured on, not one, but two. The catchiest collab is hard to forget, much easier to “Remember You.” The latter is about giving a groupie a chance to audition for a dream “job,” or one night stand; it all depends on how she works it. Best: Let It Go, Work Hard, Play Hard,  Got Everything, Fall Asleep, Time, Up In It, The Plan, Remember You, and Medicated.               

Yeasayer "Fragrant World"

First Impressions of the record are that this stinks, or at least smells, because it is a Fragrant World after all. It reminds me of my first impressions of Sauerkraut.

Neil Young "Psychedelic Pill"

To think it only took a Psychedelic Pill to produce some of his best music in the past decade, or we can simply say the longest. It even has him “Driftin’ Back” to the sounds of his heyday; every album is an attempt to recapture that magic. Young even sings “When you hear my song now/You only get five percent/You used to get it all (x2)” on the sprawling opener, but I honestly believe he is one of his worst critics, and is too hard on himself. She’s not the only one looking for a good time, and like those dance moves, every note is like a “Psychedelic Pill” that cannot be purchased. “Ramada Inn” is roughly a third shorter than the opener, but depending on your point of view may have more to say. It’s a good song, just a little long; like that war with the bottle that has overstayed its welcome, and is causing friction between the two lovers. He may have been “Born In Ontario,” but “It don't really matter where I am/It's what I do, it's what I can/This old world has been good to me/So I try to give back and I want to be free.” The walk on this “Twisted Road” may make you feel like a rolling stone for the first time, again; references to another Bob (Seger), Hank Williams, and Roy (Orbison?). A fellow reviewer mentioned that “Walk Like A Giant” was not nearly as cumbersome, yet still as epic, as what the opening song tried to become; without some of the cheesy lyrics? Favorites: Psychedelic Pill, Born in Ontario, Twisted Road, For The Love of Man, and Walk Like A Giant.

Outasight "Nights Like These"

For Nights Like These we need a sound that is Outasight. Ready? “Let’s Go!” First song sounds like one of Black-Eyed Peas more rock inflected cuts, and that is not a bad thing. The chorus is what leaves something to be desired; it lacks the energy that the occasionally clunky verses offer, but maybe it is best that way. “Shine” is impeccable, from the hook to the message, and “What you think of me, I’m not interested.”                                                                                                            What about a pub-rocker that could be found on a Flogging Molly album; with a little tweaking? “I’ll Drink To That.” As for the “Perfect Words” I’ll lay them straight, “And it's easy to jump than get up and walk, so we sit around and wait/For the words to come up that might inspire us/To stop f****** up and change our fate.”                                                                                                          Are you in the mood for a fun song that could be forged by Earth, Wind and Fire? “Ready Set Go.” It’s grounded with a funky disco rhythm, while the breakdown and chorus lift you up, and his delivery may be a little petty, but there is a fire burning. “If I Fall Down” is a document of the realization that is a tried and true cliché, but how will you know? The first single aroused my interest in this guy, and after waiting a few months “Tonight is the Night” I can finally hear what else he has to offer, or at least write about it.                                                                                 “Under Lock and Key” may be one of the most distinctive songs; I tend to think of Travie McCoy. “WHAT?!” What about Travie McCoy on a Beatles fix? Now that reference may bring some those dagger stares to the forefront causing them to materialize out of thin air!                                           Change of subject! The lyrical aspect is familiar, but I love this song over the one about some exhibitionist on a tightrope. “Now or Never” says it plainly : “When you start to think about taking a chance you can't give a d***.” While the title track seems like it’s about the dreamers that never wake up, so they don’t have a chance to achieve them. Favorites: Shine, I’ll Drink To That, Ready Set Go, Tonight is the Night, Under Lock and Key, and Now or Never.                     

Egypt Central "White Rabbit"

Instead of the White Rabbit leading us to wonderland, it leads us to a different location known as Egypt Central. Is it filled with sounds we have never heard before? Not exactly, but there is something to like if you are fans of modern rock. It may be a “Ghost Town,” but there is a lot of resentment and angst inhabiting this song; I would hate to be the roach that is mentioned here, because there are some plans to be had. As Alice was claimed to be madder than the hatter for believing in a world such as Wonderland, this protagonist, clad in a straight jacket, escapes the everyday frustration of living in the present world by fabricating another one full of lies; which really angers Falls! Then they not only say “Goodnight” like Saving Abel, but manage to “Kick Ass” like Saliva, and even make a “Change” to forge what could be a Chester Bennington solo song with killer harmonies; "I know your terrified of yourself…You chase riots/But you’re running blind.”                                                                                                                                                 Almost any prescription comes with the possibility of addiction, and “The Drug (Part 1)” is one of those that come with that affliction; “It's a slow suicide that I choose/So I give in again I sit down and breath in/I don't care about what I will lose.” It is tragic because it is hard to understand how an addict feels, and this cry for help may seem too extreme for those out of the loop, but that is where “The drug, the drug is what understands me” hits home. One of its most intriguing moments is when it sounds like John Legend is going to be singing lead of the next song, but after the 45 second mark it all went “Down in Flames” in this hooky call to arms. It’s not as apparent, but I’m guessing “Enemy Inside (Part 2)” continues the eye-opening confessional that began two songs ago; feelings that come are not only accustomed to addicts. While I was sort of pushing that Saving Abel reference, and I take the “Blame” for that, but this song sounds more like them; subtracting the screaming. “Dying To Leave” uses some orchestral allies to make a slightly edgier Josh Groban tune, but that is great all the same. This didn’t really “Backfire,” and I’m sure it was not their intent, but they seemed to channel an early Our Lady Peace for this one. I can be called a “Liar,” but most everything is subjective; you might not feel the same way, nor will you appreciate the guitar riff in the latter. There is always that struggle for “15 Minutes” of fame, and sadly this band were done with theirs; even after such a consistent album? Well folks, that’s the biz for you. Of course, I’m sure there will be those who thought this was nowhere as engaging as their debut.

Band of Horses "Mirage Rock"

If you herd that a Band of Horses make music the expectations might not be too high. However, not only can they play their instruments, but they bring a talent of musical presdigitation, or Mirage Rock to the table. You visualize classic artists, and not as well known artists through the headphones. “Knock Knock.” Don’t worry, there’s no sophomoric joke to follow. Is Manchester Orchestra present? I’m not the only one who hasn’t grasped “How To Live,” or maybe I have, because we all tend to live our lives differently. There may not be much to learn, but “Guess what?/You're gettin' old/Still gotta grow up.” It’s what I have been told.            “The Slow Cruel Hands of Time” not only possess the Benjamin Button effect, but also sounds like a premature convocation of  little eagles. While they may attempt at becoming “A Little Biblical” they sound “a little bit tragic/maybe fantastic.” Almost as if they caught not only his disease, but the spunk Ben Lee had revealed in one fun record. Then, we listen to the sparse ruminations of a “Shut-In Tourist” afraid to venture outside into the “Dumpster World.” If people work together and clean up this mess we have created (almost) “Everything’s Gonna Be Undone.” Except for mentioning Neil Young, that’s here to stay.                          The next song may cause a “Feud” because it sounds atmospheric while moving at a steady pace; there is energy, yet an added sense of space. I’ll skip to the final song which reminds me of The Nightwatchman in delivery and sound; at least in the beginning, before his resolve wears down, and he pitifully asks “you can't think that I'd just slowly fade away/You can put me on the sidewalk with a suitcase.” Knock Knock, The Slow Cruel Hands of Time, A Little Biblical, Dumpster World, Feud, Long Vows, and Heartbreak on the 101.