Doo-Wops & Hooligans

Honolulu raised Mars has produced a radio-friendly, effortless, pop album that will be forgotten within the year. To liken his style to the Doo-Wop of the 1940s sets the scene for an album which is easily accessible. The difference is of course, the 1940s Doo-Woppers music wasn’t manufactured to sell millions to teen girls that spend their free time painting their nails and watching Glee.

Opener and second-single ‘Grenade’ is a poor-excuse for a ‘one-hit-wonder’. It hinges on painfully simple lyrics like ‘I’d catch a grenade for ya, throw my hand on a blade for ya’. Mars’ talent for churning out pop gold is unquestionable, writing songs for Alexandra Burke, Travie McCoy, Adam Levine, Brandy, Sean Kingston, and Flo Rida. However, despite his undisputed knack for writing succesful songs, the integrity of said songs still leaves a lot of questions unanswered.

Ultimately, Bruno Mars should be taken for what he is – an LA based pop-star, who lacks substance, which was probably his aim to begin with. First single ‘Just the Way You Are’ is an undeniable hit – a catchy love ballad that would make the Incredible Hulk weak at the knees. It is songs such as this, which explain why _Hooligans_ has attained incredible success in the charts, reaching both 3rd in the US Billboard 200 and number 1 in the UK.

Whilst evidence proves that Mars has what it takes to sell records, what _Doo-Wops & Hooligans_ perhaps illustrates best is Mars’ inability to write songs with any sort of real meaning. Released in a year in which the UK media questioned ‘is rock music dead?’, it is artists like Mars that need less recognition for an album that leaves you feeling more used than a cheer leader on prom night.