Mario Albums (4)
What The Critics Say
Go was the most satisfying of Mario's first three albums, but it lacked a major crossover single on the level of "Let Me Love You." Although the sensitive ballad "Crying Out for Me" was big on R&B stations, it did not break the Top 30 of the Hot 100. The minimal Sean Garrett and Shondrae production "Break Up," however -- D.N.A.'s lead single, issued weeks before the album -- did not take long to become the singer's biggest pop hit since his breakthrough. And it does turn out to be his fourth album's greatest deviation from the back catalog, carrying a laggard and sparse pulse to back Mario's whiny swagger. "Get Out" is a close second, a buzzing and grinding production from Jim Jonson and Rico Love that mirrors the song's theme of emotional entrapment. One of the hardest beats Mario has had at his disposal, it pushes him into that tough guy mode (as heard occasionally in Go) where you can sense him forcing his jaw to tighten and his eyes to bug out: "This ain't real, so what the f*ck is we doin'?" Even with several new collaborators, including some of the aforementioned, Babyface, Carlos McKinney, the-Dream, and Tricky Stewart, D.N.A. is more a natural development than a series of drastic shifts, and while it will please the majority of the fan base, the material does not allow Mario -- a vocalist more versatile than many would like to admit -- to do much more than toggle between a Lothario and a softie. ~ Andy Kellman, All Music Guide
What The Critics Say
So much for "You should let me love you," then. "You down or what?" is the softest line from the opening title track of Mario's third and many times delayed album, and from there, the track -- a prodding Neptunes production with the requisite synthetic, sticky-sweet coatings -- is an obvious bid to surprise or even shock, with Mario proclaiming, "I ain't trying to meet your mother/I just wanna f*ck you like no other" and "If I stop f*ckin' you, it'll make your world end." Go is indeed Mario's most aggressive and assertive album, but no other song comes close to out-vulgarizing "Go" itself. There are several sensitive ballads, including "Music for Love," bearing a definite resemblance to J. Holiday's gently rocking and swaying "Bed," and an excellent choice for a cover in Keith Sweat's "Right and a Wrong Way." (Eighties babies will also catch a reference to Zapp's "Computer Love" in the former.) There is a handful of deceptively clever moments, too. "Kryptonite," for instance, puts a twist on the common "I'm a pimp, so take it or leave it" theme by positioning Mario as Superman with a weakness he cannot combat. An unnecessary Rich Boy verse, unfortunately, pretty much robs the song of its ability to produce any level of empathy. Although the raunchiness and posturing may act as deterrents -- that Juelz Santana is the other featured MC further indicates the direction in which Mario continues to head -- the album is, by some distance, the singer's strongest release yet, easily apparent after one listen, a credit that can be distributed equally between an ever-improving artist and his collaborators (including Timbaland, Mr. Collipark, Stargate, Akon, Sean Garrett, and Polow da Don). If Turning Point didn't make it evident that Usher has some more competition, Go seals the deal. Next time out, he'll hopefully not cross into Pretty Ricky territory. He gets dangerously close here. ~ Andy Kellman, All Music Guide
What The Critics Say
Two years after getting his foot in the door of contemporary urban music with a straight-faced cover of Biz Markie's "Just a Friend," Mario returned with his sophomore album, Turning Point, and its money lead single, "Let Me Love You." Produced and co-written by Scott Storch, fresh off the summertime success of his "Lean Back" chart-topper for Terror Squad, "Let Me Love You" has all the makings of a gigantic urban hit. It's by far the best song Mario has yet recorded, and it's one of the best contemporary R&B songs of the year, right up there with the best offerings of Usher, Alicia Keys, and company. However, there's not much else on Turning Point that comes close to matching the balladic magic of "Let Me Love You." The other immediate highlight is "Boom," a by-the-numbers rewrite of Usher's "Yeah," which likewise boasts Lil Jon's trademark production, a guest rap cameo (from Juvenile, in this case), a dance club theme, and a catchy, simple one-syllable refrain. There's also an album-closing remix of "Let Me Love You" that aims for the streets, featuring grown-up raps by Jadakiss and T.I. as well as a much edgier yet still infectious beat. Some of the slower songs like "How Could You" are quite likable, in a quiet storm sort of way. Above all, though, it's "Let Me Love You" and its remix that make Turning Point a noteworthy effort for this teenager and a fine second album overall. ~ Jason Birchmeier, All Music Guide
What The Critics Say
When considering the abilities and potential of teen pop stars from any genre, a certain amount of cynicism is not only healthy, but practically essential. Yet if you indulge too deeply, you overlook performers like Mario, the Baltimore-born singer whose Top Ten debut still flew under a lot of people's radars in a year dominated by B2K, Bow Wow, and other pubescent urban artists. Mario's self-titled first album, however, offers doses of the real thing; its combination of Nickelodeon-style charm and authentic substance are reminiscent of nothing so much as a young Michael Jackson, with none of the creepy subtext. While it misses out on the humor of the original, the cover of Biz Markie's "Just a Friend" proves a shrewd update of the unwillingly platonic classic, and serves as a gateway to better originals, including a few slow numbers most teens have neither the chutzpah to try or the chops to handle. "Chick Wit' da Braids" and the swirling, organ-laced "Never" lead that pack, and the second song about cornrows, "Braid My Hair," manages to evoke the downside of being a child star without sounding like an ungrateful punk. Naturally, you have to excuse a certain amount of filler to believe fully in Mario's potential, but most of these 11 tracks offer generous hints of it. ~ Dan LeRoy, All Music Guide
