MOG

Truth be told, I’m probably not the most unbiased person to review a Jason Mraz album.  I have more than two of his concert posters framed and hung on my walls (in frames that cost more than the posters), and close to a dozen of his studio and live recordings.  Then why has his long anticipated post-sophomore release, We Dance.  We Sing.  We Steal Things., left me so blasé?  It’s probably because it isn’t a live recording.  I had the pleasure of reviewing the CD’s new songs in SF's The Fillmore, where I had discovered his stage-magic 5 years prior.  His effortless vocals, rhythmic vigor and staunch sexual energy really shine in the arena of real life.  Likewise, the sincerity of his lyrics and the vulnerability in his voice tend to pierce through the ears and hearts of his listeners during an acoustic set.  This album is a little too much studio: boasting two duets with label-mates and, yes, even synth interludes and drum kits.

Now, all of this is not to say it isn’t a good album to own.  It’s eclectic, electric, clever and very listenable.  You can definitely road-trip to it, and possibly lose your voice singing along.  The format just doesn’t elevate what Mr. AZ does best, and that is to get his listeners to subscribe to him with just his voice, lyrics and guitar.  What this album does right, however, is sell his personality, which—in all honesty—is a great one.  If you’re looking for poppy-happy Mraz, check out the tracks "I’m Yours" and "Lucky ft. Colbie Callait."  If you want your Jason a little more moody and emo, skip to "Details in the Fabric ft. James Morrison" or "Love for a Child" which was written about his parents’ divorce: he proves why he is the precursor to Damien Rice.  And if you’re in it just for the sex—no one blames you—"Coyotes" and "Butterfly" are your tracks.