Hurt No Moreby Mario Winans
Mario Winans's Hurt No More could've offered nothing more than formulaic make-out music. Instead, the accomplished producer -- who's worked with R. Kelly and is one of the younger members of the gospel royalty Winans family -- flips contemporary R&B's libidinous lover-man conventions, moaning about the fragility of his broken heart. On the hit single "I Don't Wanna Know" -- buoyed by a haunting Enya sample and a verse by label boss P. Diddy -- Winans milks the jilted lover posture as he pleads: "If you're playing me / Keep it on the low / 'Cause my heart can't take it anymore." That sentiment is the linchpin to an entire album devoted largely to the forlorn feelings of a man scorned. Though his vocals rarely go beyond a breathy, near-falsetto strain, he's still able to make the sensitive-guy shtick stick. From the resentful "You Knew," featuring the equally high-pitched, nasal voice of 112's Slim, to the lovelorn "What's Wrong with Me," Winans crafts great break-up anthems from a metrosexual perspective. Even so, he's no wimp, as he proves on such bouncy, bittersweet tracks as "Pretty Girl Bullsh*t," featuring a vicious rhyme by rap vixen Foxy Brown. Heartache has rarely sounded this funky.
- Release Date:
- Warner Bros Mod Afw
Performance CreditsMario Winans Primary Artist
Ron Jefferson Bass
Shannon Jones Background Vocals
Adonis Stropshire Background Vocals
Tony Aliperti Guitar
Erik Barbera Guitar
Tierra "T Baby" Brown Background Vocals
Technical CreditsLarry Davis Composer
Brian Elliot Composer
Harold Hudson Composer
Rob Paustian Engineer
Mario Winans Composer
Jim Beeman Engineer
Thomas McClary Composer
C.D. Hawkins Composer
Sean "Puffy" Combs Producer,Executive Producer
Mike Ging Engineer
Tracey Waples Marketing Consultant
Inga Marchand Composer
Jack Knight Composer
Steve Conover Engineer
Caleb Shreve Engineer
Adonis Stropshire Composer
Tony Aliperti Composer
Elizabeth Collins Engineer
Eric Hunter Engineer
Tommy Jamin Engineer
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Most Helpful Customer Reviews
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This album is absolutely exceptional, its too much for words, extrordinary.
Mario Winans is doing big things. His album is blazing. He deliver great sweet soft ballads and uptempo hiphop dance songs. This is the 2nd best r&b album out right now. Usher album is still better. The first part of the album is mostly midtempos and ballads. The middle part of the album is the uptempo party songs. The singles off this album is going to be I Don't Wanna Know, I Got You Babe and 3 Days Ago. The deep ballads are 3 Days Ago and turn Around. The best uptempo songs are I Got You Babe and So Fine. Then there is the great midtempo track What's Wrong With Me. Go and cop the album.
This new album has got a lot to live up to conisdering his impressive track record especially with Producing. Well he certainly does it. A classic album filled with beatiful lyrics using his production skills to his advantage producing each track. Guest appearances keep the album fresh with the Family coming onto it (Welcome back Black Rob) and Loon rips another track. This is a must have.
Surprisingly with all the songs that were included in this album, the only song that was actually worth listening to was "I Don't Wanna Know" and frankly, buying the whole cd wasn't even worth the money just to listen to that one song.
Mario has a unique voice that is low-key, filled with emotion and the kind of sensitivity that makes you believe he has been there. This is a 'theme' album, one whose title signals the listener as to what the general message of the collection will deliver. His vocal style is personal and up close, the tracks are hip-hop spare, but warmed up a bit with enough strings, and synthesizer chord pads to smooth the drum sequencer loops which appear to be the staple of the album. What saves this album from hip-hop monotony is the fact that the songs are surprisingly distinguishable from each other, with intros that are each delightfully different from one another. In facts the tracks are probably more varied than Mario's vocals. After this outing, Mario will have to expand on the "broken hearted poor me" near tearful vocal deliveries. Also would like to hear a little more keyboard solo work here and there, and this is because the photos on the album keep showing him with grand pianos. We kind of expect it when it is touted to that extent. But, all in all, it is a good album, especially if you are in a low key mood on a Saturday afternoon.