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R&B - Released October 11, 2011 | Universal Records

Booklet Distinctions 3F de Télérama
When your debut album is released on the taste-making underground label Stones Throw and declared fantastic by both John Mayer and Kanye West, you’re unbelievably cool and completely under the microscope. Such is the story of Mayer Hawthorne, the Ann Arbor, Michigan resident who early on did a lot of hip-hop things and such, but for the purposes of his second album and debut for the major label Universal, he’s the neo-soul singer with a gifted voice who uncannily sounds like a ‘60s-era Temptation given the 2011 ability to drop an F-bomb. That may sound like Cee Lo Green, and there’s no doubt that How Do You Do stands in the shadow the Goodie Mob member who got there first, but this particular bespectacled singer looks like a Wall Street intern, making his Motown jones all the more unexpected, and for some, suspect. On top of it, he retains a crate-crawling nerd’s love of nostalgic soul that’s very Stones Throw, so expect some overly authentic numbers where the adherence to an aesthetic is an arguable obstacle. That said, it’s a testament to Hawthorne’s songwriting ability that this wall is easily scaled after one or two listens, and that the man sounds more natural and loose than on his debut might be this album’s greatest asset, making the vulgar drops and other nods to the present feel less mannered than before. New avenues are explored as Snoop Dogg is invited to croon, not rap, on the almost Timberlake “Can’t Stop,” while the jaunty, finger-popping “Dreaming” offers a well-written, surreal vision of the world coming to an end, challenging stuff and well executed within Hawthorne’s retro rules as well. When you add “The Walk” as his greatest songwriting achievement to date, a loving anthem for Detroit called “A Long Time,” plus a bunch of crowd-pleasing moves that come straight out of the Hitsville USA rule book, it's easy to stop being befuddled by Hawthorne’s love letter to the past and start craving it. © David Jeffries /TiVo
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Soul - Released April 29, 2016 | Vagrant Records

Ladies and gentlemen, America's leading nerdy love man is back! Mayer Hawthorne established himself as a modern master of '60s- and '70s-style R&B on his first two albums, 2009's A Strange Arrangement and 2011's How Do You Do. If 2013's Where Does This Door Go was a bit less exciting than his breakout works, 2016's Man About Town shows Hawthorne's got most of his old mojo back. As on Where Does This Door Go, Hawthorne has folded some '70s soft rock into his formula ("Fancy Clothes" and "The Valley" could pass for Steely Dan in dim light). But the ingredients are better integrated here, and Man About Town has a welcome sense of glamour and groove throughout. "Cosmic Love" and "Breakfast in Bed" are memorable slow jams suitable for your next make-out mix. "Lingerie and Candlewax" is highly recommended if you want to move that party to the next level, and "Get You Back" is a glorious brokenhearted plea to the one who got away. As always, Hawthorne impresses as a vocalist and as a songwriter, evoking the sound and style of the past while giving the music a sleek, up-to-date mindset. While he handles most of the production and instrumental chores himself, when he does bring in collaborators they give the tracks an emphatic and very human swing. Like raw silk, Man About Town is smooth but it has texture, and that makes it feel all the more satisfying. Mayer Hawthorne is a bit too far along in his career to surprise us with his work, and Man About Town doesn't boast much in the way of radical steps forward. But it confirms the man is still very good at what he does. From front to back, Man About Town is a real pleasure, and it's pretty hard to get too much of that. © Mark Deming /TiVo
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R&B - Released July 16, 2013 | Universal Records

Booklet
Mayer Hawthorne already had three solid albums of retro-soul in his back catalog, so with album number four, it's just natural that he spreads his wings a bit. The Ann Arbor-bred, L.A.-based singer was quoted as saying he "truly did not give a" you-know-what during the recording of the album, and while that may prepare the listener for a guest appearance from Korn, awesome dubstep bass drops, and twenty-minute psychedelic jams, Where Does This Door Go is nothing of the sort. Filled with the kind of funk that gets in the shoulders more than the rump, the album is a cool stroll from the '60s Motown Hawthorne has always adored to the fern bar/yacht rock of the '70s and on to the '80s when Hall & Oates were Private Eyes and allowing new wave into their life. It's a sleek and small landscape that seems heavily influenced by the Neptunes, so it's no surprise that Pharrell shows up for a handful of productions, including the almost-Aja-outtake "Wine Glass Woman," which reaches for the wit of Donald Fagen, but lands on Robin Thicke ("Wore your Christian Dior/But you shatter into pieces on the floor"). That's all well and good if a breezy feeling is what's required, and as the album gives up infectious odes to friendship ("Reach Out Richard") and goofball lyrics like "I'm programmable, I can go all night" ("Robot Love"), all while doubling down on the Michael McDonald ("The Stars Are Ours" is like the bearded one jumping between his Doobie Brothers and Steely Dan gigs), it's a pure, lowercase joy. Still, being so featherweight and Timberlake means "Crime," with Kendrick Lamar, comes off as gated community fluff, and while the lesser cuts are fun in context, they'll stop mixtapes cold with their bridge-to-nowhere concepts (the title cut), or come off as too cute/too clever ("Small Clone"/"Designer Drug"). Wherever this door does go, it is a place that calls for boat shoes, a relaxed attitude, and a returning fan's patience. © David Jeffries /TiVo

Soul - Released January 15, 2016 | Vagrant Records

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R&B - Released October 28, 2016 | Vagrant Records

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R&B - Released January 1, 2011 | Universal Records

Booklet
When your debut album is released on the taste-making underground label Stones Throw and declared fantastic by both John Mayer and Kanye West, you’re unbelievably cool and completely under the microscope. Such is the story of Mayer Hawthorne, the Ann Arbor, Michigan resident who early on did a lot of hip-hop things and such, but for the purposes of his second album and debut for the major label Universal, he’s the neo-soul singer with a gifted voice who uncannily sounds like a ‘60s-era Temptation given the 2011 ability to drop an F-bomb. That may sound like Cee Lo Green, and there’s no doubt that How Do You Do stands in the shadow the Goodie Mob member who got there first, but this particular bespectacled singer looks like a Wall Street intern, making his Motown jones all the more unexpected, and for some, suspect. On top of it, he retains a crate-crawling nerd’s love of nostalgic soul that’s very Stones Throw, so expect some overly authentic numbers where the adherence to an aesthetic is an arguable obstacle. That said, it’s a testament to Hawthorne’s songwriting ability that this wall is easily scaled after one or two listens, and that the man sounds more natural and loose than on his debut might be this album’s greatest asset, making the vulgar drops and other nods to the present feel less mannered than before. New avenues are explored as Snoop Dogg is invited to croon, not rap, on the almost Timberlake “Can’t Stop,” while the jaunty, finger-popping “Dreaming” offers a well-written, surreal vision of the world coming to an end, challenging stuff and well executed within Hawthorne’s retro rules as well. When you add “The Walk” as his greatest songwriting achievement to date, a loving anthem for Detroit called “A Long Time,” plus a bunch of crowd-pleasing moves that come straight out of the Hitsville USA rule book, it's easy to stop being befuddled by Hawthorne’s love letter to the past and start craving it. © David Jeffries /TiVo
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R&B - Released October 11, 2011 | Universal Records

When your debut album is released on the taste-making underground label Stones Throw and declared fantastic by both John Mayer and Kanye West, you’re unbelievably cool and completely under the microscope. Such is the story of Mayer Hawthorne, the Ann Arbor, Michigan resident who early on did a lot of hip-hop things and such, but for the purposes of his second album and debut for the major label Universal, he’s the neo-soul singer with a gifted voice who uncannily sounds like a ‘60s-era Temptation given the 2011 ability to drop an F-bomb. That may sound like Cee Lo Green, and there’s no doubt that How Do You Do stands in the shadow the Goodie Mob member who got there first, but this particular bespectacled singer looks like a Wall Street intern, making his Motown jones all the more unexpected, and for some, suspect. On top of it, he retains a crate-crawling nerd’s love of nostalgic soul that’s very Stones Throw, so expect some overly authentic numbers where the adherence to an aesthetic is an arguable obstacle. That said, it’s a testament to Hawthorne’s songwriting ability that this wall is easily scaled after one or two listens, and that the man sounds more natural and loose than on his debut might be this album’s greatest asset, making the vulgar drops and other nods to the present feel less mannered than before. New avenues are explored as Snoop Dogg is invited to croon, not rap, on the almost Timberlake “Can’t Stop,” while the jaunty, finger-popping “Dreaming” offers a well-written, surreal vision of the world coming to an end, challenging stuff and well executed within Hawthorne’s retro rules as well. When you add “The Walk” as his greatest songwriting achievement to date, a loving anthem for Detroit called “A Long Time,” plus a bunch of crowd-pleasing moves that come straight out of the Hitsville USA rule book, it's easy to stop being befuddled by Hawthorne’s love letter to the past and start craving it. © David Jeffries /TiVo
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Soul - Released December 18, 2020 | Big Bucks

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R&B - Released July 16, 2013 | Universal Records

Booklet
Mayer Hawthorne already had three solid albums of retro-soul in his back catalog, so with album number four, it's just natural that he spreads his wings a bit. The Ann Arbor-bred, L.A.-based singer was quoted as saying he "truly did not give a" you-know-what during the recording of the album, and while that may prepare the listener for a guest appearance from Korn, awesome dubstep bass drops, and twenty-minute psychedelic jams, Where Does This Door Go is nothing of the sort. Filled with the kind of funk that gets in the shoulders more than the rump, the album is a cool stroll from the '60s Motown Hawthorne has always adored to the fern bar/yacht rock of the '70s and on to the '80s when Hall & Oates were Private Eyes and allowing new wave into their life. It's a sleek and small landscape that seems heavily influenced by the Neptunes, so it's no surprise that Pharrell shows up for a handful of productions, including the almost-Aja-outtake "Wine Glass Woman," which reaches for the wit of Donald Fagen, but lands on Robin Thicke ("Wore your Christian Dior/But you shatter into pieces on the floor"). That's all well and good if a breezy feeling is what's required, and as the album gives up infectious odes to friendship ("Reach Out Richard") and goofball lyrics like "I'm programmable, I can go all night" ("Robot Love"), all while doubling down on the Michael McDonald ("The Stars Are Ours" is like the bearded one jumping between his Doobie Brothers and Steely Dan gigs), it's a pure, lowercase joy. Still, being so featherweight and Timberlake means "Crime," with Kendrick Lamar, comes off as gated community fluff, and while the lesser cuts are fun in context, they'll stop mixtapes cold with their bridge-to-nowhere concepts (the title cut), or come off as too cute/too clever ("Small Clone"/"Designer Drug"). Wherever this door does go, it is a place that calls for boat shoes, a relaxed attitude, and a returning fan's patience. © David Jeffries /TiVo
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Soul - Released September 8, 2017 | Stones Throw Records

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R&B - Released September 16, 2016 | Vagrant Records

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R&B - Released August 10, 2018 | Republic Records

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Soul - Released November 4, 2008 | Stones Throw Records

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R&B - Released July 16, 2013 | Universal Records

Mayer Hawthorne already had three solid albums of retro-soul in his back catalog, so with album number four, it's just natural that he spreads his wings a bit. The Ann Arbor-bred, L.A.-based singer was quoted as saying he "truly did not give a" you-know-what during the recording of the album, and while that may prepare the listener for a guest appearance from Korn, awesome dubstep bass drops, and twenty-minute psychedelic jams, Where Does This Door Go is nothing of the sort. Filled with the kind of funk that gets in the shoulders more than the rump, the album is a cool stroll from the '60s Motown Hawthorne has always adored to the fern bar/yacht rock of the '70s and on to the '80s when Hall & Oates were Private Eyes and allowing new wave into their life. It's a sleek and small landscape that seems heavily influenced by the Neptunes, so it's no surprise that Pharrell shows up for a handful of productions, including the almost-Aja-outtake "Wine Glass Woman," which reaches for the wit of Donald Fagen, but lands on Robin Thicke ("Wore your Christian Dior/But you shatter into pieces on the floor"). That's all well and good if a breezy feeling is what's required, and as the album gives up infectious odes to friendship ("Reach Out Richard") and goofball lyrics like "I'm programmable, I can go all night" ("Robot Love"), all while doubling down on the Michael McDonald ("The Stars Are Ours" is like the bearded one jumping between his Doobie Brothers and Steely Dan gigs), it's a pure, lowercase joy. Still, being so featherweight and Timberlake means "Crime," with Kendrick Lamar, comes off as gated community fluff, and while the lesser cuts are fun in context, they'll stop mixtapes cold with their bridge-to-nowhere concepts (the title cut), or come off as too cute/too clever ("Small Clone"/"Designer Drug"). Wherever this door does go, it is a place that calls for boat shoes, a relaxed attitude, and a returning fan's patience. © David Jeffries /TiVo
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Soul - Released February 9, 2010 | Stones Throw Records

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R&B - Released July 16, 2013 | Universal Records

Mayer Hawthorne already had three solid albums of retro-soul in his back catalog, so with album number four, it's just natural that he spreads his wings a bit. The Ann Arbor-bred, L.A.-based singer was quoted as saying he "truly did not give a" you-know-what during the recording of the album, and while that may prepare the listener for a guest appearance from Korn, awesome dubstep bass drops, and twenty-minute psychedelic jams, Where Does This Door Go is nothing of the sort. Filled with the kind of funk that gets in the shoulders more than the rump, the album is a cool stroll from the '60s Motown Hawthorne has always adored to the fern bar/yacht rock of the '70s and on to the '80s when Hall & Oates were Private Eyes and allowing new wave into their life. It's a sleek and small landscape that seems heavily influenced by the Neptunes, so it's no surprise that Pharrell shows up for a handful of productions, including the almost-Aja-outtake "Wine Glass Woman," which reaches for the wit of Donald Fagen, but lands on Robin Thicke ("Wore your Christian Dior/But you shatter into pieces on the floor"). That's all well and good if a breezy feeling is what's required, and as the album gives up infectious odes to friendship ("Reach Out Richard") and goofball lyrics like "I'm programmable, I can go all night" ("Robot Love"), all while doubling down on the Michael McDonald ("The Stars Are Ours" is like the bearded one jumping between his Doobie Brothers and Steely Dan gigs), it's a pure, lowercase joy. Still, being so featherweight and Timberlake means "Crime," with Kendrick Lamar, comes off as gated community fluff, and while the lesser cuts are fun in context, they'll stop mixtapes cold with their bridge-to-nowhere concepts (the title cut), or come off as too cute/too clever ("Small Clone"/"Designer Drug"). Wherever this door does go, it is a place that calls for boat shoes, a relaxed attitude, and a returning fan's patience. © David Jeffries /TiVo
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R&B - Released January 1, 2013 | Universal Records

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House - Released May 6, 2016 | Jalapeno Records

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R&B - Released January 1, 2012 | Universal Records

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Soul - Released May 11, 2011 | Stones Throw Records