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LMFAO - Topic

Sorry for Party Rocking Play

Although the duo LMFAO boasted Euro-pop synths and unmissable riffs well before their hit with David Guetta, "Gettin' Over You," it definitely didn't hurt to be featured on a world-wide smash that spent quality time at number one in France and the U.K. Their second album, Sorry for Party Rocking, arrives at exactly the right time and includes exactly the right mix of energy and humor, plus a surprising amount of sincerity. Before its release, the trailer single, "Party Rock Anthem," had already nested high in the charts of multiple countries, and its presence here confirms that LMFAO are no longer a novelty act. Granted, they lead with humor -- the intro "Rock the Beat II" and the title track -- but from there, they focus more on nightclub sloganeering and high-life living, with tracks like "Champagne Showers," "Best Night," and "All Night Long." If any of this sounds like the Black Eyed Peas, there's a good reason; aside from having will.i.am onboard as executive producer (again), the duo are definitely on the trail of soundtracking your best club night out, and considering the parade of hits (and sacks of money) that the Black Eyed Peas have produced, it's no wonder. The interesting part is that LMFAO are much better at this type of thing than BEP themselves. First, they replace blind enthusiasm with a wink of an eye that none of this music business is serious. (Dancing is supposed to be fun, right?) Second, the clumsy delivery of BEP is radically improved by Sky Blu and Red-Foo's innate ability to write good anthems -- and with the lyrics to carry them over. And despite a few features for high rollers, they keep the focus on themselves, even carrying "Take It to the Hole" for a few minutes before Busta Rhymes arrives with his guest spot. All in all, it's clear that chart-driven pop circa the second decade of the millennium rarely gets much better than LMFAO here. ~ John Bush, Rovi

Party Rock Play

Sky Blu and RedFoo of LMFAO may actually be having as much fun as they describe in their music, but there's still little doubt they're a comedy act. (The liner notes for Party Rock do indeed include dancefloor polaroids of beautiful babes, but also plenty of shiny robots smiling for the camera.) For their full-length debut, Party Rock, the dance hit "I'm in Miami Bitch" is firmly in place, and still sounding pretty hilarious as a satirical exposé of the hedonistic Winter Music Conference held every year. Sky Blu and RedFoo have almost as many laugh lines in their lyrics as the Lonely Island, even if their production aesthetic shows more than a little knowledge of Spank Rock. They're solid producers overall, even if they run out of song ideas halfway through the album (no extra points for being able to predict the theme or lyrics of "What Happens at the Party" or "Leaving U 4 the Groove"). Pitched somewhere between a self-aware BrokeNCYDE and more sincere party rap (as crazy as that sounds), Party Rock is an indulgent record with plenty of fun and immaturity, but a real need for a growing musical identity. ~ John Bush, Rovi

Party Rock/Sorry for Party Rocking Play

This European package combines the first two albums from hedonistic dance-pop duo LMFAO: the Grammy-nominated Party Rock (2009) and the gold-selling Sorry for Party Rocking (2011), both of which were executive produced by the Black Eyed Peas' will.i.am. The 14-track edition of the former is the standard version issued in most (or all) territories, while the 16-track version of the latter -- featuring a pair of U.S. Hot 100 number one singles in "Party Rock Anthem" and "Sexy and I Know It" -- is identical to the one originally sold in the U.K. and other European territories. ~ Andy Kellman, Rovi
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