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00:03:48. Emile Haynie, Producer - Ari Levine, Writer, Recorded by - Philip Lawrence, Writer - Bruno Mars, Guitar, Vocals, Writer, MainArtist - The Smeezingtons, Executive Producer - Charles Moniz, Additional Engineer - MANNY MARROQUIN, Mixer - Ken Lewis, Engineer - Jeff Bhasker, Producer, Writer - David Kutch, Masterer - Brent Kolapalo, Engineer - Emile Hanie, Writer Copyright: 2012 Atlantic Recording Corporation for the United States and WEA International Inc. For the world outside of the United States 2012 Atlantic Recording Corporation for the United States and WEA International Inc.
For the world outside of the United States. 2 Locked Out Of Heaven.
00:02:58. Ari Levine, Writer, Recorded by - Philip Lawrence, Writer - Bruno Mars, Vocals, Writer, MainArtist - The Smeezingtons, Executive Producer - Charles Moniz, Additional Engineer - MANNY MARROQUIN, Mixer - Lawrence, Composer - Levine, Composer - Dave Kutch, Masterer - Phredley Brown, Writer Copyright: 2012 Atlantic Recording Corporation for the United States and WEA International Inc. For the world outside of the United States 2012 Atlantic Recording Corporation for the United States and WEA International Inc.
For the world outside of the United States. 5 Moonshine. 00:03:47. Andrew Wyatt, Guitar, Backing Vocals, Writer - Mark Ronson, Producer, Beats, Guitar, Writer, Bass - Ari Levine, Writer, Recorded by - Philip Lawrence, Writer - Bruno Mars, Keyboards, Vocals, Writer, MainArtist - The Smeezingtons, Executive Producer - Charles Moniz, Additional Engineer - MANNY MARROQUIN, Mixer - Dave Kutch, Masterer - Jeff Bhasker, Producer, Keyboards, Backing Vocals, Writer Copyright: 2012 Atlantic Recording Corporation for the United States and WEA International Inc. For the world outside of the United States 2012 Atlantic Recording Corporation for the United States and WEA International Inc. For the world outside of the United States.
6 When I Was Your Man. 00:03:32. Andrew Wyatt, Writer - Ari Levine, Writer - Philip Lawrence, Writer - Bruno Mars, Piano, Vocals, Writer, MainArtist - The Smeezingtons, Executive Producer - Charles Moniz, Additional Engineer - MANNY MARROQUIN, Mixer - Lawrence, Composer - Levine, Composer - Dave Kutch, Masterer Copyright: 2012 Atlantic Recording Corporation for the United States and WEA International Inc. For the world outside of the United States 2012 Atlantic Recording Corporation for the United States and WEA International Inc. For the world outside of the United States. 7 Natalie. 00:03:45.
Benjamin Levin, Writer - Ari Levine, Writer, Recorded by - Philip Lawrence, Writer - Bruno Mars, Vocals, Writer, MainArtist - Benny Blanco, Co-Producer - The Smeezingtons, Executive Producer - Charles Moniz, Additional Engineer - MANNY MARROQUIN, Mixer - Paul Epworth, Co-Producer, Writer - Dave Kutch, Masterer Copyright: 2012 Atlantic Recording Corporation for the United States and WEA International Inc. For the world outside of the United States 2012 Atlantic Recording Corporation for the United States and WEA International Inc. For the world outside of the United States. 8 Show Me. 00:03:27.
Mitchum Chin, Writer - Dwayne Chin-Quee, Producer, Writer - Ari Levine, Writer, Recorded by - Philip Lawrence, Writer - Bruno Mars, Vocals, Writer, MainArtist - The Smeezingtons, Executive Producer - Charles Moniz, Additional Engineer - MANNY MARROQUIN, Mixer - Dave Kutch, Masterer Copyright: 2012 Atlantic Recording Corporation for the United States and WEA International Inc. For the world outside of the United States 2012 Atlantic Recording Corporation for the United States and WEA International Inc.
For the world outside of the United States. 9 Money Make Her Smile. 00:03:23. Ari Levine, Writer, Recorded by - Philip Lawrence, Writer - Bruno Mars, Vocals, Writer, MainArtist - The Smeezingtons, Executive Producer - Charles Moniz, Additional Engineer - MANNY MARROQUIN, Mixer - Dave Kutch, Masterer - Diplo, Co-Producer - Christopher Brown, Writer Copyright: 2012 Atlantic Recording Corporation for the United States and WEA International Inc.
For the world outside of the United States 2012 Atlantic Recording Corporation for the United States and WEA International Inc. For the world outside of the United States. 10 If I Knew. 00:02:11. Ari Levine, Writer, Recorded by - Philip Lawrence, Writer - Bruno Mars, Vocals, Writer, MainArtist - The Smeezingtons, Executive Producer - Charles Moniz, Additional Engineer - MANNY MARROQUIN, Mixer - Dave Kutch, Masterer Copyright: 2012 Atlantic Recording Corporation for the United States and WEA International Inc. For the world outside of the United States 2012 Atlantic Recording Corporation for the United States and WEA International Inc. For the world outside of the United States.
Bruno Mars’ debut album Doo-Wops & Hooligans made the talented singer/writer/producer into a star, he racked up hit singles, hosted Saturday Night Live, and became something of a romantic icon thanks to loverman anthems like “Just the Way You Are” and “Grenade.” On the way to writing and recording his second album, Unorthodox Jukebox, something seems to have gone sour for Mars. Where on his debut he sang about falling on a grenade for his girl, on this record he’s more likely to throw her on top of a grenade.
Between the songs about how he can’t help but succumb to the dubious charms of young girls (“Young Girls”), the “B” who stole his money and left him broke (“Natalie”), and the type of charmer who can only be made happy by fat stacks of money (“Money Make Her Smile”), Mars’ opinion of the opposite sex seems to have taken a nosedive. Add in the song about taking cocaine and having a romantic evening so violent the cops are called (“Gorilla”) and it’s clear that the heart of the album is a cold, dark one. That the rest of the songs have some of the easy-going charm of Doo-Wops, like the lilting reggae come-on “Show Me” or the MJ-inspired disco jam 'Treasure,” isn’t quite enough to overcome the queasy feeling that comes with even a cursory listen to the lyrics. It’s too bad, because at his best, like on the single “Locked Out of Heaven,” which sounds like a breezy mashup of “Beat It,” the Police, and Dire Straits, or on the Sam Cooke-inspired album-closing ballad 'If I Knew,' Mars’ light vocal delivery and way with a hook is quite appealing.
The record sounds good, too, with able production help from heavy hitters like Mark Ronson, Diplo, Emile Haynie, and his own crew, the Smeezingtons. Too bad it’s a step back from Doo-Wops in so many ways, leaving people who saw promise in his debut shaking their heads in disappointment and hoping Mars can sort out his feelings about women and get back to being a sweet romancer, instead of an icky hater. Tim Sendra.
. ' Released: October 1, 2012. ' Released: January 15, 2013. ' Released: May 10, 2013. ' Released: September 10, 2013.
' Released: November 26, 2013 Unorthodox Jukebox is the second studio album by American singer and songwriter. It was released on December 7, 2012,. It serves as the follow-up to Mars' debut record (2010). The album was initially planned to be more 'energetic' than his previous work, but, it ended presenting a wide range of styles such as,. The singer co-wrote the whole record and worked with several past collaborators, while enlisting new producers and no guest vocalists. Lyrically, Unorthodox Jukebox revolves around the theme of relationships, incorporating more explicit lyrics and subjects than his previous material.
Critical response to Unorthodox Jukebox was generally favorable; many compared Mars' work to that of his previous album, while others deemed its lyrics shallow. On December 4, 2012, the album was made available to listen to in its entirety for a week before its release. The album debuted at number two on the US, with first week sales of 192,000 copies, becoming Mars' best opening week to date. Unorthodox Jukebox later topped the chart, marking the singer's first album to do so. The record further peaked at number one in Australia, Canada, Switzerland, and the United Kingdom. Unorthodox Jukebox became Mars' fastest-selling album in the latter country and its third in 2012, the third best-selling album in Australia in 2013, and the fifth in the United States in 2013.
The (IFPI) reported that Unorthodox Jukebox was globally the fourth best-selling record in 2013, with 3.2 million copies, and 6 million units as of January 2015. The record won the at the. The premiere of the album was preceded by the release of its lead single, ', which experienced commercial acclaim worldwide and topped the US chart for six consecutive weeks. Meanwhile, promotional singles ', ' and ' were released in November and December 2012.
Subsequently, four other singles ('When I Was Your Man', ', ' and 'Young Girls') were made available for consumption, with each one of them having major to minor success in the United States. Unorthodox Jukebox was further promoted through the. Contents.
Background Conception After ending, Mars implied that he was going to take some time creating and perfecting his second full-length album. He additionally confessed that, 'It's going to come when it comes' since his production team, felt that they rushed his debut album because of the release's deadline.
'We just want it to be perfect', the singer added. Due to the numerous television shows and worldwide performances provided by Mars, he acknowledged that his second studio album needed to display his 'raucously' dynamic appearances on stage. Mars revealed to in September 2012 on a preview of his cover story that he recorded an album that represented his freedom. On his debut record, the singer reportedly had to change some things because of pressure from his label, something he was displeased with. He clarified that Unorthodox Jukebox was more of him and what he stands for, mainly because he didn't have to modify things. He elaborated, 'If I'm changing things around because people might think it's a hard pill to swallow then I'm going to feel like a circus clown onstage, selling something fake'. The variety of music styles presented on Unorthodox Jukebox resulted in his rejection from his label several times in the past; he also confessed that he had to face criticism by label presidents, who—according to him—expressed, 'Your music sucks, you don't know who you are, your music is all over the place, and we don't know how to market this stuff.
Pick a lane and come back to us'. To these statements, the singer added that he felt 'disgusted' as he wanted to have the liberty to create his own music and not the music he was told to do. Mars further confessed that by the time he started to develop his songwriting skills, he learned his 'most valuable lesson', 'Does it make you move? Make you dance? Whether the song is uptempo or a ballad', adding that 'there has to be a heartbeat in back of it. There needs to be a pulse in the song'.
To, from The Smeezingtons recalled sleepless nights during the record's process, as the team was trying to prove that the debut album 'wasn't a fluke', which according to Lawrence is 'the absolute wrong mind-set to be'. He went on expressing that the first four or five months they worked on the record were fruitless, because 'nothing would stick'. When they decided to leave the studio and have a few drinks, they came to conclusion to relax and not put themselves under so much pressure; it resulted in 'the ideas starting coming out again.' Recording. One of the four studios where the album was recorded. To explore and create a new sound, Mars enlisted the help of Mark Ronson, Jeff Bhasker. The singer described this encounter as inviting 'master chefs into the kitchen with no master plan' or any kind of outcome, 'either a complete disaster or something outstanding'.
Previously, as well as Mars' production team, have been confirmed to have worked on the album. The first song written for Unorthodox Jukebox was 'Gorilla', which 'set the tone for the entire project'; Mars explained in an interview granted to that it became its mascot hence the reason it ended up as the album cover. In an interview for the, Blanco confessed, 'I got a really cool song with him. Me and Paul Epworth just got together and Bruno wrote an amazing song on top of it. It kind of all came together'.
He further explained that 'it's like some throwback type shit, like 'Sinnerman'. Additionally, a 'piano-laced' track was conceived for the album in its opening session. Mars explained the meaning behind the album's title by saying that it had become a 'soulful, experimental, electronic, hard-to-explain' concept. In order to record an album like that, it was—according to him—mandatory to experiment and not follow any known pattern, resulting the guests enlisted for the record to be unexpected. According to the singer, jazz artist and Diplo were among them.
Furthermore, the 'pop's most innovative producers' (Bhasker, Haynie and Ronson) had to be taken 'beyond their comfort zone'. While being interviewed for his Billboard Artist of the Year cover story, Mars complimented Ronson and Bhasker by explaining that 'it's not about what's hot on the radio or the fastest way to make a buck, these guys are fearless, doing the music they want to do'. Mars additionally felt that 'when there are no safe bets, that's when he feels his blood move.' By the end of September 2012, the singer was reportedly 'fine-tuning' the mixing of a track until 5 a.m.
With Manny Marroquin, mainly because of his disappointment with ' 's final mix. Starting with mid-October, The Smeezingtons were making the final touches on the album at Levcon Studios (their studio); Ari Levine sent a few tracks over e-mail with their final mixes to Mars, who was still in Manhattan after hosting Saturday Night Live. Composition Unorthodox Jukebox is a, and record.
The album opens with ', a ballad which deals with the idea of indulging in the dubious charms of young girls, even though the singer recognizes that what he is doing is wrong. The song was re-registered in ASCAP with a new writing credit. ', a and track that incorporates elements of and, is the subsequent track and the lead single. Musically, it contains booming synthesizers, a chorus, while lyrically exploring themes of love.
Comparisons were established between 'Locked Out of Heaven' and the rock/reggae style used by English band. ' was described by Mars as being about 'good old animalistic sex'.
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The track portrays a and song, while lyrically expressing male sentiments and making reference to his 2010 arrest for possession. ', the album's third single, is a disco-pop song, inspired by English duo and 'Baby I'm Yours' (2010) released by French disc jockey. The latter similarities led the song to be re-registered in with new writing credits, which included and Irfane Christopher. ', the second promotional single from the record, portrays a recording with ample influences of disco, and, while being compared to the work done by French duo. Particularly, Chris Martins of wrote that the song 'channels the King of Pop, Michael Jackson with a markedly more reverent aplomb. The song ' is a and shows traditional notions of romance, a pre-fame heartbreak as Mars regrets letting his woman get away. Melinda Newman of thought the track 'sounds like a cross between and,' also seeing 'a touch of Michael Jackson' in his delivery.
Andy Gill of called it a '-esque piano ballad', while Jason Lipshut of Billboard wrote that 'it will make for a killer lighters-in-the-air moment in concert. Although it's not quite an -esque powerhouse, it smartly allows Mars to momentarily remove his fedora and bare his soul'. The single was additionally likened to the material of Wham! With 'Natalie', Mars exhibits further male chauvinist sentiments over a girl named Natalie which stole Mars' money and ran away with it; the singer is therefore plotting murderous revenge against her. The song was described as 'a sort of methed-up ', assembled with fierce handclaps and hard-edged oooh-oooh vocal echos'.
Lipshutz called it the 'flip-side of 'When I Was Your Man' and pointed out Mars lamenting the hypnotism of a 'gold-digging bitch'. 'Show Me' portrays a recording with ample influences of reggae and dancehall. These infusions are easily noticed by the 'over sampled air horns', 'tape-echo effects' and steel drums. The ninth track from Unorthodox Jukebox, 'Money Makes Her Smile', is the result of a trip to a done by Mars and Diplo, who afterwards decided to create an 'anthem' for it, since Mars' was an awful song to be played in such place, according to him. The recording was described as a 'strip-club-directed banger', infused with disco elements.
Its composition includes 'rapid-fire chants, breathless percussion, propulsive electronic blips' along with 'rave sirens and hardcore punk rattle'. Lyrically, the song describes a gold digger who can only be satisfied by 'fat stacks of money'. The album's final song of the standard edition, 'If I Knew', is a -inspired ballad which incorporates soul and doo-wop nuances. It lyrically delves on themes of regret. 'Old & Crazy', a duet between Mars and, was included on the deluxe version of Unorthodox Jukebox. Jeff Bhasker, one of the track's producers, confessed that the song is reminiscent of the sound of a 1920s Paris club. He went on explaining that its process began with Emile Haynie producing a beat and Bhasker adding a sample of a recording over it.
Singles 'Locked Out of Heaven' was serviced to mainstream radio stations and was digitally released was on October 1, 2012 as the album's. It received positive commentary from music critics, who praised its reggae, rock and funky beat, but also its lyrics for talking about passion in a 'tidy and impeccable' way. Commercially, the recording was a success, peaking atop the US and claiming the position for six weeks, marking Mars' longest-running number one on the chart after previously released ' (2010) and ' (2010) each topped the chart for four editions. The song further peaked at number one in Canada and on the US chart, while reaching the top ten in more than twenty countries. 'When I Was Your Man' was released on January 15, 2013 as the album's second single. It had previously been premiered as the album's third and final promotional single one month and a half prior to its stand-alone release. The track was critically acclaimed, receiving praising for being an 'emotional ballad' and for featuring a 'minimal musical accompaniment'.
The song topped the Billboard Hot 100 chart, becoming the singer's fifth number one single in the United States; it reached the top fifteen in several fellow territories. 'When I Was Your Man' was nominated for at the. 'Treasure' was subsequently confirmed as the record's third single.
It received generally favorable reviews from critics, who praised it for 'echoing the peppy sound of such pop/R&B hit-makers of the 1970s and 1980s as the Sylvers, Heatwave, DeBarge and Kool & the Gang.' To promote the single, Mars performed on various occasions, including a 'little extra Michael Jackson-esque, circa Off The Wall and Thriller' show at the 2013. Commercially, 'Treasure' reached the top five in the United States and other eighteen countries. 'Gorilla', confirmed as the next single for Unorthodox Jukebox, was produced by The Smeezingtons, Mark Ronson, Jeff Bhasker and Emile Haynie, who previously handled the process for the record's lead single. The track impacted American on September 10, 2013, thus peaking at number 22 on the Billboard Hot 100 and becoming the singer's first single not to reach the top ten there.
Mars performed the single for the first time during the. 'Young Girls' was released as the fifth and final single from the album in selected countries, including Australia, North America and United Kingdom. Mars announced its availability during an interview with, an Australian radio station, on November 26, 2013. Commercially, its charting was influenced by its stand-alone release as the record's first on November 6, 2012 through. Unmaterialized plans for a music video to accompany 'Young Girls' were made in 2012. Release and promotion.
Mars and his band performing during the Moonshine Jungle Tour at Arena Ciudad de Mexico. On September 4, 2012, Mars reported to his fanbase that, 'You'll hear something in October. I promise', after being asked for news regarding his second studio album. On September 19, 2012, the singer announced the release of Unorthodox Jukebox via after having worked on it for a year. He further posted a link to a 'Funny or Die' video entitled 'Whatta Man', where Mars starred himself in order to celebrate.
On September 28, 2012, Billboard reported the album's title and its American release date on December 11, 2012. In the same article, Mars revealed some of the guest producers, including Ronson, Bhasker, Diplo and others. He was as well featured on the week's cover story in which the track list was included; it was also revealed by the same day. On October 24, 2012, the album's cover was unveiled by Mars after a promo shot previously used for a Billboard issue tried to pass as the official artwork. On November 6, 2012, 'Young Girls', the first promotional single from a series of three, was made available for consumption worldwide. Subsequently, ' and 'When I Was Your Man' were released as the last promotional singles on November 19, 2012 and December 3, 2012, respectively. Mars performed 'Locked Out of Heaven' and 'Young Girls' for the first time on on October 20, 2012, while receiving positive reaction from critics and the audience.
Afterwards, he sang the same songs on November 7, 2012 at the 2012; the performance later aired on December 4, 2012 on. On November 24, 2012, Mars appeared on the of British, where he performed 'Locked Out of Heaven'. On December 8, 2012, Mars performed at the 2012 edition of, an annually-held event promoted by, which took place at the in, whilst singing 'Locked Out of Heaven' live on December 12, 2012 during the semi-finals of the of American.
Mars further performed the record's second single on during the final show of its held on December 17, 2012. The singer embarked on the starting with June 22, 2013 at the in, United States. The first shows of the tour also featured performances in Canada and Puerto Rico until September. Its second leg, announced on February 20, 2013, consisted of concerts all over Europe; it ran from October to November 2014. The Moonshine Jungle Tour ended on October 18, 2014, having Mars performing on a total of five legs. Critical reception Professional ratings Aggregate scores Source Rating 6.4/10 70/100 Review scores Source Rating A– 7/10 8/10 8/10 Unorthodox Jukebox was met with generally favorable reviews from. At, which assigns a rating out of 100 reviews from mainstream critics, the album received an score of 70, based on 16 reviews.
Melissa Maerz from gave the album an A– and stated that 'Mars' talent for crafting little pop perfections of all stripes is undeniable', describing the record as a fusion of pop and R&B. Magazine's awarded Unorthodox Jukebox four out of five stars, writing that, 'The result is a record that makes the competition sound sad and idea-starved by comparison'.
Dan Hyman from granted the record an 8/10 rating, pointing out that 'the bulk of Unorthodox Jukebox benefits from presenting the singer as he truly imagines himself: a big belter with an ear for pop hooks, sure, but one unafraid to dive into murkier waters.' Hyman went on feeling that Mars' lyrics 'get a desperately needed kick in the pants'. Matt Cibula of complimented the songs' and found the album 'sung and arranged just as perfectly as his earlier work. a truly accomplished and slick pop album'. Jon Caramanica of labelled the songwriting exceptional, while praising Mars for being 'a model of concision who always knows where the trigger is, and always, always pulls it'. He went on complimenting the songs on the record, 'these are some of the most energy-infused but profoundly cosseted songs you’re likely to hear all year'. Magazine's Jason Lipshutz described that the record 'succeeds in mixing its safer stylistic choices with its relatively bold ideas'.
's Matthew Horton said that the captivating album showcases the singer's knack for songs with chart potential, while noting the incorporation of rock and soul styles. Sarah Rodman from felt Mars 'is trying to rough up his image a bit' as it is undeniable in 'his strong, if sometimes oddly lyrically aggressive, second album'. Ryan Reed, writing in, gave Unorthodox Jukebox a 7/10 rating, confessing that 'Mars still plays the sweetheart card well, but he's proven himself way more interesting as a badass'. In a mixed review, Caroline Sullivan from, from, and Andrew Chan from all rated Unorthodox Jukebox three out of five stars. Sullivan dubbed it 'the same conventional mish-mash as his 6m-selling debut'. Empire felt that Mars still lacks a characteristic style, observing 'a little more hooliganism' than on his first album and feeling that, 'despite its title, it deserves your grudging respect' while noting the incorporation of on the record. The critic went on arguing that Mars' songwriting values ' and '.
Closing the review, Chan called it 'not an unqualified triumph, Unorthodox Jukebox is a step forward' and completed his idea saying that the singer 'minor limitation' and 'the key to his appeal' on an record that is 'a reasonably listenable exercise in genre fetishization.' Andy Gill of felt that the singer is a 'talented chap', but resorts to imitations of past recording artists on the album, 'whose title all but gives the game away'. Fiona Shepherd of wrote that Unorthodox Jukebox is 'a safe mixtape, especially compared to what Mars can pull off live with his terrific soul revue band'.
's Evan Rytlewsk gave Unorthodox Jukebox a C+, commenting that Mars is 'an undeniable talent, desperately searching for an identity to claim as his own', though praising the tracks 'Locked Out Of Heaven', 'Natalie', 'Treasure' and 'Show Me'. 's Tim Sendra felt the record is 'a step back from Doo-Wops & Hooligans in so many ways' and criticized the singer for being an 'icky hater', hoping that 'Mars can sort out his feelings about women and get back to being a sweet romancer' since his 'opinion of the opposite sex seems to have taken a nosedive' after his first album's sentimental lyrics.
Accolades Unorthodox Jukebox received a for at the, a for at the and a nomination for Outstanding Creative Achievement in the category of Record Production/Album at the. It also received two additional awards, a for Contemporary Pop-Rock Album of the Year and a Best Male Pop Vocal Album at the, both ceremonies held in 2013. Its lead single, ', was nominated for and, while its Sultan + Ned Shepard remix received a nomination for at the 56th Annual Grammy Awards. It was also nominated for Outstanding Creative Achievement in the category of Record Production/Single or Track at the TEC Awards. 'Locked Out of Heaven' had previously won at the. The record's second single, ', earned a nomination for at the 56th Annual Grammy Awards. In December 2013, the album was placed at number two on online music service Rdio's list of 'Top global albums' and according to, another online music service, Unorthodox Jukebox was the fifth most-streamed record worldwide.
On a list compiled by before the 56th Annual Grammy Awards, Michael Glitz considered Unorthodox Jukebox the 42nd best album of 2012 among 50. And created two different lists that featured The 20 Best Albums of 2012, the recording ranked at number 8 and 20, respectively. Suzan Gursoy of considered the release the 177th Best Albums of 2012. Commercial performance Unorthodox Jukebox debuted at number two on the with first-week sales of 192,000 copies (134,400 physical sales and 57,600 digital sales), topping the expectations of sales that were around 140,000-150,000 copies, earning Bruno Mars his highest peak on the chart.
The next week, it sold 178,000 copies, dropping to the third position with an 8% sales decrease. The album secured a third consecutive week within the top five in America, withstanding a 38% sales drop to 110,000 copies. Three weeks after the debut, the record sold a total of 480,000 copies.
On March 7, 2013, twelve weeks since its availability, the record reached the top spot of the Billboard 200 with 95,000 copies sold, mainly due to an Amazon MP3 sale pricing ($1.99 for a day and $3.99 for the rest of the week). The album sold 1,399,000 copies in the United States until January 2014, making it the fifth best-selling album of the year. In the week of February 5, 2014, following Mars' presence at the and performance at the, sales for the album increased by 180%, rebounding Unorthodox Jukebox back in the top ten. For the week ending February 12, 2014, the album climbed to the third position with sales of 81,000, up 92%, making a total of 123,000 units sold in both weeks. The album has been certified four times Platinum by the (RIAA) due to sales and streaming figures equivalent to four million copies. As of July 24, 2017, it has sold 2,574,000 total copies in the United States.
The record's success in 2013 was decisive to Mars being chosen as the headline performance on the half-time show of the Super Bowl XLVIII, and appearing on Billboard Artist of the Year by Billboard; according to Bill Werde, an editorial director of the magazine, the singer's songs that 'stuck around on multiple formats all year round' played a key role. He was also the most-played artist at Top 40 Radio, the third most played at Rhythmic stations and Hot Adult Contemporary station, as well as the fifth most-played at AC stations in 2013, according to.
In addition, Mars topped three of Billboard's 2013 year-end charts ( Artist, and ). The album was ranked as the 55th best album of all time on the Billboard Top 200 Albums of All Time.
In Europe, the album was similarly successful. It debuted at number one on the as the predicted, with 136,391 copies sold in its first week, thus becoming the third fastest-selling album recorded by an artist in 2012, after 's,. It first brought total sales to over 100,000 copies in the United Kingdom, thus earning a Gold certification, but was later certified three times Platinum by the (BPI).
It has sold over 987,000 copies in the UK as of November 2016. In France, Unorthodox Jukebox debuted in the top ten and spent the whole year within the top twenty, except for two weeks. One year after its release, album sales exceeded 580,000 copies, therefore being certified Diamond by the (SNEP).
As of 2014, the record sold 580,000 units in that territory. In Switzerland, the album debuted atop the charts and was certified Platinum, while opening at number four on the and earning a Gold disc there after five months. The record further charted within the top ten on the for the first time after 30 weeks, the longest time an album needed since American rock band 's (2011) (61 weeks). In Oceania, Unorthodox Jukebox debuted at number nine in New Zealand and was certified Gold by the, selling over 7,500 copies in two weeks.
The album eventually reached its peak position at number two in that country, marking the singer's consecutive record to do so. As of February 2014, Unorthodox Jukebox was certified three times Platinum in New Zealand. The record entered the Australian charts at number three, gradually climbing to the top spot, with it bringing total sales to 210,000 units and being similarly certified. In Canada, Unorthodox Jukebox opened the at number two, later reaching number one on the week ending July 20, 2013. In Japan, the album debuted at number eleven on the, with first-week sales counting 18,414 copies. In mid-year 2017, the record sold a total of 250,000 units, therefore reaching Platinum status. The album topped the and remains the seventh best-selling release there, with it spending 55 weeks in the chart.
It also earned a two times Platinum+Gold certification for exceeding sales of over 150,000 copies in that territory. As of 2014, Unorthodox Jukebox sold 3.2 million units globally, while bringing totals sales to 6 million copies by March 2016. Track listing Unorthodox Jukebox – Standard edition No. Title Writer(s) Producer(s) Length 1.
Standard. Target edition Japan December 12, 2012 Warner Music Japan CD, digital download Standard Sweden Atlantic Records CD Brazil December 13, 2012 Warner Music Group CD, digital download New Zealand November 5, 2013 Atlantic Records CD Deluxe edition Japan November 9, 2013 Warner Music Japan CD+ Japanese edition United Kingdom November 11, 2013 Atlantic Records CD, digital download, LP Deluxe edition Spain November 12, 2013 Australia November 15, 2013 CD Germany November 22, 2013 CD, digital download, LP France November 25, 2013 Notes.