• Record Label: Capitol
  • Release Date: May 17, 2011

Generally favorable reviews - based on 31 Critics

Critic score distribution:
  1. Positive: 25 out of 31
  2. Negative: 0 out of 31
  1. 100
    On Rome, they masterfully conjure up a love story fit for the silver screen--shoot-outs and tumbleweeds included.
  2. May 17, 2011
    The great, and only, disappointment with Rome is that once you've heard the album, you'll want to watch the movie it accompanies. Except there is no movie.
  3. May 13, 2011
    Rome does one better than conjure nostalgia; it puts those vintage signifiers in service of fine, contemporary songs.
  4. May 31, 2011
    Rome has a fascination all of its own. [Jun 2011, p.121]
  5. May 24, 2011
    Few records will be made this year with such love and devotion, and you'll be able to tell it too. It's delicious.
  6. May 19, 2011
    The pair tracked down musicians who worked on Sixties spaghetti westerns, then added Jack White and Norah Jones as singers, resulting in a delicious album, redolent of easy listening but with all flabbiness removed and replaced by a modern warmth and elegance.
  7. May 17, 2011
    Burton's Rome is a fascinating re-envisioning of romance and danger. It has all the components of a classic and makes for the perfect soundtrack to inject something wonderful into a dull day. Richly rewarding.
  8. 80
    Hopefully, listeners who have had their tastes whetted by Cat's Eyes and the cult Italian Beat At Cinecitta compilations will fall in love with this entrancing and gorgeously out-of-step album.
  9. 80
    Norah Jones and Jack White sing on three tracks apiece, respectively languid and predatory, the end result being a short but perfectly-formed portal to a different state of musical mind.
  10. May 16, 2011
    With such grand ambitions achieved, great music produced, and a five year journey concluded and justified, Morricone would be proud: Rome was well worth the wait.
  11. May 13, 2011
    Unquestionably, it is beautifully done. [Jun 2011, p.80]
  12. Even the addition of pop icons to the Rome album can't allow it to rise above its previously stated goals. There is little, if nothing, wrong with Rome, but rather, it is limited by the confines it sets up for itself.
  13. Jun 14, 2011
    As a whole, Rome is cinematic without being overwrought, its sound evocative of a certain vintage while still firmly rooted in the present.
  14. May 31, 2011
    Of course the question arises: is Rome the greatest thing 2011 will offer? Hardly. Nevertheless, I'll vouch to name it the most ambitious album of the year.
  15. 70
    Whilst the modus operandi suggests something rather derivative, somehow the album achieves more than fan-boy indulgence; managing to be stylish and atmospheric without being too slick or insubstantial.
  16. May 19, 2011
    As much credit as the pair deserve for creating a modern approximation of Ennio Morricone, Rome is more likely to lead to watching one of Sergio Leone's classics than replaying the album itself.
  17. May 17, 2011
    Lovingly detailed, atmospheric, and oozing the Technicolor glow of a smoke-stained '70s movie screen, Rome is awfully hard not to cheer for, even when it's stuck on autopilot, as rarely do pet projects feel this alive and sumptuous.
  18. 70
    For all of its glorious string flourishes, vivid visual allusions, and bursts of choral splendor, the best parts of Rome are truly left to the imagination.
  19. May 16, 2011
    Take a finger to your fast-forward button, however, and without Jones' handful of mediocre performances, Rome breezes past with all the tinkling, indefinable intent of a lost Michel Gondry film score.
  20. May 16, 2011
    White's natural eeriness and Jones' diffident eroticism certainly fit a sound built around mystical melodrama and chilly Euro heartbreak, but their voices are such complimentary opposites that they turn out to be what gives Rome much of its distinctness, keep it from being just another record collector (or film collector) exercise in getting everything period-perfect.
  21. With guests such as Jack White and a surprisingly bearable Norah Jones, Rome makes a fine fist of recreating the elegance of prime 1960s Euro-pop. All good, no bad, and never ugly.
  22. May 16, 2011
    More vocal tracks would be nice, but Rome is as much about sublime instrumentals--made of celesta, harpsichord, Hammond organ, strings, nasty funk guitar and those weird-ass choirs--as lead singers, just as Sergio Leone's great Westerns were as much about fantastic landscapes as acting. Just switch your cell to "vibrate" and enjoy the show.
  23. May 16, 2011
    Rome has the undeniably high-end vibe of an A-lister's lark. After all, what kind of no-name can book the recording studio once employed by Ennio Morricone?
  24. May 17, 2011
    Burton and Luppi don't entirely lose their identities in the desert vistas of Rome--the record has all the crisp conciseness of a Danger Mouse production--but they might have created a better story than a record.
  25. May 17, 2011
    While the sounds are fantastic, the compositions tend to slip by, just another Mediterranean sunset.
  26. May 25, 2011
    It's the quality of the material--not just the three vocal takes each by Jack White and Norah Jones, but also the supple and atmospheric instrumental interludes-- that elevates Rome beyond Pastiche and into the realm of cinematic enchantment. [May 2011, p.105]
  27. May 16, 2011
    With the musical inspiration behind it all available to hear, the whole exercise ultimately seems a bit pointless and leaves Danger Mouse looking more a dilettante than a genuine auteur. Nonetheless, Rome remains an occasionally breathtaking pastiche.
  28. May 16, 2011
    While it's difficult to imagine there being a large demand for this kind of music, it's impressive how little the producers and performers behind Rome seem to care. Like a lot of love letters, it exists as much for the sender as for the recipient.
  29. May 16, 2011
    Inevitably, the result is cinematic in scope and evocative of a spaghetti western, but often feels little more than an exercise in jumping through those hoops.
  30. May 17, 2011
    Rome does sound like the result of five years of Very Serious Effort, except instead of honing a few rough spots, the hubris-driven tinkering ended up chipping away all the soul from what could have been a jaunty and lively homage to some of the best movie music ever made.
  31. May 24, 2011
    He and Danger Mouse clearly are creatively simpatico, but hopefully their next joint venture will be more satisfying than Rome, whether it's an album of songs or a soundtrack for a real movie.
User Score

Generally favorable reviews- based on 24 Ratings

User score distribution:
  1. Positive: 3 out of 3
  2. Mixed: 0 out of 3
  3. Negative: 0 out of 3
  1. May 24, 2011
    Had heard about Danger Mouse's "spaghetti western" album, and expected something more over-the-top like Spindrift. The mood of "Rome" is moreHad heard about Danger Mouse's "spaghetti western" album, and expected something more over-the-top like Spindrift. The mood of "Rome" is more somber and earnest, not western-kitchy like "Legend of God's Gun." The album is cinematic and effective in kicking up the desert dust, but quite surprisingly, Jack White doesn't really seem to fit in with the vision here. "Rome" is most evocative with its interludes and instrumentals, and just about every song featuring Norah Jones, the real star of this project. Highlights are "Season's Trees" and "Black." Full Review »
  2. KFZ
    May 16, 2011
    Rome is a nice album, with beautifully crafted songs, however there is excessive repetition of some themes. The excuse of being inspired byRome is a nice album, with beautifully crafted songs, however there is excessive repetition of some themes. The excuse of being inspired by Morricone songs isn't enough for that limitation in creativity, the songs of morricone even in a compilation, sounded fresh and bring some different experience to the listener. Rome brings a lot of songs that sound like just another take of the same song, and after some time you just want the album end. Full Review »
  3. Feb 1, 2014
    Jack White and Norah Jones are a wonderful polar opposite duo, not to mention Danger Mouse and Daniele Luppi who do a fantastic job atJack White and Norah Jones are a wonderful polar opposite duo, not to mention Danger Mouse and Daniele Luppi who do a fantastic job at creating a western feel for a modern audience. Most highlights are the instrumentals, but the biggest highlight is "Season's Trees", Norah Jones' first appearance on this record. The production's slick and very twangy, much due to Danger Mouse, but also Daniele Luppi who had the upper hand the entire time due to working as a spaghetti Western film composer.

    All In All, the collaboration between these four musicians was a well-deserved success. B
    Full Review »