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Released: Jun 26, 2012
Genre: Pop Rock, Funk Rock, Dance-Pop, Electropop
Label: A&M, Octone
Number Of Tracks: 12
The fourth studio album by Maroon 5 is a very different direction for the band and they happen to pull it off very well.
Collyn, on june 28, 2012 3 of 4 people found this review helpful
Sound: Let me just note before I get a bunch of hate. This album is NOT BAD it's just far from good when compared to "Songs About Jane". But do a favor and don't go into this album like me and try to compare it to "Songs About Jane", you'll like it better if you don't compare it. This album isn't meant to be compared. It's meant to stand alone as it own style. It's a very different direction for Maroon 5 and they happen to pull it off very well. When you listen to this album you'll completely understand where I'm coming from.
The style for this album is very... Dubstepy? Techno'ish, very along those lines. One song that you can recognize this in is "Fortune Teller". I'm not joking you can tell from second 1 what I mean. But some of these songs are killer with this style like "Doin Dirt" and "Lucky Strike" but it also can be a burden in "Fortune Teller". It absolutely kill's the song. But they pull this style off very well (exception for "Fortune Teller").
Two of the songs that sounds the closest to the older style's of Maroon 5 is "Daylight" and "Beautiful Goodbye" and these songs are amazing. The song's are great in this album, out of 12, I would get rid of only 2. ("Sad", "Fortune Teller"). // 8
Lyrics: Maroon 5's vocal's are still breathtaking. THANK GOD. There still singing about the stuff there usually singing about, Which has always been great. The lyrics are what make this album great. "Tickets" shows how great they are with lyrics when it comes to verses. Catchy, fast paced, and amazing. I did think "The Man Who Never Lied" was kinda weird in the verses but after a second time listening I found it way catchy.
Almost all these songs have almost flawless lyric work, Mixed with Adam's perfect one of a kind voice makes these songs so great. For example, the filler little thingy voice stretch thing through out "One More Night" makes me hate my own voice. He's amazing. I'm gonna mention it again, bear with me, but "Fortune Teller" and "Sad" were just non examples of this. The reason why I mention these is the lyrics are the WORST. All the other songs are great though, so I give this a 9. // 9
Overall Impression: This is album is still good, I know I had some criticism's, but the album was still great! I'm gonna be enjoying this album for a lonnnnnnnng time. I just have one question, who's gonna start tabbing these for me! Get to it! Congratz Maroon 5. You still got it. // 9
unregistered, on june 28, 2012 2 of 2 people found this review helpful
Sound: If (like me) you thought that it was virtually impossible for an act as shamelessly commercial as Maroon 5 to "sell out", think again. Maroon 5 weren't too content (to say the least) with the tepid commercial reception of their third album "Hands All Over" (which also went platinum, by the way) - it was a creamy-smooth blend of pop, rock, soul/funk that perfectly encapsulated their character as an organic self-contained pop band (in my opinion, it's still their best album yet).
Just as Maroon 5's commercial prospects seemed to have finally leveled out, frontman Adam Levine landed a stint as a vocal coach on NBC's "The Voice" and the band worked with chart-topping pop songwriters to deliver their biggest hit yet - "Moves Like Jagger" (also featuring fellow "The Voice" judge Christina Aguilera), a light, funky breezy-as-a-whistle summer tune that topped charts the world over and shot Maroon 5 squarely into pop's hot-and-happening lists once again after a fairly long time.
Overexposed makes no reservations about following the "Jagger" blueprint - unfortunately, it's a formula that falls flat if it's used liberally. Aside from the seemingly endless supply of barely engaging, assembly-line hooks doled out by a bevy of mercenary pop songwriters and producers, on this record Maroon 5 seems to have embraced a very generic Top 40 template instead of the distinctive blue-eyed soul/R&B flavor that up until now had instantly set them apart from any other act on the charts. // 6
Lyrics: Anyone who's remotely familiar with Maroon 5 knows what to expect in the lyrics department - breakups, lost love, obsession, sexual fireworks, etc all the cliches that Adam Levine & Co. Have so successfully ridden to the top of the charts for the past decade. However, usually Maroon 5's music was engaging and soulful enough to make the lyrics easy to digest - not so here, and the hammy lyrics occasionally stick out like a sore thumb ("She's got tickets to her own show / But nobody wants to go / And I'm still sitting in the front row" is one example).
However musically the band may divert from its trademark sound here, the moment Adam Levine's vocals come into play there's no mistaking who you're listening to. His falsetto is still strong, clear and nasal and his high register delivers with all the playboy professionalism of a pop idol. However, at times the vocals are too processed for their own good and the material that they're given to work with is (for the most part) nowhere near as strong as it was on Maroon 5's previous records. // 7
Overall Impression: Not all of the album is a dud, however, and there's still potential for strong singles (although they don't match up to the ones off Maroon 5's previous records), such as lead single "Payphone" - which is much better in its alternate version that replaces Wiz Khalifa's pointless rap with an added verse (this version is inexplicably not included on any of the album releases). "One More Night" is an uptempo reggae-flavored tune with dark lyrics (this album's "Misery"?) that will have you tapping your feet in no time, and "Beautiful Goodbye" is a gorgeous romantic ballad.
If there's anything that this record proves about Maroon 5 (aside from their insatiable appetite for the charts), it's that their distinctive sense of soul only becomes apparent when it's taken away from them. The album overall has a very processed, made-in-Pro Tools sound in contrast to the meticulously constructed but organic "actual band" vibe that imbued their previous records. And the fact that keyboardist Jesse Carmichael (Maroon 5's principal songwriter along with Levine up until now) sat out for this record doesn't help.
There's a lesson to be learnt by Maroon 5 here - these guys do best when they're left to their own shtick, but as long as it keeps them high up on the charts, it's doubtful that they're bothered by it. // 6