Album- Overexposed
Artist- Maroon 5
Since the release of the 2011 Christina Aguilera
collaboration ‘Moves Like Jagger’ Maroon 5 have seemingly found new success as
a band, returning to the tops of charts worldwide. Overexposed marks not only
the groups fourth studio album, but their first studio record to achieve four
top 20 records on the billboard hot 100. However the band has also markedly
changed in sound since their early days, being more of an upbeat and largely
pop orientated record. The question is, does this change of sound mean a change
of musical credibility by the band in order to gain commercial success?
Track 1- One More
Night
Becoming the bands biggest hit on the Billboard Hot 100
after spending nine consecutive weeks at the number one spot, One More Night is
an upbeat pop track that is largely backed by this thumping, reggae infused
beat that nicely offsets lead singer Adam Levine’s smooth vocals. Lyrically the
track focuses on the conflict between what the mind and body wants, with Levine
singing about his hope that he will stay with this girl only one more night
even though he says it every time. The songs snappy and aggressive but
heartfelt mixture in terms of the lyrics is cool, with the song being supported
by an irresistibly catchy ‘ooh-ooh-ooh-ooh’ hook. The song is vocally strong as
Levine uses his falsetto to great effect, giving the song this quirky quality
that is very memorable. The production of the track is simple but catchy with a
slight dance feel produced by the sort of dance beats, and so this is a great
level of pop fun.
3.5/5
Track 2- Payphone
(featuring Wiz Khalifa)
Lead single Payphone is another song that acts primarily as
a pop song, but which is also infused with a mix of other genres, in this case
a slight tinge of RnB and hip hop. The song is lyrically a break up song as
Levine sings of trying to call and ex on a payphone as he doesn’t understand
what when wrong and wants to know where the happy times have gone, coming to
the conclusion that love songs and fairy tales are just stupid. The songs
simple I am very much in heartbreak essence is very appealing, with the chorus
being smartly executed with a catchy simplicity that marks this as a great pop
song lyrically. The song is given power by Levine, who’s use of his upper
register really gives this tangible sense of heartbreak to the track that shows
he is a talented vocalist. Opening with a simple piano melody before going into
this military style drum beat that sort of still has this essence of warmth
about it, the production of the song is pure but brilliant. And whilst
Khalifa’s guest feature is a bit of a polar opposite section within the track
as he raps about forgetting the haters and enjoying life, the rappers guest
feature brings a cool vibrancy to the song that will make for a crowd pleasing
final chorus when the song is performed live, and which just adds to the songs
overall impact on the listener.
4.5/5
Track 3- Daylight
Becoming the song that made this album the band first to
gain three Billboard Hot 100 top ten hits, Daylight is a soft rock ballad that
focuses on a sad but also happy moment where Levine is the lover who has to go.
The song’s lyrics find Levine creeping away in the mourning, but speaking of
cherishing his lover in the night whilst he still can, ultimately conveying
this positive message to the listener about cherishing the important moments.
The songs message is sweet and when paired with the falsetto driven vocals of
Levine, the song is given more of a truthful, sincere edge with a touch of
urgency about it. The sound of the track nicely goes from this pulsing, lone
electric guitar to this powerful drum driven stadium sound that makes this
another song that will undoubtedly go down well with a live crowd. The song
does have it’s issues as the lyrical content is slightly lacking, particularly
in terms of the sloppy ‘oh woah’ hook, and the song does feel slightly familiar
compared with the works of such artists as Coldplay. However this is a nice
effort from the group with a charm that is very appealing, and nicely contrasts
with the last two tracks in terms of the energy of the track.
3.5/5
Track 4- Lucky Strike
Co-written by One Republic frontman Ryan Tedder, Lucky
Strike brings the record back to a more up tempo based sound and nicely
contrasts with the softness of the previous number. Primarily a funk song with
some elements of dubstep and soul rock, Lucky Strike is lyrically a bit of
tongue in cheek, preppy tune where Levine sings about this girl being his lucky
strike in terms of having sex with her being so great. The message feels
slightly awkwardly delivered and clichéd, with Levine’s light vocals having a
charismatic quality that is nice but ultimately bland as the fast paced
delivery of the song means some of the charm is lost. The piano instrumentation
and driven guitar sound of the track is vibrant and infectious, but ultimately
this is a bland track that tries to pack too much in and ends up leaving only a
small impression on the listener.
2.5/5
Track 5- The Man Who
Never Lied
Continuing with Lucky Strike’s upbeat energy, The Man Who
Never Lied is an up tempo pop and pop rock orientated tune that focuses on
Levine tarnishing his record of honesty to spare the feelings of a quarrelling
lover, because he has realised that sometimes lying is necessary. The message
is intriguing but lacks power as the ‘oh oh’ hook just seems boring, and the
big final chorus building middle section is just too typical in today’s pop
world. Levine’s vocals give the song this heartfelt and fragile quality but
ultimately don’t have enough power to make up for the poor lyrical content,
whilst the heavy drumbeats and soft guitar riffs create a simple and light
sound that is fun but borders to closely
to the boring.
2.5/5
Track 6- Love
Somebody
Released as the fourth single from ‘Overexposed’, Love
Somebody is another Ryan Tedder collaboration that finds Levine singing about
needing to love someone and focusing on how this person seems to take him all
the way into love. The message is sweet and works in terms of the way that the
slower, more lyrically stressed verses perfectly compliment the quite snappy
and vibrant chorus. Levine’s falsetto driven vocals give the song a vulnerable
but also heart-warming quality that is a pleasure to listen to, and whilst the
synth laden, piano and guitar production is a bit of a commercial sound, it
gives the song a cool vibrancy that is enough for this to be a fun pop number.
3.5/5
Track 7- Ladykiller
Considered by some reviewers to be influenced by the work of
singer Michael Jackson, Ladykiller is another funk driven number with Levine
giving us a blue eyed soul vocal. The tracks lyrical concept is summed up
within the title as the singer warns of this dangerous woman who has broken his
heart. Whilst the concept isn’t original into days pop world and is something
that someone could easily come up with in a matter of minutes, the song is
delivered in a fragile but strong and cool way in terms of the falsetto driven
performance that nicely shows of Levine’s range, so the blandness of the
concept is somewhat distilled. The elastic funk groove of the production and
the smooth ‘oooh’ hook gives the song a catchy quality, whilst the guitar solo
of the middle section gives the song a fun and vibrant section that makes more of
a lasting impression on the listener.
3.5/5
Track 8- Fortune
Teller
With a gritty, electro pop based bassline and pop tempo
piano beat, Fortune Teller is a mid tempo number that finds Levine in a state
of mixed emotions. Lyrically the track finds the singer asking why this girl
has messed things up, but ultimately just accepting things and stating that he
doesn’t know what tomorrow will bring, but the relationship will just go
whatever way it does. The song nicely dips between the higher and lower elements
of Levine’s range to really give off this mixture of emotions, and although the
lyrics do become repetitive by the final minute, the concept is powerful and
isn’t just another bland happy but sad number. The problem with the track is
that the forceful sound of the production with the slight infusion of dubstep
is a sound that just doesn’t fit right with what the singer is saying, and
which feels like a sound that is trying to fit into a commercial trend rather
than sticking true to the band.
3/5
Track 9- Sad
Things take even more of an emotional turn (as the title
would suggest) with the ninth track Sad, a piano ballad that primarily acts as
a heartbreak song that focuses on Levine thinking about the past with his ex
and ultimately just saying that he is sad as he can’t take it that the
relationship is over. The simple tone of the lyrics gives the song an appealing
purity, and when based in the simple piano instrumentation of the production,
the lyrical content is elevating to a more impactful level. Many have spoken of
how this song seems to be influenced by the work of British singer-songwriter
Adele. Yet while those comparisons can be made, the problem with this track is
that Adam Levine doesn’t have the vocal power to match Adele: whilst at times his
voice is great and really gives the song the emotion it needs, at other points
the singer just goes to hard and shows his vocal weakness, and so this would
have been a more amazing number is things were toned down vocally.
3.5/5
Track 10- Tickets
Tickets is quite a feisty track that features more of a
techno pop influenced sound and finds the group calling out this seemingly
archetypal rich girl. The song finds Levine singing about this snob of a girl
who thinks about only herself, using the catchy metaphor of the girl having
tickets to her own show. However, the song is also lyrically funky as whilst he
doesn’t like the girl, he also kind of loves her for her body and the supposed
sex appeal that she has. The snaky quality of the lyrics are matched by the
twisting quality of the snappy techno pop rhythms of the production. Things are
kept quite simple vocally, with Levine giving a slightly grittier performance,
and so other than the typical ‘la la’ hook, this is another solid pop offering.
3.5/5
Track 11- Doin’ Dirt
Taking things slightly higher in terms of energy levels,
Doin’ Dirt is a vibrant electro pop and pop rock number with a funky guitar and
piano based instrumentation and a shimmering synth sound that is fun and
infectious to listen to. Lyrically the track is another sensual affair from the
group where Levine sings of the power of this woman over him and how she has
him doing seemingly dirty things, but he loves it. The songs sensual quality in
terms of the lyrical content could easily be a bit uneasy to listen to, but
somehow the group manage to make you sort of forget the strong sexual tone and
enjoy the lightness of the number, with Levine giving us a fun and airy vocal
performance that features some cool ad libs and which potently brings the songs
message out, but in a nice way.
3.5/5
Track 12- Beautiful
Goodbye
Final track Beautiful Goodbye is a bittersweet but positive
number that ends the record on an acoustic level. A rhythmic ballad, the song
finds Levine singing about reminiscing of the love he had with this girl and
how it is sad that things are over, but he still sees the beauty of the
relationship and the beauty of this girl, so that saying goodbye is good thing
even if it hurts. The bittersweet tone of the lyrics makes the song have more
of a powerful impression on the listener than if the track was more
straightforward emotionally, and with the falsetto led vocal by Levine, the
song sounds like a heartfelt peace.
Ending the record on a slightly mellower edge with the simple drumbeats and
light guitar rhythms allows for a sweet and chilled end, making Beautiful
Goodbye potentially the perfect closing album song.
3.5/5
Final Review
Maroon 5’s sound may now be quite commercial, but it is a
sound that in many ways suits them, and with lead singer Adam Levine’s falsetto
led vocals each track is given a cool charisma that is infectious. The hooks
are catchy and production sophisticated, and the only real issue with the
record is that sometimes the lyrics just feel clichéd and too typical pop,
whilst some tracks are too heavily designed for commercial success. Their most
pop orientated effort to date may conform a little, but it is enjoyable and
infectious enough to still deserve music success, and still feels like an
assured effort from the group.
7/10
Best Track- Payphone
(featuring Wiz Khalifa)
Worst Track- Lucky
Strike
No comments:
Post a Comment