It's dated, tired and made specifically for the era it was released in, with zero staying power whatsoever.ДЄdam's vocal performance on the opening bars of 'Ladykiller' sees him randomly go a few octaves below, almost trying to alter his tonality and give it a rougher bent. Perhaps that's what makes it particularly emblematic of Maroon 5's broader career arc. It reeks of 2012 dance pop, a song that wasn't built to last. It's not even innocuous enough to justify choosing to come back to. If you've spent five minutes in a grocery store at any point in the last ten years, you've probably had this one funnel its way into your subconscious. It's one of those seminal Maroon 5 hits that never really faded away. 'Love Somebody' is almost nostalgic to revisit, but not in a good way. 'The Man Who Never Lied' settles back into the flagship pop niche this album caters to, but it's another passable affair. It's fundamentally lacking the spark of the Maroon 5 of old, but it'll do in a pinch. Those funky riffs on the intro are a treat and Adam rides the wave of those pulsating beats on the chorus. This one marries the best of all of Maroon 5's wheelhouse faculties. I'm guessing the padded vocal layering is supposed to compensate for Adam succumbing to the temptation of the format badly on the chorus, because as innocuous as this track is, it's hard not to dock the band for playing it a little too safe. It would likely fit in just fine as a B-side from either of their previous two albums, playing more to their familiar soft rock strengths with its rare inclusion of James Valentine's satiny riffs. 'Daylight' is a taste of vintage Maroon 5. interesting Wiz Khalifa cameo, file this one as a keeper. Tame beats and glimmering keys on the opening bars give way to a swelling chorus and Levine knocks it out of the park. Another thing 'Payphone' has going for it is that its an absolute event. It's a completely different beast than the funky neosoul stylings of Songs About Jane, but Adam Levine proves he can still slip into the role of the disgruntled ex-lover like nobody else. Adam Levine sings his ass off, even if it's clear to all of us that he has to labor to tailor his voice to these compositions.ДЇifteen year old me melted for 'Payphone' the first time I heard it, and a decade later, it actually hasn't soured on me. The band (I feel gross calling them that now) tries piling on the synthetic drum loops and high end pop beats, but instead of an irresistible banger like the former song, you're forced to endure one of the tackiest melodies you'll ever come across. Be it by accident or design, it is immediately apparent to the listener they are trying to recapture the swagger and zest of 'Moves Like Jagger.' 'One More Night' simply could never stack up. They give up the ghost pretty early on with Overexposed. Suffice to say, they banked in big time, but they forgot to actually make good God damn music in the first place. Thrust back into the forefront of a rapidly changing pop music scene, Maroon 5 attempted to capitalize on the success of their unexpected megahit. were doomed to suffer the exact same fate, when along came 'Moves Like Jagger', the stroke of electropop genius that revitalized their fame and prolonged their inevitable senescence by several years. Pretty much every band who zeroed in on that safe, tepid adult contemporary shtick in the mid to late 2000s had an extremely short shelf life think The Fray, Coldplay, OneRepublic and the now surprisingly resurgent Daughtry. Maroon 5's first decade in the mainstream consciousness was packed with chart topping singles, but by the time 2010's Hands All Over was released, the band was slowly fading into obscurity. What the f*ck happened?ДЄctually, don't answer that question. Two diametrically different identities and sensibilities under the same umbrella and instantly recognizable name. That's what it feels like to jam out to the bouncy, soulful Hands All Over and then get abruptly slapped in the face with Overexposed. Next thing you know, the world knows their name, but their music is a shell of itself, completely stripped bare of any personality or zeal. I almost picture myself in an intimate nightclub setting with an amazing live band up on stage thrilling a live audience, only to be taken aside by a record executive who promises them fortune beyond their wildest dreams. Man, listening to this album in sequence after vibing to Maroon 5's first three albums is f*cking depressing. Review Summary: More depressing than a funeral, Maroon 5 stops plateauing and starts nosediving here.

Maroon 5 overexposed wallpapers