#Daylight maroon 5 overexposed series

The lead single, РІР‚СљPayphoneРІР‚Сњ, exhibits the groupРІР‚в„ўs strengths far better.

This technicolor experiment starts with a curveball in the form of the casual reggae slide-along РІР‚СљOne More NightРІР‚Сњ, a breezy track wherein the chorus and the verse are largely indistinguishable from each other, the song existing on a permanent plateau, the drums dropping out during the pre-chorus serving as the only melodic deviation in the entire track, and even then, itРІР‚в„ўs not much to go off of, making for a remarkably uninteresting start. Maroon 5, 2.0 (which makes them either 7 or 10, depending). Inspired, the group entered the studio with every studio wunderkid they could find (Shellback, Benny Blanco, Max Martin), intent on not making a casual pop album as they did before, but instead crafting the most colorful, maximalist take on pop music they could possibly fine. The song was absolutely shameless with its Top 40 intentions, but fun and loose in a way that was nowhere to be seen on their last two albums. It was launched on The Voice, the show which turned Levine from Handsome Frontman to Actual Celebrity (and even though Aguilera guested on the track, the song succeeded in spite of her, not because of her). The song got overplayed like hell, but damn if it wasnРІР‚в„ўt expertly crafted, that whistled hook burrowing in your brain for hours on end. We all remember what inspired that freedom: РІР‚СљMoves Like JaggerРІР‚Сњ.

And because of that freedom, we get the wild curiosity that is Overexposed: as fascinatingly flawed a pop album as any group has made in recent memory. Gauzy, disposable, Christina Aguilera-assisted freedom. Their easy everyman charm got lost in sleek pop productions, and despite the Rihanna collaborations and somehow thinking they had enough РІР‚Сљundiscovered classicsРІР‚Сњ to make an album of B-sides in 2007 (and a remix album the year after), Maroon 5 were beginning to lose their way, which the band blatantly acknowledged in interviews about the lack of sales for Hands All Over (that albumРІР‚в„ўs second single, РІР‚СљGive a Little MoreРІР‚Сњ, toppped out at a downright embarrassing No. The band released two more albums - the long-delayed (and horridly-titled) 2007 effort It WonРІР‚в„ўt Be Soon Before Long and the limp 2010 disc Hands All Over - but it was obvious that despite scoring their first chart-topper with РІР‚СљMakes Me WonderРІР‚Сњ, there was something missing with the group. Despite all the frustrations the group felt from the start, success was proving to be remarkably easy.

#Daylight maroon 5 overexposed series

Once they were in the pop consciousness, they pretty much never left, as what followed was a non-stop series of charming yet inoffensive pop staples: РІР‚СљThis LoveРІР‚Сњ, РІР‚СљShe Will Be LovedРІР‚Сњ, the surprisingly soulful РІР‚СљSunday MorningРІР‚Сњ, etc. Upset and angered, the group turned in РІР‚Сљ Harder to BreatheРІР‚Сљ, the hardest-rocking song the band has ever done (to date), and loРІР‚в„ў and behold, it was not only their first single, but also their first Top 40 hit. However, thatРІР‚в„ўs exactly what happened in 2002 when the young, Adam Levine-fronted band known as Maroon 5 turned in their first post-KaraРІР‚в„ўs Flowers album, Songs About Jane, to their label, who insisted that they didnРІР‚в„ўt hear a single in the batch. Make no mistake though, Disney princesses are more rock 'n' roll than this stud wishes he could ever be.ItРІР‚в„ўs truly amazing to think that there was a time when Maroon 5 were not considered pop enough. Especially in the case of a 'band' that's actually just there to solidify Levine's 'rock star' image. Although I won't exchange effort to call the album 'terrible', I actually admit it: I find half-assed records more listenable than formulaic, unidentifiable top 40 compilation albums. Dissecting the album track-by-track is unnecessary, since everything's basically 'Moves Like Jagger' rearranged without even one percent of any effort to make it sound distinguishable from that multi-Platinum seller. It's 'Overexposed' and completely corrupts the image we're force fed that Maroon 5 isn't just Adam Levine - shocking, huh? Let's get to constructive criticism though, or should I say de-constructive criticism, because Overexposed is overwhelmingly glossed up with Max Martin-Shellback typical electro hooks even fellow pop 'rocker' Avril Lavigne would scoff at, Auto Tune, and just overall polish that's shiny and yes, attractive at first sight, but cold and soulless inside. It's Besides the lucky four singles, let's be honest: who else remembers this album? At least it has the truest title in Maroon 5's career. Besides the lucky four singles, let's be honest: who else remembers this album? At least it has the truest title in Maroon 5's career.