Maroon 5 plays it safe on ‘Overexposed’
Maroon 5
"Overexposed"
(A&M/Octone Records)
The title of Maroon 5’s new album, "Overexposed," pokes fun at the band’s ubiquity, which is mainly due to the massive (and at times annoying) hit "Moves Like Jagger," as well as frontman Adam Levine’s popularity as a judge on NBC’s "The Voice."
While the band is to be congratulated on all that exposure, it seems as if they’ve lost sight of how to make a good album in the process.
Their fourth release has some highlights, but it’s mainly boring and safe, with the group taking a more pop approach and stepping away from their rock foundation. The result sounds like the boys are purposely playing to the Top 40-crowd and iTunes singles buyers. The songs lack edge and oomph: First single "Payphone" is one of the year’s worst songs; "Fortune Teller" and "Tickets" are just as bad.
"Overexposed" was produced by hit-makers like Max Martin and "Jagger" producers Benny Blanco and Shellback; all three men have crafted monster smashes for Katy Perry, Britney Spears, Ke$ha and many others. "Daylight," co-written by Martin and Levine, sounds like a bad Coldplay cover and "The Man Who Never Lied," produced by Noah "Mailbox" Passovoy, echoes Irish rockers The Script.
Even the uber-talented Ryan Tedder -- whose client list includes Adele and Beyonce -- can’t completely save Maroon 5: He produced "Lucky Strike" and "Love Somebody," and they are just mediocre.
"Overexposed" is miles away from the band’s debut, 2002’s "Songs About Jane"; that album was flawless with its raw lyrics. Maroon 5’s other releases were also good, and at moments, great. But their new effort is an attempt to stay on the charts, and that’s unfortunate for a group that has artistic depth and credibility.
(AP)
12 years later, Linkin Park’s still got it
Linkin Park
"Living Things"
(Warner Bros. Records)
Talk about consistency -- Linkin Park has created yet another great album.
"Living Things," the group‘s fifth album, is pretty top-notch from its opening track, "Lost In the Echo" -- which features Chester Bennington’s signature screech -- to its closing numbers, the Skrillex-sounding and grungy instrumental "Tinfoil," which transitions into the guitar-heavy "Powerless."
The album is dominated by anger and, at moments, disappointment and rage: "Lies Greed Misery" and "Victimized" are self-explanatory, and on "In My Remains," Bennington sings: "Falling in the cracks of every broken heart, digging through the wreckage of your disregard."
"Living Things" comes 12 years after the six-member band released its brilliant debut, "Hybrid Theory."
The new album was produced by Mike Shinoda and Rick Rubin, and it‘s reminiscent of the rap-rock sound of the group’s first two discs. The guys took a departure from that on "Minutes to Midnight" and 2010’s "A Thousand Suns" -- also produced by Rubin -- which had psychedelic moments and featured excerpts from political speeches.
But Linkin Park never disappoints, and "Living Things" is living proof.
Check this track out: It’s simple, but Bennington’s repetitive "Ohhh" on "Roads Untraveled" is oh-so-good.
R. Kelly continues old-fashioned charm
R. Kelly
“Write Me Back”
(RCA Records)
Dear R. Kelly,
You’ve gone and done it again. I don’t know what’s going on with two back-to-back, rather wholesome and anachronistic albums, but your eleventh “Write Me Back” feels like a breath of fresh air on the contemporary urban scene. You may be trying to subvert expectations of your chosen genre, you may be showing off your voice, maybe you are preaching a newfound understanding of relationships, but it doesn’t matter. What matters is that you’ve single-handedly produced and written an album with a voice.
Mixing 1970s funk and soul, ’50s beats, church organ sprinkles and ’90s nostalgia R&B was an excellent idea. Those sounds, coupled with romantic lyrics, may sound like a cheesefest, but that’s what makes the dish so delicious.
You start off with vivacious ode “Love Is” and meander through retro beats and ballads with a purposeful gait. Your only pit stops on the love highway are on the party dance floor with the engaging swing song “All Rounds On Me,” and the lively “Party Jumpin.’” “Believe That It’s So” is the one tune on the record that wanders from the realm of personal into the club.
This highly enjoyable dance romp is a testament to your enduring presence on the music scene. You know I’m a “Fool For You”; You’ve got the “Green Light” to move on to your next album in the knowledge you’ve nailed this one. (AP)
