The hooks on Overexposed are often weak but even worse, none of the verses are memorable. This is reflected in the title of the song (when was the last time you saw a payphone?) as well as the song compositions. Throughout the album, they keep showing how out of touch they are with current culture. The repeated success of these songs has emboldened Levine to keep turning out schlock under the delusion that itвЂ™s вЂњfresh.вЂќ The worst part is that it works- itвЂ™s the best song on the album. It shows us exactly what Maroon 5 is trying to be- mainstream relevant, but without knowing what really plays. The best example of everything wrong with Overexposed is lead single вЂњPayphone.вЂќ Everything about it reeks of a вЂњMoves Like JaggerвЂќ ripoff- same producer (Blanco), high profile guest appearance (Wiz Khalifa, whose verse is among his worst ever) and infectious chorus. The instrumentalists are no longer around to provide spice to an otherwise middling pop act- theyвЂ™re there to spectate as Adam Levine struts his stuff.

After 10 years, this seems to be lost on the group, whose lone contributions are on some the blandest songs on the album. Be it the piano intro of вЂњThis LoveвЂќ or the brilliant guitar line on вЂњShiver,вЂќ the music was almost important to Songs About Jane as Levine was.

Part of the reason the band broke through in the first place was their unique combination of soulful frontman and balance between radio-ready riffs and funk rock groove. Frankly, this detracts greatly from the appeal of Maroon 5. Blame it on his popularity, rising star power or sheer talent, but there is no substance to the band beyond LevineвЂ™s vocals. The main problem with Overexposed is that Maroon 5 no longer sounds like a band, rather, they have become the Adam Levine show. The drab monotony of club-ready beats wears on you after 12 songs in a row with no break to speak of. The songs range from seriously dull (вЂњSad,вЂќ вЂњBeautiful GoodbyeвЂќ) to missed opportunities (вЂњLadykiller,вЂќ вЂњLucky Strike,вЂќ вЂњDoin DirtвЂќ) with no real punch aside from the two singles, which are regrettably placed at the very front of the album. вЂњMoves Like JaggerвЂќ was a devilishly fun song- something that canвЂ™t be said for the songs on Overexposed. The most lacking element from the songs on Overexposed is fun. Replicating the success of вЂњMoves Like Jagger,вЂќ which is what Overexposed tries desperately to do 12 times, is far from easy. From the recent Ke$ha-inspired fascination with Mick Jagger to LevineвЂ™s soaring falsetto on the chorus, вЂњMoves Like JaggerвЂќ was the perfect single at the right time.

The reason that вЂњMoves Like JaggerвЂќ was such a success was because everything happened to fall into place. This message is reinforced on Overexposed- although вЂrun into the groundвЂ™ may be a more apt description for the sloppy mess that Maroon 5 offers us. The message was clear: Maroon 5 has changed. Instead of the funk-influence and near-R&B style favored by the 5, вЂњMoves Like JaggerвЂќ featured a beat manufactured by hit-maker Benny Blanco and a guest appearance by, of all people, Christina Aguilera. вЂњMoves Like Jagger,вЂќ Maroon 5вЂ™s biggest hit to date, was inescapable and Adam Levine in particular has been receiving more than his fair share of exposure with his gig on вЂњThe Voice.вЂќ More importantly than the exposure that вЂњMoves Like JaggerвЂќ afforded the band, however, was the distinct departure in style that it showed us. Overexposed is without a doubt the best adjective to describe modern day Maroon 5. Unfortunately, it's all in the wrong direction. Review Summary: Maroon 5 moves like Levine on its 4th album.

Maroon 5 overexposed full