Album Title
Maroon 5
Artist Icon Hands All Over (2010)
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First Released

Calendar Icon 2010

Genre

Genre Icon Pop-Rock

Mood

Mood Icon Gentle

Style

Style Icon Rock/Pop

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Speed Icon Medium

Release Format

Release Format Icon Album

Record Label Release

Speed Icon Reprise Records

World Sales Figure

Sales Icon 500,000 copies

Album Description
Available in: Country Icon Country Icon
Hands All Over est le troisième album du groupe Maroon 5, il a été enregistré en Suisse. Sa sortie est prévue pour le 21 septembre 2010.

Le premier extrait de cet album est Misery.

L’album s’ouvre sur le brûlot rock « Hands All Over » et se poursuit sur 15 titres au gré de détours soniques et d’expériences musicales inédites, comme sur « Out Of Goodbyes », ballade aux accents country sur laquelle apparaît Lady Antebellum, l’un des plus gros cartons aux US cette année. Les fans de la première heure frissonneront de joie à l’écoute de « Misery », « Stutter », « Give Me A Little More » ou encore le très soul « Don’t Know Nothing ».
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User Album Review
A brief aside: Robert ‘Mutt’ Lange must have the weirdest production CV of almost anyone in the rock era. Who else has managed to make an astonishing living at the helm of worldwide hit albums from artists as diverse as Def Leppard, AC/DC, The Corrs and Shania Twain?
He is, however, the perfect person to buff up Maroon 5’s lascivious pop, given that Adam Levine clearly fancies himself as something of a dirty old rock star.
The album begins with a puzzle. Misery might be an accomplished pop song, a clear hit, but it’s also 90% based on a hit they’ve already had: This Love. Its provocative placement at the gateway into this album’s garden of sonic delights is clearly designed to send a message – that they’re back and just as good as ever – but it’s not one they needed to bother sending.
The thing is, there ARE sonic delights on offer here. One listen to Out of Goodbyes, a sumptuous country/bossa nova duet with Lady Antebellum, should be proof enough that Maroon 5 know their way around the laboratory in which good pop songs are formulated better than most.
How and Don’t Know Nothing boast deliciously unexpected melodic twists in their choruses: a shrugged cadence of resignation in the latter, a surprise howl to the skies in the former. You have to be good at music to do this kind of thing.
Of course, there’s also a lot of evidence here that hard work, tunesmithery and competence can be a stifling influence. The Jack Johnson soul of I Can’t Lie and the big stadium balladry of Just a Feeling both suffer from a suffocating fug of quality workmanship, at the expense of any kind of personality or fun.
Whereas the rude guitar sleaze of Hands All Over, or the cocky glam-stomp in Stutter’s verses show a band who are really at their best when they play pop music like the sleazy rockers they clearly are. In Adam Levine’s mind, at least.


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