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Track List
01) One More Night
02) Payphone
03) Daylight
04) Lucky Strike
05) The Man Who Never Lied
06) Love Somebody
07) Ladykiller
08) Fortune Teller
09) Sad
10) Tickets
11) Doin' Dirt
12) Beautiful Goodbye
13) Wipe Your Eyes
14) Wasted Years
15) Kiss
16) One More Night (Sticky K. Remix)
17) Payphone (The Others Remix)
01) One More Night
02) Payphone
03) Daylight
04) Lucky Strike
05) The Man Who Never Lied
06) Love Somebody
07) Ladykiller
08) Fortune Teller
09) Sad
10) Tickets
11) Doin' Dirt
12) Beautiful Goodbye
13) Wipe Your Eyes
14) Wasted Years
15) Kiss
16) One More Night (Sticky K. Remix)
17) Payphone (The Others Remix)
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Data Complete
80%
Total Rating
80%Total Rating
(3 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2012
Pop-Rock
Gentle
Rock/Pop
---
Medium
Album
1,100,000 copies
Album Description
Available in:
Click yellow EDIT Button add one in English or another language
User Album Review
Everyone has friends that don’t wish to keep up with the daily goings-on in global popular music, but like the odd update now and again so as not to feel left out and fossily. Maroon 5 are fast becoming their perfect band, being a fairly reliable and glossy barometer of how modern pop songs work – give or take a dubstep breakdown here or there.
So if the melodies on their fourth album have become more fragmented and repetitive, that’s because pop music tunes have gone that way too. One More Night’s melody can’t go more than a bar or two without repeating – as if the band is worried it may forget itself – or getting stuck on a Morse code note for a while, just like a Rihanna song would.
And if their choruses have abandoned the strutting cockerel heat of This Love in favour of the saturated rave bliss of Love Somebody or The Man Who Never Lied, that’s simply the effect of market they have chosen to operate within.
They are also keenly aware that today’s pop does not require much in the way of unattended music. Adam Levine fires up that nasal yelp as soon as the song begins, and does not let up until the fadeout. Wiz Khalifa (guest rapper on Payphone) gets more space at the front of the stage than the rest of his band do.
The exception is the Jacko-channelling (and distinctly old-fashioned) Ladykiller, which boasts an actual guitar solo. Otherwise every passing second is a vocal battle against a declining attention span, like a clicked finger in the face, forever.
Even the sequencing of the songs betrays this fear. All the compressed pop bangers – worked up with proven song-finishers like Ryan Tedder, Savan Kotecha and Brian West – are at the front, so you don’t wander off too soon.
If you think these factors combine to suggest a collective lack of confidence or personality, take heart: Overexposed boasts cover art so kaleidoscopically brash and ugly it makes you grateful for the decline of vinyl.
External Album Reviews
None...
User Comments
Available in:
Click yellow EDIT Button add one in English or another language
User Album Review
Everyone has friends that don’t wish to keep up with the daily goings-on in global popular music, but like the odd update now and again so as not to feel left out and fossily. Maroon 5 are fast becoming their perfect band, being a fairly reliable and glossy barometer of how modern pop songs work – give or take a dubstep breakdown here or there.
So if the melodies on their fourth album have become more fragmented and repetitive, that’s because pop music tunes have gone that way too. One More Night’s melody can’t go more than a bar or two without repeating – as if the band is worried it may forget itself – or getting stuck on a Morse code note for a while, just like a Rihanna song would.
And if their choruses have abandoned the strutting cockerel heat of This Love in favour of the saturated rave bliss of Love Somebody or The Man Who Never Lied, that’s simply the effect of market they have chosen to operate within.
They are also keenly aware that today’s pop does not require much in the way of unattended music. Adam Levine fires up that nasal yelp as soon as the song begins, and does not let up until the fadeout. Wiz Khalifa (guest rapper on Payphone) gets more space at the front of the stage than the rest of his band do.
The exception is the Jacko-channelling (and distinctly old-fashioned) Ladykiller, which boasts an actual guitar solo. Otherwise every passing second is a vocal battle against a declining attention span, like a clicked finger in the face, forever.
Even the sequencing of the songs betrays this fear. All the compressed pop bangers – worked up with proven song-finishers like Ryan Tedder, Savan Kotecha and Brian West – are at the front, so you don’t wander off too soon.
If you think these factors combine to suggest a collective lack of confidence or personality, take heart: Overexposed boasts cover art so kaleidoscopically brash and ugly it makes you grateful for the decline of vinyl.
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