When I remember I had the chance to see these guys play a bar. A bar! They closed for Jason Mraz. My only consolation is that I was 16 and was, obviously, not the driver for the night, so it was somebody else's bad decision to go home. A driver's license is a great thing.
"Hands all Over" is wall to wall muscular rocky pop with thoughtful lyrics and groovy melodies that go down easier than lemonade on a sticky summer afternoon.
The moody lead single "Misery," with its lyrics and melody in wedded bliss, enters the head and simply will not leave. It is far from the only such track on the CD.
"Give a Little More" sparkles and shimmers with Adam Levine's smooth, soulful crooning (including vocal flourishes that bring Michael Jackson to mind) and frenetic, dance floor-ready energy, while the yearning ballad "Never Gonna Leave This Bed" is likely to burn up both radio playlists and the hearts of (mostly female) listeners.
"I Can't Lie" is immaculately arranged and produced with a pop-savvy fusion of doo-wop and indie rock flavorings, while the title track is an intriguing lesson in contrast - icy in texture and arrangement, with hard guitars and pronounced drums, but stark and vulnerable in its lyrics. "Out of Goodbyes" with Lady Antebellum is a saddening slow-burn.
"Runaway" pulses and seethes under the weight of its nervous energy as Levine sings of the pain of being deserted by his love without an explanation ("But I can't tell you if you run away, runaway"), and the forceful, idiosyncratic, downright infectious "Get Back in My Life" would sound particularly well among the tunes on 2002's "Songs About Jane."
There are so many strong moments here that it is difficult to pinpoint particular highlights. This is not the kind of album to spin before bedtime. One of these catchy melodies is bound to induce insomnia.
The deluxe edition extra tracks are worthwhile. "Last Chance" is a slow-burning rumination on tactile pleasures - it would have made an excellent B-side in the days of CD singles. The slightly overproduced but remarkably impassioned "No Curtain Call" is just as strong.
The acoustic renditions are so breathy, organic and well-wrought (especially "Never Gonna Leave This Bed") that a whole disc of these would have been welcome, and their live recording of Alicia Keys' "If I Ain't Got You" pays the R&B songstress a great compliment with its sincere, soul-searching approach that emphasizes the poetic brilliance of her lyrics.
Against all odds in 2010, Maroon 5 are a perfectly solid group of musicians who can hit the Top 40 and fill major concert halls without selling out. "Hands all Over" was clearly labored over, and it is worth your time and money. Hands All Over
One month. Two favorite bands. Two new, long-awaited albums. One kicks ass, one sadly disappoints. If you'd told me Kings of Leon and Maroon 5, I'd have bet that KOL was the winner. Wrong-o. My wife, myself, and our two daughters agree on little when it comes to music, but all 4 of us can't stop playing Hands All Over. Even the dog perks up when Misery comes on.
Serious stuff? Nah. Polished, fun, danceable? Big time. Best party album since The Ting Tings. It's even stopped certain family members from playing Lady Gaga all day. If for no other reason, I'd give this 5 stars.
Mutt Lange has a knack for making it all sound effortless. He knows the formula and can turn out tunes with that "fresh from the farm" feel. This is a good and bad thing. For years he spent glossing up the hits for Shania Twain but you don't have to look far into the Twain cataloge to see that the content is about as deep as a puddle.
"Man! I Feel Like A Woman!" "Don't Be Stupid, You Know I Love You!"
Not exactly profound word play. But the man is a radio friendly hit-machine with those not searching too deep for quality.
But, I digress. Lange didn't write the songs on Hands All Over but he might as well have. With the exception of a few tunes, everything has been done before and done better. HAO is really all over the place. The lack of any cohesion isn't the problem, though nothing fits together. The downside for me was the overwhelming corniness.
"Misery" has a catchy hook, perfectly crafted for radio but something screams "This Love 2010". I like it for what it is - radio friendly.
"Get Back In My Life" is Squeeze-revisited. Squeeze circa 1985. Bouncy, lively and only missing the cheeky delivery of Glenn Tilford.
"Out Of Goodbyes", featuring Lady Antebellum, starts out like a weeper and ends in a wimper. What should be a harmonious blending of vocals turns monotone fast.
"Hands All Over" tries really hard to be an anthem. The lyrics are really cheesy and, diehards might not agree, it lacks any sex appeal M5 fans come to expect. With a title like that, I sort of expected the signature "obscure dirty".
This isn't a hand on a thigh. It's a pat on the head.
"Last Chance"...seriously? The lyrics are just oh-so-bad.
"I bet that he could give your everything/Stability and diamonds rings/All the things I do not have/I know you can't handle that."
"I Can't Lie" is growing on me but it sounds dated. I've heard this before, much like "Get Back In My Life". Only this time, it's more Motown then Brit pop. I could hear Smokey Robinson singing this. In 1965.
"Never Gonna Leave This Bed" could've been recorded by Journey. Of course, it would've been a little faster and far more passionate.
"Stutter" sounds like a novelty tune in the same vein as "Stacy's Mom" by Bowling For Soup. I expect a video of all the boys, leaning on a wall, snapping their finger in unison while wearing Ray Bans and leg warmers.
"Give A Little More" is perhaps the best song on the album. Adam Levine's voice is flawless. This is HAO's "Makes Me Wonder". A little funky, a little sexy and alot catchy.
"No Curtain Call" (available on the deluxe edition) is my second favorite song on the album. No sure why this wasn't part of the original 12 tunes selected because it should be. It's far more captivating than alot of the songs that made the original cut.
The acoustic verison of "Misery" (available on the deluxe edition) is a huge letdown. This is where Lange's production comes in. Acoustic usually feels a little more free-form, a little edgier. This acoustic tale doesn't feel acoustic at all; like it's not instruments but a generic digital recording. A music bed you would hear in a commercial for Pringles.
Lastly, the cover of Alicia Keys "If I Ain't Got You" is lovely and safe. Levine's voice is in fine form. It's a straight forward cover. No special M5 infused flavor. I'm not a Keys fan, so I have to say M5's cover is far superior to her yelling/singing.
All and all...a bit of a letdown. There are a few sparkling gems but missing is that signature M5 smirk. Like your privy to the inside joke. With "Songs About Jane" and "It Won't Be Soon Before Long", I felt like we got into the mind of the band and for 45-50 minutes, hung out. HAO is all formula with little payoff.
3 stars for Adam Levine's voice and the few tunes that deliver the happy ending.'
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