Maroon 5 struck pop music gold in 2004 with Songs About Jane, a then 2-year old album that finally took off with the massive singles "This Love" and "She Will Be Loved." Massive worldwide success ensued, and 5 years on we now have It Won't Be Soon Before Long, a second collection of breezy funk/rock/pop songs that doesn't stray far from Jane, save for one key ingredient. While Jane was the work of a band with dreams of the Hollywood life, Long displays the confidence of a band now entrenched in the high life.
Likes its predecessor, the album is about the ups and downs of relationships, but the downs come with particurlarly sharp barbs here. First track "If I Never See Your Face Again" slides in with enough retro thump, guitar and keyboards to let us have a good time even if Adam Levine is bemoaning the loss of some hot girl. Infectious "Makes Me Wonder" is similarly bitter in lyric, but not in tone. It's funky enough to be the best song Jamiroquai never got around to making. A clear standout and great choice for the first single.
Reviews of the album have marked its sharp production, which shines throughout. "Little of Your Time," for example, includes prominent guitars whose sound just sparkles during the duration of the short track. Edgy "Wake Up Call" is purportedly the second single and reminds me a bit of "This Love." It's okay, but not one of my faves. I much prefer mid-tempo ballad "Won't Go Home Without You" (which will probably be the third single, a la "She Will Be Loved"). The verses are driven by crisp bass and piano, saving the guitar to punch up the chorus.
"Nothing Lasts Forever" was giving me a weird sense of deja vu until I realized why--it's chorus is taken from Adam Levine's vocals for Kanye West's 2005 single "Heard 'em Say." That settled, it's another nice tuneful mid-tempo track. Very tight too--in fact all the songs are pretty tight and pack in a lot of melody and hooks in short bursts. Only two songs cross the 4-minute mark (and just barely), and "Little of Your Time" is barely over 2 minutes. "Can't Stop" is another short one, bursting with energy and electric guitar, and a retro middle section.
"Goodnight Goodnight" is earnest, if not sexist, as Levine apologizes for having "hurt his little girl." It's got a great dark vibe, a gentler feel than most other songs, and it's nice to have the guitar playing take center stage, at least until the strings arrive. "Not Falling Apart" seems inspired by the police--its bass sounds like its out of "Every Breath You Take." It's another good one, even if it has the predictably louder chorus marked by piano chords and guitar chords.
"Kiwi" didn't really excite me, until it hits this sudden burst of electric guitar and other noise at the end, which then abruptly stops, but song doesn't quite end as there's a final keyboard effect. Interesting and uncoventional. Piano ballad "Better that We Break" returns to more conventional territory, and if they need it, would also make a great single--perhaps for next year's prom time. Even better though is final track "Back at Your Door." Very tuneful, if not soulful.
I actually ended up liking this album more than I expected to. While listening to it in the background I thought "this is fine, but not special." But after giving it a closer listen, I realized there's quite a lot to like here, little if no filler, tight production, a strong emphasis on melody, and some great singles. It's nice to see a band elevated to immense fame take the challenge seriously of staying on top of their game, which they definitely do here.
Best: Makes Me Wonder, Won't Go Home Without You, Back at Your Door, If I Never See Your Face Again, Better that We Break, Nothing Lasts Forever, Goodnight Goodnight, Not Falling Apart
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