Wednesday, October 2nd, 2019

Maroon 5 – Memories

Midnight, not a sound from the pavement, has the maroon lost her memory?


Alfred Soto: The light reggae skank and motion toward career-required melancholy are as inevitable as Adam Levine’s reference to drinks bringin’ back memories: how else would he remember anything?

Wayne Weizhen Zhang: Ironically, their most forgettable single to date. 

Hannah Jocelyn: I literally forgot I was listening to this as I was listening to it. Jon Bellion clearly knows how to write a chorus, so his appearance on the credits list is disappointing. “Memories” sounds like Ed Sheeran without Sheeran’s insufferable but at least memorable quirks, but the thing I do remember from multiple listens is Adam Levine’s inability to say “you,” which is somewhere between Coach Z saying “job” and Benedict Cumberbatch saying “penguins.”)

Katie Gill: I know that pop music uses the same four chords for 75% of its output, but at least Green Day and Vitamin C put some effort into tweaking & hiding their blatant Pachelbel copying.

Joshua Minsoo Kim: I regret to inform everyone that Maroon 5 has made a Vampire Weekend song that’s more memorable than the majority of Father of the Bride. The interpolation of Pachelbel’s Canon, punctuated by upstrokes; the sampled cheering that’s present for most of the song; the entire topline, do-do-dos included–are we sure Ezra wasn’t involved?

Tim de Reuse: Oddly agnostic as to the content of the memories referenced, and mostly soulless as a result. The dubbed-in crowd noises read as a little bit desperate; are you trying to make sure we don’t forget that you’re a triple-A stadium rock act, guys?

Jackie Powell: Once again Maroon 5 continues to baffle me. Producers The Monsters & Strangerz were behind dynamic pop songs such as Nick Jonas’ “Levels” and the Zedd and Maren Morris Grammy Nominated Collaboration “The Middle,” but this is underwhelming. Maroon 5 is yearning for a minimalism that they achieved beautifully from 2004-2011, and I appreciate that the actual instruments are taking center stage here. But Adam Levine’s vocals sound emotionless, ironic on a cut that’s attempting to be honest and vulnerable. Levine’s vocal range and finesse functions best when he sings without any restraint, but here it almost sounds as if he’s singing through a straight line. I’d prefer to hear some harmonies from original members Jesse Carmichael and James Valentine, who used to provide texture to Levine’s tenor. That texture is something that the band ought to return to if they want to resume their role as musicians with integrity, which is a title they haven’t worn in almost nine years.

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