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It Won't Be Soon Before Long
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It Won't Be Soon Before Long
Current price: $19.99
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It Won't Be Soon Before Long
Current price: $19.99
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Maroon 5
's 2002 debut album,
Songs About Jane
, was the kind of hit that doesn't happen often in the new millennium -- a genuine word-of-mouth hit whose popularity grew steadily after its release, largely due to the sweet, sunny hit
"This Love,"
a song sly and catchy enough to stay on the adult
pop
charts for years without wearing out its welcome. It also was catchy enough to engender years of goodwill. Five years of goodwill, in fact, as the band toured heavily while slowly tinkering away on their second album, finally delivering
It Won't Be Soon Before Long
(its title perhaps a pun on the gap between records, perhaps not) half a decade after
. If that delay sounds like a symptom of sophomore jitters, that's not exactly true, since during that long stretch between albums
worked
and, in a sense, that album wasn't strictly their first album, either.
evolved out of
Kara's Flowers
, a
post-grunge
band whose 1997 debut never took off, not even when their debut was reissued in the wake of
Maroon
's success, but it did provide the group with the foundation for their success; it's where they paid their dues and learned how to be a
band. Traces of
could be heard in
's rockier moments on their debut, but under their new name, the group began to develop an infatuation with
blue-eyed soul
-
, which they wisely develop on
. More than develop, they modernize it, borrowing elements of
Justin Timberlake
's stylized synthesized soul, but
Adam Levine
is wise enough to know that he's no young colt, like
JT
. He knows that he's a
guy, somewhat in the tradition of
Hall & Oates
, but he isn't trying to be retro, he's trying to fill that void, making records that are melodic, stylish, and soulful, which
certainly is.
In every respect,
It Won't Be Soon
is a bigger album than its predecessor: hooks pile up one after another, there's not an ounce of fat on the songs, the production is so immaculate that it glistens. If there were lingering elements of
's
alt-rock
past on
-- primarily in its lazy, hazy vibe -- they're gone now, replaced by the sleek, assured sound of a band that's eager to embrace its status as the big American mainstream
band of the decade. But
isn't desperately grasping at the brass ring, they're playing it smart, building upon the core strengths of their debut and crafting a record that's designed to appeal to many different listeners, from teens crushing on
Nelly Furtado
R&B
makeover to adults looking for something smooth and melodic.
appeals to both audiences with an ease that seems effortless, but like any modern blockbuster, this album was shepherded by several different teams of producers, all brought in to emphasize a different personality within the group. The bulk of the record was cut with
Spike Stent
and
Mike Elizondo
--
Stent
worked with
U2
,
Oasis
Bjoerk
, and
Gwen Stefani
, while
Elizondo
had produced
Fiona Apple
Pink
-- but
Queens of the Stone Age
producer
Eric Valentine
was brought in for a couple of cuts, as was
Mark Endert
, who mixed
"This Love."
There may have been three different sets of producers, but the album is streamlined and seamless, never seeming calculated even if it was clearly made with an eye on mass appeal, and there are two reasons for that. First,
has gelled as a band, developing a clean, crisp attack that may bear traces of its influences -- there are knowing references to
Prince
the Police
, even
OutKast
sprinkled throughout (the keyboard on
"Little of Your Time"
is a direct nod to
"Hey Ya"
) -- but it's a sound that's instantly identifiable as the band's own signature. Nowhere is that more evident than in how they can give soulful grooves like
"If I Never See Your Face Again"
a
rock
edge -- or how they can suddenly explode into shards of noise as they do on the coda of
"Kiwi"
-- or how when the electronic instruments dominate the production, the music still breathes like the work of an actual band, not like something that was constructed on a computer. But like with any good
, the reason that this album works is the songs themselves. Even the flashiest production-driven tracks here -- the opening one-two punch of
"Makes Me Wonder"
-- aren't about feel; they're about the songs, which are uniformly tight and tuneful, sounding better with repeated plays, the way any radio-oriented
should. If some of the
ballads
aren't as distinguished as the livelier tracks, they nevertheless are as sharply crafted as the rest, and the end result is that
is that rare self-stylized blockbuster album that sounds as big and satisfying as was intended. ~ Stephen Thomas Erlewine
's 2002 debut album,
Songs About Jane
, was the kind of hit that doesn't happen often in the new millennium -- a genuine word-of-mouth hit whose popularity grew steadily after its release, largely due to the sweet, sunny hit
"This Love,"
a song sly and catchy enough to stay on the adult
pop
charts for years without wearing out its welcome. It also was catchy enough to engender years of goodwill. Five years of goodwill, in fact, as the band toured heavily while slowly tinkering away on their second album, finally delivering
It Won't Be Soon Before Long
(its title perhaps a pun on the gap between records, perhaps not) half a decade after
. If that delay sounds like a symptom of sophomore jitters, that's not exactly true, since during that long stretch between albums
worked
and, in a sense, that album wasn't strictly their first album, either.
evolved out of
Kara's Flowers
, a
post-grunge
band whose 1997 debut never took off, not even when their debut was reissued in the wake of
Maroon
's success, but it did provide the group with the foundation for their success; it's where they paid their dues and learned how to be a
band. Traces of
could be heard in
's rockier moments on their debut, but under their new name, the group began to develop an infatuation with
blue-eyed soul
-
, which they wisely develop on
. More than develop, they modernize it, borrowing elements of
Justin Timberlake
's stylized synthesized soul, but
Adam Levine
is wise enough to know that he's no young colt, like
JT
. He knows that he's a
guy, somewhat in the tradition of
Hall & Oates
, but he isn't trying to be retro, he's trying to fill that void, making records that are melodic, stylish, and soulful, which
certainly is.
In every respect,
It Won't Be Soon
is a bigger album than its predecessor: hooks pile up one after another, there's not an ounce of fat on the songs, the production is so immaculate that it glistens. If there were lingering elements of
's
alt-rock
past on
-- primarily in its lazy, hazy vibe -- they're gone now, replaced by the sleek, assured sound of a band that's eager to embrace its status as the big American mainstream
band of the decade. But
isn't desperately grasping at the brass ring, they're playing it smart, building upon the core strengths of their debut and crafting a record that's designed to appeal to many different listeners, from teens crushing on
Nelly Furtado
R&B
makeover to adults looking for something smooth and melodic.
appeals to both audiences with an ease that seems effortless, but like any modern blockbuster, this album was shepherded by several different teams of producers, all brought in to emphasize a different personality within the group. The bulk of the record was cut with
Spike Stent
and
Mike Elizondo
--
Stent
worked with
U2
,
Oasis
Bjoerk
, and
Gwen Stefani
, while
Elizondo
had produced
Fiona Apple
Pink
-- but
Queens of the Stone Age
producer
Eric Valentine
was brought in for a couple of cuts, as was
Mark Endert
, who mixed
"This Love."
There may have been three different sets of producers, but the album is streamlined and seamless, never seeming calculated even if it was clearly made with an eye on mass appeal, and there are two reasons for that. First,
has gelled as a band, developing a clean, crisp attack that may bear traces of its influences -- there are knowing references to
Prince
the Police
, even
OutKast
sprinkled throughout (the keyboard on
"Little of Your Time"
is a direct nod to
"Hey Ya"
) -- but it's a sound that's instantly identifiable as the band's own signature. Nowhere is that more evident than in how they can give soulful grooves like
"If I Never See Your Face Again"
a
rock
edge -- or how they can suddenly explode into shards of noise as they do on the coda of
"Kiwi"
-- or how when the electronic instruments dominate the production, the music still breathes like the work of an actual band, not like something that was constructed on a computer. But like with any good
, the reason that this album works is the songs themselves. Even the flashiest production-driven tracks here -- the opening one-two punch of
"Makes Me Wonder"
-- aren't about feel; they're about the songs, which are uniformly tight and tuneful, sounding better with repeated plays, the way any radio-oriented
should. If some of the
ballads
aren't as distinguished as the livelier tracks, they nevertheless are as sharply crafted as the rest, and the end result is that
is that rare self-stylized blockbuster album that sounds as big and satisfying as was intended. ~ Stephen Thomas Erlewine
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