Japan Lover

Right.

Today I’ve been not productive AT ALL at work and people had that look on their faces with they equally pity me and are happy for/with/along me for.

My dad and I were on a not-debatable kind of truce today because he knows for how hard I might try, there’s just ONE thing today that’s in my head.

And heart.

And all that comes along.

Yesterday we were having a BBQ at my parents straight as we came back from Naples (more later…) and as midnight stuck in I tried to check iTunes to see if it was already up.

NOPE.

So I went to bed knowing today I would have waken up soon (moving from my parental house along Karim to reach Milan requests always that…).

But I wasn’t mind.

Because I would have woken up by excitement at 5 anyway, you know.

YES.

After 14 months of awaiting (since they booked into with Mutt Lange in July 2009, yep) I FINALLY could listen to Hands All Over.

Because I NEVER heard any of the songs in beside Last Chance (live from the gigs of  tour last year, a single-off listening my friend Margherita forced me at, and which I regretted for months…) and even though I had all songs stored and saved because people send those to me from all the world, I never checked A THING before it was available for purchase.

In Italy, the deluxe edition is available from today.

Tomorrow I will ALSO download the Deluxe pre-ordered version from the AMERICAN iTunes (Italians have one bonus track more, the awesome cover they did of “A Crazy Little Thing Called Love!!)

About leaks, you know I HATE those so no way I would ever listen to anything from such a source.

It disgusts me and people *happy* about those leaks get all my despise too.

But even the preview they for first put on their MySpace was not checked by me.

Why?

Because I’m deadly serious about my favourite music.

The first listening to a new record from any of my very favourite artists is a holy moment for me, which I protect like an unborn child (I think every record is like a child, in fact…).

Therefore, there you go.

Get ready because I have listened to the album all day so far.

I have for a total 10 times yet (and going on) and I have all the elements SERIOUSLY to evaluate it.

I haven’t read any review: because, I don’t care, and because I’m more than able to review things myself in music ;).

Get into with me.

Sure, you can think that I’m biased but if any I would on the MORE STRICT with them.

Because if the privilege of being among my favourite artists is that I buy “CLOSED BOX” anything you put up, the downside is that I expect MORE than average ALWAYS especially from those.

There you go.

This is Maroon5 “Hands Al Over” Review (Deluxe version, with the European addition of A Crazy Little Thing Called Love”).

Being foreign to their language, I have someway the plus of being able to perceive “at first listening” only the musicality of a record, because it takes enough to me to pay less attention to the words as they’re spoken, and go with the flow of the notes ONLY.

Then I get to evaluate the lyrics, to see if they match the first feeling of emotional spectrum given out by the music.

You gotta understand the music has many layers of perceptibility: there is the esthetic value of a genre of sound, and then there is the proper “caracter and style” of a determined series of musical choices, instruments that better than others underline specific feelings (like, for instance, cellos which suggest melancholy and drama, violins which are romantically charged for their elusive sounding caress, distorced guitars that suggest force and rebellion, and so on and on…).

A great record twists with these elements of sound in a way all of them seems just FITTING the syle of the artist, the meaning of the songs, the vocal style the songs are delivered in, and the way the ones who heard it (not casually) naturally set up on the same patterns of feelings suggested by that music.

Independently, often, from the ability they may actually have to understand the spoken language of the songs.

This is a concept Mutt wanted the boys to get, and this is exactly what I am used to do since I firstly got into foreign music (age 7) and which I was trying to explain to you when I started saying at first listening I try not to pay attention to words (which doesn’t mean after I don’t CAREFULLY listen and evaluate them all, of course).

It’s a chemistry in progress and stabilization and once you grab it… “BAM”: you have something special in your hand.
Put your hands all over there then ;)…

Sadly people are often just too shallow to get such richness behind real music (I’m not talking about pre-made shit the charts are fullfilled with…).

Musically speaking, the work of Mutt Lange on this record is AWESOME.

It’s a proper journey into a love story, with all emotions covered, and that is why the ORDER the songs are put into the record matters.

In fact, if in 2002 we had “Songs About Jane”, it’s hard not to think this record might have been called “Songs About Becky (Ginos)”.

It’s actually natural: Adam puts in songs all of his own life, and the most important thing happened to him in the times he did write those songs (and I have no trouble placing among those also the lyrics for Gotten he gave to Slash for their collaboration, because I can totally see that song right after “How”, or before “Just A Feeling”, because the lyrics TOTALLY are from the same times, sure…) MUST have been Becky.

Sure, doesn’t mean all songs are totally or always about her… but camon. Most of them surely are.

Adam uses songwriting as a therapy to heal his heart and to find a way to escape and move forward from the past.

It’s one of the most precious outputs of being a songwriter, and that’s what makes him an artist in the first place: he colors his world through the nuances of his life filtering it: and allow us to sneak in and see what we can find that speaks about ours too.

And from all counts, that therapy worked again (he’s all happy now, isn’t he? ;)): moved on, found new love, ready to see if what he learnt from the feelings that inspired THESE songs will produce something new after (I so hope… an happy album talking about marriage and kids? That’d be adorable… but it’s not here that I should talk about it ;)…).

The spectrum of HAO, and now we’re back there, covers magnifically and deeply the way a man moving into his 30s had to handle the difficulties of finding a way to keep a meaningful relationship working.

And failing at it (gaining a new maturity from that failure, throughout pain you grow up, right?).

I can already imagine that many will complain about lacking of “sexual inputs” in these bunch of songs.

Beside the fact that their sexual style still there, I think it’s only NORMAL for the focus to be on more emotional bits than merely sexual ones.

When you move from 20 to 30, somehow you get that the sexuality is a powerful and fundamental thing in a relationship, but there’s all the rest that actually puts and keeps people together (it goes alone that if sex is not there, there’s NOTHING to build from the start… it’s just that at 30 you give that for given out, you don’t need to detail it so carefully anymore…).

And in this record, you get a couple of right-on-point notes from Adam about that, like rings he cannot give away, the fact he was able to love without wanting anybody to change, but never had the same vision from the counterpart, and the awesome confession that “Even if I don’t know nothing about love, I don’t mind dying trying to…”.

It’s an emotional path a truly romantic (yes, TRULY) man has walked onto, got taken up, got trashed down, tried it back and forth, and then realized that sometimes you met the right person at the wrong time, or the wrong person at the right time.

And all you can do about that… is save what you had learnt, and use it when you will next be able to.

There’s a burning passion in these songs, but differently from their previous records, it’s a more meditative kind of passion, and saying that, it’s clear that it’s an even deeper kind of passion, because it summonizes up to sexuality and physicity, all the affectionate and more adults accents to the word “passion”.

But let’s get back at the songs, musically first.

Mutt Lange was able to give coesive power to the numbers of influences Maroon5 always had on display.

It’s what makes me love them more for, but at the same time is exactly what prevents them from being worldwide and completely taken and accepted.

It’s like you can’t put them in an easy box, and this destroys the chance of having them covering the most commercial territory with ease.

It’s laughable to call them “too commercial”: they are far from that, and in fact even trying to be fully commercial, they would simply not reach the wanted outcome.

They CAN’T be commercial in full with such a rich and complicated sound (complicated in the sense of a too far reach).

To get the beauty of this record, you should actually be at the same time a REAL fan (not an occasional fan) of: pop, rock, indie, dance, clubbing, R&B, Soul and even Country.

For instance, out of all those influences, I’m only cold about Country.

And so, unsurprisingly, even if I do hear that it’s a beautiful song (it truly is), my last favourite (let’s say a 4 out of 5) is the Lady Antebellum’s duet.

But that’s MY taste: as you will see later in the precise review, I find the duest awesome, and the song warm and delicious.

It’s just that I don’t really feel the Country style, unless you are not called Neil Young.

And so I imagine what someone into only pop or only rock or only soul could think of this record.

The musical layers of this album are extraordinary clean and polished, but there’s no overproduction AT ALL and that’s one of the most amazing achievements of Mutt there.

Simplicity means elegance.

Especially right now that we are submerged by so much sonic tricks that hearing a song resembles something you should do while you float in the space.

Nothing wrong with that, except that this is an intimate feeling album, something that one should listen while living on planet Earth without wishing to belong to Vega.

Old fashioned?

Maybe, if old fashioned means BETTER than the average and especially better than the CURRENT TIMES average (which is pretty awful).

Mutt Lange brought off Maroon5 maximum versatility and honesty.

The result is a tight collection of songs that are EACH actually worthy of a single release (and also that is gonna cause trouble).

But the real thing is that each song gains more sense and value if listened exactly before and/or after the one that preceeds/follows.

It’s a story.

In chapters.

And all chapters have a great groove or sonic connotation that show how talented as musicians they are.

Then there’s Adam.

His way to be expressive with his voice has reached a full maturity too.

It’s intriguing, because years of touring have actually thinned his voice (he should so much take care of it… but I guess to make him stop eating chocolate and drinking coffee is not on the plans… like it isn’t having him doing daily streching excercise for vocal chords…oh, well ;)… its’ what every singer experience… see Bono, which has the same kind of thin voice), but as a singer he’s growing into stratosphere now.

He can give depth to any sentence in any song  just by slightly changing the timbric value, the tonal range, the uptempo or the downtempo like you can really perceive the feeling he was meant to translate into those sung lines.

And what really is fantastic is that when he knows he can’t stretch due to overuse of voice, he changes the melody to mantain STILL the emotional value of the verse sung, even in the total change of key and or dynamic.

Total POWER-ness of vocal ability.

TOTAL.

And Adam”s at the top of his expressivity in this album.

He truly sings his soul out and I was sure he would have since after I firstly heard Gotten.

If that was an indication of the album (because that was surely a lyric for this album), I knew I was ready to have magic in this record.

And I have.

The album starts from what’s MORE Maroon5 style and then it starts to departure (it’s not a departure actually, more like a developing), song after song, but delicately, so that is actually like you catch a flower of many layers (a rose?) blossoming and open up hour after hour to reveal all most beautiful colors and a total-ness to it.

At the same time, you get a clear storyboard: you have a previous relationship that breaks, which is Misery actually, with its perfect uptempo beat and the charmingly pain of Adam that sighs at you by maintaining his totally cool self as per usual (I tend to believe that actually both Misery and Give a Little More are among the last songs that he wrote off the bunch… for some reason the kind of depth there is more easy going, the level of intensity of music and lyrics is lovely, but nowhere as near to what will happen after. Which is why I believe none of these two are about Becky not even remotely. But it’s a guess, of course… it comes off from analyzing a song just like I would with a poem ;)).

Then you get the always on the prowl lover has started to move on and is in search of something new.

It starts with sex as per usual, because of course the first thing has to be physical… but in the groovy, very 70’s like Give A Little More the dance-y vibe already sublimates a moment of romance in disguise. I love the lyrics because as usual Adam’s able to depict so well an inmost moment of inner struggle within himself.

It’s like he TRIES to not get involved, but if you listen to this album, and even summonize it up with everything he has written about his life before, you actually know that he  is actually on the perpetual search for a soulmate.

Somebody, you will learn it after, “able to slow him down”.

This honesty is almost a double killing weapon.

But it produces great songs.

What is great about the starting up of the album, is that the songs progress as for greatness in sound and evolution as the story of this man in perpetual love trouble develops.

But you’re gonna be surprised by the way this time he’s gonna treat his outputs there.

Third song, and one of my very favorites here arrives.

Stutter has a totally amazing beat, and an infectious melody, with some genius changes of rhythmic choices and a beautifully sung main line. And then there’s that “Ss–SSs-Stutter” way he has to sing it that makes me go all awing.

It’s a song that has some resounding electronic beat but without anything of the cold gimmicks that have transformed the charts worldwide in the same song repeated by dozens of different singers (that anyway sound all the same thanx to AutoTune).

It’s modern without being fake.

And it depicts interactions of loving games awesomely.

I also love that Adam defines (and not only in this song, just because as I said this is an album that develops a story in CHAPTERS) the way this woman makes him realize he’s in dangerously spreading love mood by the term “shudder”: it means shaking, but in a way that implies someway terror along.

This is VERY psychological and again, crystally clear honest from him.

He WANTS to fall completely in love and being able to really give it up all for it BADLY: but at the same time, that sense of vertigo terrifies him.

I’m sure Catullo and his Odi Et Amo (or U2 along “With or Without you” which was inspired by it) somewhere up above looks at Adam and thinks “We know the feeling, buddy…” Love terrifies males as much as it is needed wildly by them to feel a sense of belonging finally.

I can say that after all the listening I would have SURELY picked up Stutter as first single.

It’s Maroon5 in total but unlike Misery it’s an happy song from top to bottom, in the sense not only the music is happy, but also the words are.

It’s a superb pop rock song.

Just flawless.

And with Stutter we are in that moment when love starts to match up with passion… the hesitations of Give A Little More are kinda bypassed, and the man is well trapped. Hear the wonderfully charming beat and a smile should appear on your face: again brilliant work in matching a feeling from the first note to the last word, but in a very classy, not banal way.

It’s a GREAT song.

From the fantasy world of expectations in Stutter, we move on and we have Don’t Know Nothing: our lover has a problem in giving also the requested SOUL after he’s starting to give all of his heart to this demanding new girl. Fancy how males don’t get that for females the two things are THE SAME…

This song is very 80’s sounding, not in the wave of Duran Duran or Electronic synthetizers: this song is very 80’s Lionel Ritchie and Stevie Wonder, groovy and flamboyant, and has that retrò nuance that matches its shortness awesomely.

There’s a dreamy feeling that stays after listening to it, like all these questions about this relationship are staying within our guy after a bad dream, or a sleepless night; something you cannot yet place fully in the reality or in the subconscious of him.

This one still a hopeful kind of song, in the sense yet nothing seems lost.

But it’s about to change, and again the sound of the next song is a further layer on the painting that is this record (Kanye West may be more able to convey the links between music and figurative arts, but the fact is Maroon 5 do it as well without saying it… maybe even without acknowledging it ;)).

Never Gonna Leave This Bed is the ballad that fits rightly as the middle approaches.

It’s reflective and the passion arises as some quarrel has apparently taken place between the boy&girl. The melody is softening but titillating.

The chorus is like a litigious yet totally lovingly argument that slows down and gets them back from discussion to a make-up bed.

You start to “feel” about this relationship: and it’s someway clear that in all that, the most vulnerable one, although not the most outspoken is definitely the one who wears pants.

You get that she is trying to rush him, but maybe she doesn’t get how involved he’s already, because she cannot understand how important for him is the way she’s able to “slow his demons down”.

Point is that the two conflicting ways of males and females keep collide “So you say GO, it isn’t working, and I say NO it isn’t perfect  so I’ll stay instead…”.

When the ballad starts its hypnotic prayer at the end, you really lie beneath a thundering storm of affection that risks to vanish in uncomprehensible pain… and the way it’s sung makes you really be part of all that.

Taking side.

Wishing along.

Reviving times when maybe YOU had to feel that.

That’s the way music reasonates with people, if people avoid to be simplistic.

Perfectly tied up with Never Gonna Leave This Bed (which was for me really reminding of Noel Gallagher when he was keen at American style of music (Standing On The Shoulders Of Giants era, just… naturally american)  is the follow up, the punching and hitting “I Can’t Lie” which reminds me a lot of a cross between Beach Boys meeting Semisonic or a 60’s version of Jack Johnson.

A song that is tearful, and where the pain tries to be put under that kind of forced shown joy (the happy thrilling music) just when you’re starting to hit rock bottom, but your friend say to you: ” Camon, get out with us, everything’s gonna be fine”… but you just can’t really stop being feeling miserable, even if you try to put up your okay face.

I Can’t Lie starts to make us see how much in Hands All Over pretty much all melodic stages of modern music are covered. This is white soul with a glam touch, really discrete.

And the lyrics are so revealing and open again you can watch a couple of lives through magnifying lens.

The one of the songwriter, and your own one trying to find back in your life something that matches the pain you suddenly feel as well along him singing.

This song is matching again some kind of retro vibe, but I guess what is that make it sound retro is just the fact this is real music where synth and autoshit has been put away.

I also love that Mutt Lange has diminished drastically the multi-layering over Adam’s voice.

It makes the entire set sound so much more personal, as his voice truly shines in its most pure sound, where you can appreciate all from breathing to sighs to whispers to cracking expressive cries.

At the middle of the record (the extras of the deluxe version are rightly a DIFFERENT part of the record, so the title track is in the middle), the shock and turning point of the record itself and of the story in stages the record depict.

Hands All Over is a proper rock song.

Adam uses the voice in a different way and again it reminds me a lot (the song, not his voice) of Oasis style of rock, which is classic Beatles melody matching some roughness. This song for some reason reminds me of “Underneath The Sky”, even though it has no link at all not even melodically… anyway in itself is one of the standouts of the record.

And here the relationship is gone, the man tries a different take, and it has that swagger of somebody who WANTS to feel okay knowing that he has dispositions for that, but with that tad of too much swagger that is determined by a suffering, tearing pain instead.

This song is amazing.

One of their best skills is that Maroon 5 can pretty much attempt ANY rhythmical pace.

Any. Single. One.

This versatility is so rare that shoud be cherished universally.

And again the way the record develops is like a journey through a composite land that still unique and a piece in itself.

But let’s go on.

The attempt at forgetting the one who cannot be forgotten and the “take on the wild side” has apparently failed.

Because the subsequent song, the completely fantastic “How”, just depicts in the most honest way a man who “doesn’t know nothing about love” (because he keeps losing it, allegedly) but “Doesn’t mind if he dies trying it”.

There’s a completely flattering merging of pop and soul directed inputs here; at the end the chorus sounds like a gospel prayer (and this is really matching Gotten feelings).

It’s one of those kind of sad songs that turns out to be hopeful; not because the story will end any better (it seems it won’t), but because you get from the symphonic building up of the music and the vocal that the man (in extended sense, it can mean a woman too) is anyway growing up through all that he/she’s passing as of late.

This song elevates you: and it’s one of most phenomenal vocals Adam ever delivered.

So deep it becomes ethereal.

So deeply his… it becomes deeply YOURS.

To get back to more uptempo territories, after the previous song has pretty much left you above on a high cloud (though while you’re crying…), it comes the sheer perfection of Get Back In My Life melody.

Our guy has tried… “distractions”… has failed to find them really mattering, has opened again his heart at somebody who allegedly has doubts about a new start and then more vigorously tries to explain the concept better (that’s very malish I have to say).

There’s a not veiled reference to a re-hook up (we could place it temporarily, but we are ladies and we won’t ;)).

This is a case of a song where the melody IS sexier and the way words are sung make them sexier than the words itself are meant to be.

And this truly is pure Adam’s style… Mutt has emphasized it to a wonderful extent: it’s Jackson-esque but at the same time this song is still rockier than you’d expect Maroon 5 to be.

And man, it’s such a pleasure to hear something like that…

After the blastering enthusiasm and confidence of this song though, and after apparently the trick HAS worked, the following song, which is awesome, start with a calmness that resembles a drop in an ocean.

It’s an aftermath, you can guess it straight as melody starts… but you get immediately it’s not a really happy one.

There are still tears to cry.

Because sometimes, simply, you cannot fix what’s not meant to work in the first place: “You said you wish you didn’t love me anymore” and words that have already been said that can’t be forgotten anyway.

“This is more than a goodbye”… and then the devastation just leaves you speechless, so much that you cannot even name that void you perceive when you realize what you wanted to obtain is lost to never return, no matter what you can try to get it back.

You’re mute, but you would love to try to name that void… and all yo remain with is a loop that tells you – as you get it bite your soul – that all you are at the moment is “just a feeling”… an unnamed feeling that you can’t face but that you can’t either let go.

Adam’s vocals in this song, especially in the most thoughtful sounds, so low and weighting, are simply exceptional.

He rips your heart apart and so you probably get to feel how HE was feeling when he was living that.

It’s a song that deserves all possible kudos: and the way he wrote it, makes me truly love him even more than I normally do.

It takes balls to depicts you that vulnerable, without sounding corny or fake.

“And in my darkest days when she refused to go away…”: there you go, you thought you had someone finally able to get the whole of you (that is what love should be all about) but now all is gone and ended.

And you still have that impossible to quantify pain and void that eats you and you become THAT feeling of unescapable despair you cannot even name.

Like a loop… ongoing… till when maybe one day, naming that feeling, you can start to actually move on from it (and that’s teh final line of the song, music less, when he faces that it’s over.).

And there you go, lovers are not lovers anymore, and a dark sound strikes in, metallic and cold, as cold must be the way the guy now feels after he lost it all, and the question comes suddenly and straight: “What am I supposed to do with my time?” Adam angrily ponders in “Runaway”, and he still tries to give himself reasons for things that cannot be sticking back together, and fiercely although broken has to find an escape.

In dark times, escapes can be just another name for a worst trapping, and he seems to acknowledge it in this tough tune, that still has an impeccable melody and killer lyrics, but thereyou go, that person is so hard to let go by, and he has to attempt something more again, as the darkened down rhythm takes a jump and becomes less heavy, without losing grip: “Don’t think it’s best for us to turn away and say goodbye, I have this feeling when I finally found the words to say, but I can’t tell you if you turn around and run away…”

Because to give something a true go again… you gotta be agreeing over it.

And when you start to have no more clues, it comes what it’s the closure of the regular edition.

Maroon 5 go Country with “Out Of Goodbyes” (well, their mentor is Graham Nash… of course they have a part of them dedicates to Country and Folk… and after all Americans all have that if they play guitars…) and create a delicate, masterfully sung, tender duet that mixes awareness with melancholic acceptance.

Adam Levine duets with Lady Antebellum’s singer and it’s pure sounding heaven.

And this comes from somebody who, has aI confessed, DOESN’T like Country.

But even if it isn’t my cup of tea, gotta admit the song is classically beautiful and touching, and a perfect “teoric” closure of the record.

Except that it’s not… because you surely keep asking yourself something about this all at this point.

One at this points wonders WHAT makes this relationship so hard to be put back together, because if you are the average girl you just think once somebody like Adam Levine bleeds for you, you pretty much can’t ask for anything more, right?

WRONG. And Adam knows well what it is that generally ruins his chances at forever happy life.

He uses the opening lines of the next song, “Last Chance” to express which ones might be the conflicting points: ” I’m sure that he could give you everything, stability and diamond rings… all the things I do not have…”.

There you go.

While on the previous records the reasons of breakin up generally were left to the magination, in this record, which is more mature as for sound and definitely lyrics wise, you get to finally know what is that tarnishes the joy in LaLaLand of Mr. Levine.

It’s called “clingy-ness” or from the point of view of the female trying to get that ring on it, you could also call it “messy Peter Pan Syndrome”.

Of course these are all attempts at interpretation, but the point is in this record more than in all others, you really understand a scene.

You get a complete story, in all honesty. Because this vigorous, steamy track still impressively sincere.

This last chance he sings about is at both end’s takers, and at this point the game love is becoming kind of a poker play, because if he finds hard to let her go, it seems that no matter if she allegedly got somebody else, she also cannot really close up all doors to the one “who doesn’t like to lose”.

The rhythm of Last Chance gets vanishing into “No Curtain Call”, a song that has a drumroll in PURE Queen style (great job, Matt!) and not strangely, considering the location Maroon 5 recorded at, and the past of Mutt Lange.

This song alone would deserve a single, but the level of the album is so tight and high that this is (and so was the previous) a track for the special edition originally.

It’s an heavy, yet groovy and passionate song.

The song claims there won’t be curtain calls, and the chorus is so emotional, but in fact you REALLY get that this love has got to see lights go off, just when he sings it won’t.

It’s a dramatic song, and the drums and the spacious basslines make you have thumbling heart as he sings his countdown, and you know there’s no happiness after it.

Not this time.

But maybe next…?

The no curtain call isn’t for that specific love, which has actually to call its death in: it’s for the concept of love in general.That assumption, that you may be losing the greatest of love, but that doesn’t mean you have EVER to give up on love, is the true message of the record.

And the closure (the way it closes before the extras that I will just mention) is so apt for a wonderful, mattering, meaningful performance.

After the songlists there are the bonus tracks of the special version (The European edition has one more): you get wonderful acoustic versions of Never Gonna Leave This Bed, where the purity of the ballad gets enriched by the stripping down of instrumentals, the acoustic version of Misery (same as above, and you see how Adam twists the melody to fit the moods), the MAJESTIC cover of If I Ain’t Got You of Alicia Keys, the fantastic ghost track for Europeans that is the cover (completely awesome) of A Crazy Little Thing Called Love and – this in all editions deluxe – the beautiful, soulful, R&B colored The Air That I Breathe.

These songs let you see that hope stays in the core of the always on the prowl lover.

We’re pretty much sure this pain will make you find faster his real soulmate.

But until he won’t, we know we’re glad Adam bleeds along us, and let us have more wonderful songs to feel ours.

This record is BY FAR the best Maroon 5 have ever created.

Whomever may disagree, has SERIOUS trouble with real music.

But it ain’t my case.

And hopefully ain’t YOURS.

Now go get the record. ASAP.

My rate? 9.2 out of 10.

Now after I have shared the review, I will try to put up things that are left from the bunch of past days.

Funny how everything seems so less important than listening to a record, even though I had one of the greatest weekends ever…

But let’s go in line.

As per usual.

First of all, JOIN Maroon 5 and sweet Anne for the ONE campaign to end HIV for newborn children by 2015.

Then let’s try to briefly recap.

After the Paris rematch of the lovers, Adam did with K’naan Taratata in Paris (you will get some of that in next updates, today of course review took my whole time and space).

Paris was really beloved by Adam, also because who wouldn’t stay there a bit longer with your girlfriend?

Anne in fact did NOT leave after 20 hours to London.

Oh, no… 😉 they had three towns in three days, because before reaching Naples for the Coca Cola The Summer Song, they briefly touched down in Berlin too.

Being with Anne suggested strange ideas to Adam about future children’s names… not that his idea wasn’t taken up by someone else of course 😉

But being with Anne surely had other pluses.

As soon as she detailed she was coming as well to Naples, I had the widest of smiles: they are GORGEOUS seen together.

Pure and simple: a perfect couple under every angle you decide to watch and feel them with: and I’ll stop myself here.

You gotta just see that with your very own eyes: they sparkle together… it’s almost unfair for normal looking rest of the world 😉 (oh, and it looks like they took my suggestion for Zi’Teresa which was so near to Vesuvio hotel and Via Chiaia anyway 😉 and allegedly on the war between French Food and Italian one… Italian won hands down both with Anne and with her man ahahah! ;)) and that’s the upper view from the suite terrace, if you wonder 😉

Oh…

I have lots of small notes to say about their saturday (and mine, though you know through Twitter), but I think that it can be summonized by the video Margherita sent me from the MTV broadcast.

The audio there is AWFUL (live it was way better) but you get the amazement of the host anyway (Valentina Correani is as tall as me… and as me she was bewildered by Adam… no good for her man 😉 mine at least is used to… LOL) while somebody should anyway start to point out that “Levine” is pronounced “Lev-y-ne” and not “Lev-i-ne” as for the rhyme with Divine… though one can understand the connection ;)).

Anyway when Adam and K’naan dueted on Bang Bang I was like over the moon 😉 and both of them were delighted about that, too!

Take a look… slightly untiming is due to my friend unability to record stuff on DVD 😉 sorry (Marghe!!!! ;)):

(by the way, the show in itself had only a great Marco Mengoni… I liked N.E.R.D. and K’naan as well though… other than that, the only good thing and deserved was the MOST than deserved critic praise and prize of Cesare Cremonini’s Mondo. ;))

Okay.

This week they have tons of things to record in USA so I will come with another update soon, but by now I’m dead and need to cuddle with Karim: we’ve heard this record 13 times in full by now (he LOVES it!!!) and we’re inspired.

260 Maroon 5 songs ONLY today 😉 LOL.

It’s been a great day.

Go buy this and LOVE it.

PS: Italian translation… tomorrow 😉

Bye and Let Love Rule!!!!

Z. 🙂