After listening to the new John Mayer album constantly since it arrived on my doorstep, I've come to the conclusion that Battle Studies is a terrible title. A better one would be "The Curious Case of John Mayer." Why? Because in the constant duality that is John's universe, somehow this album manages to take a step forward (musically) and a step backwards (thematically) at the same time. Leave it to John to perform that feat and still have me end up thinking, "Damn, but the bastard is talented."
In a way, 2006's Continuum almost set John up for failure this time around. That album was so strong, top to bottom, that it had to be hard to envision a follow-up that could top it. And in fairness, I don't think John really tried to accomplish that. I think he set out to make a good set of pop songs that most people would like listening to, and in that respect he succeeded. But for hard-core Mayer fans like myself, the stakes are higher, and for that reason this album left me happy, but not completely satisfied.
Long time Mayer followers are well aware our muse has a split personality - half lovelorn balladeer and ladies man, half second-coming of Clapton-guitar God stature shredder. Part of the greatness of Continuum was it's ability to merge the two sides so seamlessly they seemed made to be together. In the case of Battle Studies, much of the music is stunningly beautiful, but the heartbreak feels forced and too overwrought to be sincere. Make no mistake about it - no one crafts more intelligent and insightful lyrics than John Mayer, and the ladies (present company included) that swooned over phrases like "I'll never let your head hit the bed without my hand behind it" will find plenty to like here. Whether the emotion is real or contrived is the question.
Musically, the guitar is still the center of the party, although the sounds are more varied on this record than anything John has used before. His past efforts have included a very distinctive Stratocaster sound which is sadly missing on this record. Yet the choices are unique and beautiful across the board, and I'm liking this slightly different side of my favorite guitarist. Keyboards are also much more prevalent in the mixes this time around, and although not credited in the liner notes, there are additional backing vocals that do a nice job rounding out the sound.
In a way, 2006's Continuum almost set John up for failure this time around. That album was so strong, top to bottom, that it had to be hard to envision a follow-up that could top it. And in fairness, I don't think John really tried to accomplish that. I think he set out to make a good set of pop songs that most people would like listening to, and in that respect he succeeded. But for hard-core Mayer fans like myself, the stakes are higher, and for that reason this album left me happy, but not completely satisfied.
Long time Mayer followers are well aware our muse has a split personality - half lovelorn balladeer and ladies man, half second-coming of Clapton-guitar God stature shredder. Part of the greatness of Continuum was it's ability to merge the two sides so seamlessly they seemed made to be together. In the case of Battle Studies, much of the music is stunningly beautiful, but the heartbreak feels forced and too overwrought to be sincere. Make no mistake about it - no one crafts more intelligent and insightful lyrics than John Mayer, and the ladies (present company included) that swooned over phrases like "I'll never let your head hit the bed without my hand behind it" will find plenty to like here. Whether the emotion is real or contrived is the question.
Musically, the guitar is still the center of the party, although the sounds are more varied on this record than anything John has used before. His past efforts have included a very distinctive Stratocaster sound which is sadly missing on this record. Yet the choices are unique and beautiful across the board, and I'm liking this slightly different side of my favorite guitarist. Keyboards are also much more prevalent in the mixes this time around, and although not credited in the liner notes, there are additional backing vocals that do a nice job rounding out the sound.
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Track 1: Heartbreak Warfare
This is one of the songs on the album that feels the most immediately radio friendly. The music is so catchy, I wish the theme was more upbeat. Although this IS a clear winner in the creative lyrics sweepstakes. Anyone who can work in the lines "Red wine and Ambien/You're talking shit again" to a song has some serious lyric writing chops. The synthed-up intro hooks you and doesn't let go, so in the end it gets a thumbs up, and provides a solid start for this record.
This is one of the songs on the album that feels the most immediately radio friendly. The music is so catchy, I wish the theme was more upbeat. Although this IS a clear winner in the creative lyrics sweepstakes. Anyone who can work in the lines "Red wine and Ambien/You're talking shit again" to a song has some serious lyric writing chops. The synthed-up intro hooks you and doesn't let go, so in the end it gets a thumbs up, and provides a solid start for this record.
Track 2: All We Ever Do Is Say Goodbye
For me, the vocal harmonies in the chorus are the big draw of this song. They're simply gorgeous, and when I close my eyes it sounds almost reminiscent of The Beach Boys. "I love you more than songs can say" is the kind of lyric that hooked legions of fans in the Room For Squares era. Overall though, the thematic tone of the song is a serious downer.
For me, the vocal harmonies in the chorus are the big draw of this song. They're simply gorgeous, and when I close my eyes it sounds almost reminiscent of The Beach Boys. "I love you more than songs can say" is the kind of lyric that hooked legions of fans in the Room For Squares era. Overall though, the thematic tone of the song is a serious downer.
I was prepared not to like this track just because of Taylor Swift's involvement. Not that I don't like her, but because the whole concept of having her guest on the album just seemed too gimmicky, and maybe even beneath John's talent level. But I like it, the lyrics are tongue-in-cheek romantically ("Half of my heart is the part of a man who's never truly loved anything"), and it's gonna be an instant hit. This track was made for radio. Taylor really just comes in dominantly at the end, but if you listen closely you can hear her singing along with the entire chorus.
Track 4: Who Says
John debuted this little ditty at the "Secret Show" I saw at the Troubadour back in August , and based on this recording it was pretty much finished by the time I heard it performed. He tweeted at the show that he was finishing the lyrics in the bathroom, but I'd have to dig up the bootleg recording I made of it at the show to tell you for sure. Musically, it feels like a reworked version of Stop This Train from Continuum, but I suspect the lyrics most honestly reflect John's current romantic notions ("I don't remember you looking any better/Then again I don't remember you"). Cheeky and cute, it would be a radio hit except for the references to getting stoned. Always the rebel....
John debuted this little ditty at the "Secret Show" I saw at the Troubadour back in August , and based on this recording it was pretty much finished by the time I heard it performed. He tweeted at the show that he was finishing the lyrics in the bathroom, but I'd have to dig up the bootleg recording I made of it at the show to tell you for sure. Musically, it feels like a reworked version of Stop This Train from Continuum, but I suspect the lyrics most honestly reflect John's current romantic notions ("I don't remember you looking any better/Then again I don't remember you"). Cheeky and cute, it would be a radio hit except for the references to getting stoned. Always the rebel....
This track features a more bluesy sound reminiscent of Continuum. Come to think of it, this song would have fit in perfectly on the last album. The chorus is catchy, and features more nice vocal harmonies. This has potential to turn into a great concert singalong at shows this winter..."I'm perfectly lonely....yeah."
It took me a while to get into this track, because there's a lot going on. The obvious grab is the storytelling nature of the lyrics, which cast John as a stealthy Lothario leaving a trail of broken hearts in his wake, until he meets his match in female form ("I'm an Assassin and I had a job to do/Little did I know, that girl was an Assassin too"). Combined with the music, the song feels like a smoky bar tryst on a foggy night by a river somewhere. Then the guitar solo hits, the underlying groove picks up, and I picture John soloing the shit out of this in concert. And dammit, it whole thing just works. The Assassin hit his mark. I'm toast.
This cover of the Robert Johnson blues classic is interesting as a stand-alone piece, but it's inclusion on this album left me scratching my head. Where the Jimi Hendrix Bold As Love cover fit Continuum perfectly thematically and musically, this song accomplishes neither. The deconstructed, synthed out guitar sound is a brave and interesting choice, but John has covered this song so many times in concert SO MUCH BETTER. It feels like something thrown in at the last minute to satisfy the hard core guitar folks that are gonna buy this record hoping for another John Mayer Trio project. Either that, or Steve Jordan and John were sitting in the studio sequencing the record and said, "Man, this album is a BUMMER...it needs some energy" and decided the toss this in to bring the excitement level up a little.
If Crossroads left me scratching my head, this song didn't restore my faith that things would get sunnier. Thematically, this song is a huge downer, and the music doesn't contribute anything interesting. Determined to give it a chance, I listened to this song over and over to make sure I wasn't missing some hint of buried genius. I wasn't. By far, the low point of the record and the one true throw-away song on this album.
Track 9: Edge of Desire
This is romance as only John Mayer can do it - conflicted and passionate but not syrupy ("Don't say a word, just come over and lie here with me"). "I want you so bad I'll go back on the things I believe" is my favorite lyric on the entire record, and the music has the potential to be big and anthemic played live. Or it could be stripped down, played acoustically, and rip your heart out. This is why I love John.
This is romance as only John Mayer can do it - conflicted and passionate but not syrupy ("Don't say a word, just come over and lie here with me"). "I want you so bad I'll go back on the things I believe" is my favorite lyric on the entire record, and the music has the potential to be big and anthemic played live. Or it could be stripped down, played acoustically, and rip your heart out. This is why I love John.
This track is simple, beautiful, and meditative. The guitar arpeggios flowing under the chorus are the musical high point of the album for me, and the lyrics are like a little poem set to music. The entire feeling is like a beautiful dream, and I love it more than I probably should. It's music for cuddling in front of a fire on a rainy Sunday afternoon.
Track 11: Friends, Lovers or Nothing
Another radio friendly pop song, without too many bells and whistles and just the right amount of guitar. And damn you John, it's catchy and the lyrics are honest with a touch of well placed humor ("You whisper 'come on over' 'cause you're two drinks in) It's as upbeat as anything else on the record, and feels like the right place to end thematically.
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The bottom line is that once again, John Mayer proves he's the king of mid-tempo, well-crafted pop songs. Battle Studies isn't the best album John has made, but it's still worth the investment, even if you're not an ardent fan. And his current reputation with the ladies aside, the likelihood is that the longest love affair John will ever have will be with his guitar. I, for one, like it and hope it stays that way.
Another radio friendly pop song, without too many bells and whistles and just the right amount of guitar. And damn you John, it's catchy and the lyrics are honest with a touch of well placed humor ("You whisper 'come on over' 'cause you're two drinks in) It's as upbeat as anything else on the record, and feels like the right place to end thematically.
*********************************************
The bottom line is that once again, John Mayer proves he's the king of mid-tempo, well-crafted pop songs. Battle Studies isn't the best album John has made, but it's still worth the investment, even if you're not an ardent fan. And his current reputation with the ladies aside, the likelihood is that the longest love affair John will ever have will be with his guitar. I, for one, like it and hope it stays that way.
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