Somewhere between rockin’ out with music legends and canoodling with Jessica Simpson, John Mayer started making music for himself.
Mayer was always one to wear his influences on his sleeve and when it came to Stevie Ray Vaughan, he wore them on his face during guitar solos. Conversely, on his third major label studio album Continuum, Mayer no longer filters these influences through what he thinks would be popular. The result is Mayer’s most soulful and moving album of his career.
Mayer recently made comments about issues he had with his back catalog. He alluded that, in the past, his music sounded dated. Don’t worry, he isn’t ready to give back his Grammy awards any time soon, but he is preparing to take his sound in a new direction.
This move was clear for anyone who heard his last effort, a live album featuring a more passionate version of Mayer – a huge step from his coffee house days. Mayer has his sights set on soul music.
Continuum is more Marvin Gaye than Jason Mraz, which is made apparent by the album’s opener and first single “Waiting on the World to Change.” The song mixes a cool R&B groove with Mayer’s most socially conscious lyrics of his career.
With this song and others on the album, Mayer makes a surprising late run for the voice of our generation. His lyrics show a maturity that’s a marked improvement on his past work.
Gone are the cute but verbose lyrics perfect for sorority girls’ away messages. Instead, a refreshing plain-spokeness enables the words to have a greater impact and truly resonate. Additionally, the topics Mayer meditates on are bigger than his love-obsessed past. Bodies are no longer wonderlands; they are conflicted, trying to find their places in this tumultuous world.
Musically, the growth is clear as well. No longer is he trying to see how many chords he can fit in a measure. He gives the instruments more space to shine – particularly his guitar. Mayer’s lyrical guitar solos are his most emotive to date. His fiery solo on the Jimi Hendrix cover “Bold As Love” is nothing short of inspiring.
Continuum also marks Mayer’s most confident use of other instrumentation, particularly organ and piano. The use of a solo piano on “Dreaming with a Broken Heart” creates a painfully beautiful composition.
Mayer took two years to make this album, but it was the album he has been working towards his entire career. He finally feels comfortable on this album and his fans will notice.
Those who are looking for another Room for Squares are out of luck, but the rest of the listening world will reap the benefits.
Contact reporter Jesse Fox at diversions@dbk.umd.edu.
