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Continuum John Mayer “Overwhelm my resistance.” These were the Butler's words when I approached him about reviewing John Mayer's new album, “Continuum”. My argument: Mayer is this generation's Eric Clapton. Little did I know that, in his salad days, Butler had seen Clapton with Cream, that Clapton had once spent an evening watching television with Butler, and that Butler considers Clapton's work these last few decades as marginal at best. But with the insouciance of youth, I took the challenge. For those familiar with Mayer, you know he's the culprit of the 2000 hit “No Such Thing --- a teenage anthem about "running through the halls of my high school, screaming at the top of my lungs." He followed that up with an all-too-cute love song, “Your Body is a Wonderland,” and a lethargic acoustic number, "Daughters," a surprising Grammy nod. Ahhh, soft rock at its vanilla flavored finest! But those were the singles. Those were the songs that the label knew would make the sorority girls pucker up and the soccer moms fantasize. But this wasn't John Mayer, not entirely at least. Before the cement dried on the soft rock reputation, he broke out. John Mayer does not deny his past. He just doesn't see it as a crime. To him, it's part of an evolution, musically and individually, that's catapulted him to where he is now. Which is to say: this is a very deliberate guy. And so “Continuum” is not the lucky stroke of a man tinkering with his guitar or a collection of autumnal tunes meant to last as long as the season. No, “Continuum” is a calculated, precise effort. What even the fans may not know: For the past three years, Mayer has been moonlighting with some of music's most notable musicians. This guitar virtuoso part of Mayer --- long a secret to the masses yet known amongst guitar geeks --- was reaching the ears of some notables. You might know some of the kids that Mayer has been hanging with recently: Roy Hargrove, Buddy Guy, Herbie Hancock, B.B. King and the most iconic bluesman this side of the Mason-Dixon line --- Eric Clapton. They heard the rumors about this guy and all wanted to play with music's newest guitar prodigy. Mayer ostentatiously displayed his guitar chops on Try, last year's live blues album.Released as part of a trio with Pino Palladino and Steve Jordan (two of music's most acclaimed session artists), they made a satisfying if not complete record. Although the effort turned some heads, it wasn't polished or accessible. It wasn't completely John Mayer either. He needed to discover a sound that would reconcile his multi-platinum selling acoustic charm with his rather newfound blues sensibility. That CD is “Continuum.” “Continuum” is the type of album that redefines a career; it's a turning point for Mayer. Before this release, he was unable to define himself musically, much less personally. We can forgive him if, at 28, he doesn't have life down solid, but our ears wouldn't forgive him if he didn't break away from the heartthrob image weighing down his obvious musical talent. Mayer is well aware of our collective hopes --- and he delivers. The first two tracks deal with political matters, yet not in the way characteristic of a mid-20s musician living through a post-9/11 landscape. There are no anti-war rants or regime-threatening rhymes. On the radio-friendly “Waiting on the World to Change,” Mayer sings of the challenges of dealing with a media that “owns all the information and can bend it all they want.” He fights off Generation Y's unmotivated label and argues that the kids are merely misinformed and unarmed. The tune bounces right out at you with a chorus Marvin Gaye would be proud to sing. On “Belief,” a folk-laced Ben Harper lends himself beautifully to an inspired, foot-tapping blues duet about the futility of trying to change a society's beliefs and the sorrow of losing life for a cause. The song's outro [its a term for the last line in a song] lays down a somber truth, “What puts a hundred thousand children in the sand? Belief can. What puts the folded flag inside the mother's hand? Belief can. Belief can.” In the middle of the CD, Mayer delivers his most accomplished lyrical and melody writing to date. Sounding like Eric Clapton in his 1990s career resurgence, Mayer sings of coming to grips with his own mortality and that of his parents on the autobiographical “Stop This Train.” Recounting a conversation with his father, he displays a gentle voice previously unheard. “Had a talk with my old man. Said help me understand/Said turn 68, you'll renegotiate/Don't stop this train, don't for a minute change the place you're in/John, honestly we'll never stop this train.” The story is backed by a beautiful acoustic beat that will persuade you to stop your own train just so you can hear him sing his song once again. Of course Mayer also knows you want to hear about love. But not exactly falling in love. After all, this is the blues. The album's standout “she left me” song is “Slow Dancing in a Burning Room.” What could a 28-year-old know about heartache? Apparently enough to pen a tune in which he says it's “like when you're spending your final moments together with someone you love, yet know isn't right for you.” Complete with a painful, heart-bending solo, you'll be reaching for your guitar --- and you don't even play one. The rest of the album is simply smart. No track is too breezy or too weighty. From song to song the album takes you inside the mind of a man unsure of love, the state of the world, and his own personal convictions. Yet he is quite confident in his ability to write a gentle lyric, a killer guitar lick, or even take on a rather inspiring cover of Hendrix's “Bold as Love.” Yes, this is the new John Mayer. The one I had been hoping would show himself all along. He lets shine the best influences of all the musicians he's been tagging along with for years and makes them his own. A new blues for a new generation? Is this is the new Eric Clapton? Or is this the first John Mayer? Decide for yourself. --- Marc Cutillo, Guest Butler, is a graphic designer for Sirius Advertising in Avon, New Jersey. He spends his time playing guitar, anticipating new music releases on Tuesday, and teaching art. He last wrote about Alexi Murdoch. To buy “Continuum” from Amazon.com, click here. Copyright 2006 by Marc Cutillo |
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