Pages tagged “john mayer”

We kind of wished it had lasted: John Mayer, the sensitive, scientifically precise singer/songwriter with a blues affectation, hooks up with Jessica Simpson, the pop vamp who gained fame in a TV reality show centered on her failed marriage to boy rocker Nick Lachey. It was all so reminiscent of another unlikely pairing from 30 years earlier: Gregg Allman, the gritty, devil-may-care Southern-rock god with a genuine blues pedigree, hooks up with Cher, the pop vamp who gained fame in a TV variety show centered on her failed marriage to boy rocker Sonny Bono. Just as it was with Allman and woman, the tabloid news of Mayer’s fling with Simpson sparked debate and speculation in grocery-store checkout lines across the nation: Can this relationship last? Will there be a John-and-Jessica duet album called Mayer and Woman: Two the Wrong Way? Alas, the John and Jessica show was cancelled midseason. So now we’re back to considering the merits of Mayer’s latest album, Continuum.

Lots of adjectives have been heaped on Mayer’s music, both his earlier Dave Matthews-inspired folk-rock and his more recent forays into blues-pop: supple, sophisticated, mature, restrained. Each of those adjectives could just as easily describe ’70s singer/songwriter Michael “Popsicle Toes” Franks, whose supple, easy-listening jazz-pop never got the level of critical praise Mayer’s music does. Maybe that’s because Mayer’s easy-listening tunes fall somewhere between the smooth vacuous goop of Franks’ food-fueled novelty songs (remember “Eggplant?”) and the laidback depth of an early-’70s-period Allman, Eric Clapton, Marvin Gaye or Fleetwood Mac. Take, for example, Continuum’s leadoff track and First single, “Waiting on the World to Change.” It’s a generational anti-war song in the vein of Gaye’s “What’s Going On,” with one line now even taking on meta-meaning in light of the hype surrounding the John-and-Jessica fiasco: “When you trust your television / What you get is what you got / ’Cause when they own the information / Oh, they can bend it all they want.” But four songs later Mayer is back to the stiff, schmaltzy clichés of his earlier work; in “The Heart of Life,” he moans out a litany of faux profundities: “Pain throws your heart to the ground / Love turns the whole thing around / Fear is a friend who is misunderstood / But the heart of life is good.” Ech!

To be sure, Mayer is a talented singer and guitarist. In terms of musical growth, Continuum is easily his best effort, evenhandedly combining the simplicity and restraint of his folk-rock studio albums with the blazing blues licks of his 2005 trio album, Try! His take on Hendrix’s “Bold as Love” is admirable, and the Stevie Ray Vaughan riffs he scatters across these 12 tracks lend muscle to even the most insipid pop moments. But there’s little emotional meat behind Mayer’s riffs, little sense that he’s ever wept like Duane Allman’s guitar weeps and squalls in “Done Somebody Wrong,” or that he’s ever felt the desperation of trying to hold it all together, as Clapton does when he whisper-sings the vulnerable lyrics to his mid-’70s song “Let it Grow.” In “Stop this Train,” Mayer expresses his fear of growing up and experiencing adult pain, and yet that’s exactly what he needs to do if he’s going to be successful in his pursuit of the blues. Not that he should develop a heroin addiction, but getting dumped at the altar might turn his tendency to lecture (on self-centered tracks like “I Don’t Trust Myself [with Loving You]”) into the kind of raw, universal confessions that fuel white-blues classics like “Layla.”

The problem with Mayer, as it often is for mainstream singer/songwriters reared on MTV, is that today’s record-company executives expect too much too soon. Unlike Allman, Clapton, Gaye or Fleetwood Mac, the John Mayers of the music world are not allowed to experience life or develop personalities before they’re paired with legends and saddled with delivering music of equal merit. A couple songs on Continuum do hint at what Mayer is capable of if he can shed his perfectionist skin and get to the quick of his emotions: the soul ballad “Gravity” and spare, bluesy “Slow Dancing in a Burning Room” each offer an equal mix of lyrical and instrumental depth. But all the awesome riffs, clever wordplay and Buddy Guy duets in the world won’t give Mayer the experience or pedigree that Gregg Allman had by the time he recorded Laid Back, or that Marvin Gaye had when he delivered What’s Going On. So basically what we’re left with on Continuum is “Popsicle Toes” with exquisite taste, a smidge of angst and a few cool SRV riffs.

It’s a shame that at his age John Mayer is expected to be so damn mature. He could use a few lessons on bad adolescent behavior from Gregg Allman. Hell, even Jessica Simpson, with her divorce and career ups and downs, has earned more of a right to sing the blues than Mayer has. And, frankly, she’d be more likely to belt ’em out with passion and fire.

Fresh from his co-headlining tour with Sheryl Crow, blue-eyed folk auteur John Mayer has announced U.S. tour dates in support of his new album, CONTIUUM, released last September. The singer-songwriter will appear on the digital entertainment program Control Room on November 1, the American Music Awards on November 21 and The Late Show with David Letterman on Thanksgiving.

CONTINUUM has gained recognition as a marked departure from Mayer’s pop styling, emphasizing the blues and rhythm elements alluded to in musicians work in the John Mayer Trio.

January
25 - Veterans Memorial Arena, Jacksonville, FL
26 – BankUnited Center, Coral Gables, FL
27 – TD Waterhouse Centre, Orlando, FL
29 – Pensacola Civic Center, Pensacola, FL
30 – Baton Rouge River Center, Baton Rouge, LA

February
1 – Barnhill Arena, Fayetteville, AR
2 – FedEx Forum, Memphis, TN
3 – Cox Convention Center, Oklahoma City, OK
5 – Von Braun Center, Huntsville, AL
6 – Knoxville Coliseum, Knoxville, TN
7 – Roanoke Civic Center, Roanoke, VA
8 – Colonial Center, Columbia, SC
13 – XCEL Energy Center, St. Paul, MN
14 – Alliant Energy Center, Madison, WI
16 – MSU Regional Special Events Center
17 – US Cellular Coliseum, Bloomington, IL
18 – Qwest Center, Omaha, NE
20 – NIU Convocation Center, Dekalb, IL
22 – Van Andel Arena, Grand Rapids, MI
23 – Nationwide Arena, Columbus, OH
26 – Mullins Center, Amherst, MA
27 – ONCenter Complex, Syracuse, NY
28 – Madison Square Garden, New York, NY

John Mayer's newest offering, Continuum, has been slated for a Sept. 22 release date, and Mayer will embark on a tour starting at the end of August and running through mid-October, sharing the bill with songstress Sheryl Crow on most dates. Mayer will support Tom Petty and the Heartbreakers at their show in Glendale, Ariz., and hit both the Austin City Limits Festival and the Telluride Blues and Brews Festival. New shows are being added almost daily at johnmayer.com, so keep checking back for more information. You can pre-order the record on the website as well, and find out—to the second—how much time you have to wait before you get your hands on it, thanks to the handy-dandy countdown clock on homepage.

August
24 – Burgettstown, PA : Post-Gazette Pavilion
25 – Saratoga Springs, NY : Saratoga Performing Arts Center
26 – Hartford, CT : New England Dodge Music Center
27 – Holmdel, NJ : PNC Bank Arts Center
29 – Mansfield, MA : Tweeter Center for the Performing Arts
30 – Wantagh, NY : Nikon at Jones Beach Theater

September
1 – Darien Center, NY : Darien Lake Performing Arts Center
2 – Camden, NJ : Tweeter Center at the Waterfront
3 – Bristow, VA : Nissan Pavilion
5 – Cincinnati, OH : Riverbend Music Center
6 – Clarkston, MI : DTE Energy Music Theatre
8 – Noblesville, IN : Verizon Wireless Music Center
9 – Tinley Park, IL : First Midwest Bank Amphitheatre
10 – Maryland Heights, MO : UMB Bank Pavilion
15 – Austin, TX : Austin City Limits Festival
17 – Telluride, CO : Telluride Blues and Brews Festival
18 – Morrison, CO : Red Rocks Amphitheatre
19 – Morrison, CO : Red Rocks Amphitheatre
22 – Vancouver, BC : Pacific Coliseum
23 – Auburn, WA : White River Amphitheatre 24 – Ridgefield, WA : Amphitheatre at Clark County
26 – San Diego, CA : Bayside Concerts at the Embarcadero
27 – Irvine, CA : Irvine Meadows/Verizon Wireless Amphitheatre
30 – Marysville, CA : Sleep Train Amphitheater

October
1 – Mountain View, CA : Shoreline Amphitheatre
4 – Glendale, AZ : Glendale Arena
6 – Woodlands, TX : Cynthia Woods Mitchell Pavilion
8 – Nashville, TN : Starwood Amphitheatre
9 – Pelham, AL : Verizon Wireless Music Center
11 – West Palm Beach, FL : Sound Advice Amphitheatre
12 – Tampa, FL : For Amphitheatre
13 – Atlanta, GA : Chastain Park Amphitheatre
14 – Atlanta, GA : Chastain Park Amphitheatre

Seminal jazz pianist Herbie Hancock has pieced together a new band, Headhunters ’05 (named for his classic album Headhunters), featuring John Mayer, Marcus Miller, Roy Hargrove and others. The group has announced tour dates beginning tonight in St. Louis, Mo., and culminating with a two-night stint at the Bonnaroo Music & Arts Festival in Manchester, Tenn.

The full Headhunters ’05 lineup includes Hancock (piano), Terri Lyne Carrington (drums), Hargrove (trumpet), Kenny Garrett (saxophone), Munyungo Jackson (percussion), Lionel Loueke (guitar), Mayer (guitar) and Miller (bass).

In addition, Hancock has been named Bonnaroo’s first artist-in-residence. The role involves performing with other artists and bands throughout the festival lineup on Friday, June 10 and Sunday, June 12.

The ten-time Grammy Award winner is also slated to release a collaborations album, Possibilities, on Aug. 20, featuring appearances from a slew of well-known musicians, among them—Mayer, Carlos Santana, Sting, Paul Simon, Trey Anastasio, Annie Lenox and Damien Rice.

Headhunters ’05 Tour dates:

6/8 – St. Louis, Mo. – The Pageant
6/9 – Kettering, Ohio – Fraze Pavilion
6/10 – Manchester, Tenn. – Bonnaroo Music & Arts Festival
6/11 – Memphis, Tenn. – Memphis Botanical Gardens
6/12 – Manchester, Tenn. – Bonnaroo Music & Arts Festival

VH1 has announced singer/songwriter John Mayer will host his own variety/talk show. John Mayer Has A TV Show premieres Thursday, Dec. 9 at 11 p.m. and offers a behind-the-scenes look at Mayer’s life on the road.

Shot guerrilla style, the show will be one part documentary, one part travelogue and one part sketch comedy. Footage for the show was captured during Mayer's most recent summer tour, and the show aims to give audiences a glimpse of how he spends his day when he's not singing to sold-out crowds. Mayer takes rapper Trick Daddy on a tour of downtown Nashville, disguises himself in a bear suit costume to get a fresh perspective on how his audience preps for his concerts in the venue parking lot, and four female fans get a shot at tweaking their favorite musician's image when he brings them in for their very own focus group.

“When I first finished the record, I thought, ‘I can’t talk about this. It’s like fishing through your own poop,’” says John Mayer, fresh from sound check prior to an outdoor concert in Irvine, Calif. He’s draped his lanky 6-foot-4 frame over the built-in settee in his tour bus, which is parked beside the stage. “But I’ve had a little time to think about what the record is and what it does. Bottom line, I think it speaks for itself.”

Is Mayer saying he doesn’t want to talk about his second album, Heavier Things? Get serious. If there’s anything this heady artist enjoys as much as making music, it’s talking about making music. And so it begins: “Room for Squares was written in a petri dish,” says the loquacious 25-year-old, employing the requisite metaphorical icebreaker. “I hadn’t toured, so it was all very theoretical in nature. By the time I got to the recording, I had some tips as to which kids were going to grow up to be the famous ones. This time out, I don’t know that. I just know which ones mean the most to me — and all of them do. It’s going to be interesting to put it out there and see what people think about it.”

Thus far people seem to think it’s fine indeed. That includes not just the first concentric circle of Mayer’s fan base — the 300,000-plus who grabbed the album in its first week on sale — but also a number of big-time critics, many of whom had previously seen the breakthrough artist as some post-teenpop commercial aberration, rather than an emerging artist of depth. In perhaps the most perceptive take on Mayer’s work, Rolling Stone’s James Hunter — who told me his previous exposure had been limited to Room’s radio songs — praises Heavier Things’ “emphasis on interior life,” the newfound subtlety on display, and the “pure radio bliss” of first single “Bigger Than My Body.” He also notes Mayer’s “aversion to phoniness” and the “deceptively untroubled universe” this man/boy inhabits.

Mayer, of course, has his own take. “This record is absolutely a gut thing,” he offers. “There are song titles I wish were cooler, and the album title could have been cooler, but there’s something incredibly equitable about the way the record feels to me. There’s nothing forced; it falls where it falls. It’s like taking your hands off the wheel and letting it go where it wants to go for another 10 songs.”

The record, Mayer explains, wanted to go from the Berklee-grounded cerebral approach he’d employed on Room for Squares to a less scholastic, more intuitive destination: “There are melodic and harmonic movements on Heavier Things that are just a bit more [deliberately] paced, because I realized that I can be emotional that way.”

For this crucial album project, Mayer once again chose to put his trust in producer Jack Joseph Puig, the studio wizard whose work on cult-classic Jellyfish albums put him on the map; he’s now one of the industry’s busiest mixers. “When Jack mixed the first record, I realized that he understood what I want to do next,” says Mayer, explaining his rationale. “We kept in touch, and it was like asking your friend to help you out, except your friend is one of the greatest engineers and producers and mixers in the world.”

The collaboration resulted in a record that displays the meticulousness of Steely Dan (“Only Heart”), the deep-grooved sultriness of The Police (“Bigger Than My Body”), the plaintiveness of Nick Drake (“Wheel”), and something all his own (the gorgeous “Split Screen Sadness,” the new album’s “Why Georgia”). The two principals, each accustomed to being in control, pushed each other past what Mayer has described as the “comfort zone of past achievements.”

When Puig made a judgment call, Mayer listened, pondered and, more often than not, agreed. “I can’t tell you how many times I listened back to a rough mix and went, ‘Do you want me to do this again?’ And Jack goes, ‘No, it’s great.’ And I’d listen back and I’m like, ‘Well, come to think of it, there’s nothing else I could do better.’ I would be doing it again simply to fulfill this assumed requirement for difficulty, you know?”

In recent months, Mayer’s fed off a new source of inspiration: Coldplay’s A Rush of Blood to the Head (which has kept Room company on the charts for well over a year). “When I started to get down to the music that really moved me,” he explains, “I realized that it wasn’t about putting your pinky on your lip and going, ‘Ahhh, very clever!’ I like that sometimes, but I felt like I’d done it enough — people know I can turn a phrase. How about saying instead, like Chris Martin says, ‘And the truth is, I miss you’? That shatters you to pieces.”

It’s safe to say the songs and vocal performances of Rush of Blood influenced the material and performances of Heavier Things in a manner that extends beyond Mayer’s supple slides into falsetto on “Bigger Than My Body” and “Clarity”; after all, he’d used that move himself in the chorus hook of “No Such Thing.” In Martin, Mayer has found a kindred spirit, a fellow artist who shares his idealistic view of romantic love and his sensitivity toward its expression in the context of the ultimate (and in Mayer’s case, still theoretical) significant other.

Rubbing a hand over his tousled mop of wavy hair, Mayer sits forward on the settee, as if something extremely important has just occurred to him. “I always front-loaded my job description with guitar player/songwriter and then singer, because singing was such an inexact science to me,” he continues. “My Berklee training never extended to vocals. But now, having been on stage for two years, I’ve been able to flatten it down to some pretty even variables.” In Mayer’s creative process, you don’t simply emote; you set up a scenario in which the potential for emotiveness is optimized.

Coldplay wasn’t the only band he listened to during the gestation period of his new album: “I was really inspired by Joshua Tree vocally, being that if you really key into Bono’s vocals with a producer’s ear, there are a lot of things he could’ve sung better — more on pitch, more even, more rhythmic. But there’s a scarred quality that’s really personable and beautiful. I didn’t want to do the opposite on this record and have everything be pristine.”

Consequently, “There’s hardly any auto-tune on Heavier Things,” he explains, “and most of these vocals are second or third take. I did scratch vocals as soon as we recorded each track, and there’s a certain vibrancy you have at that moment, a certain understanding of the song that you’ll never have again.”

Mayer admires other contemporary artists without being tempted to emulate them. “I can’t sit down and write an idea from the back-end forward,” he admits. “Radiohead is really good at that. I don’t think you end up with an idea like ‘2 + 2 = 5’ for a song title. I think you start with that song title; you start at the finish line. You take yourself out of yourself, you stare at yourself from far away and you work from that angle.” In Mayer’s aesthetic, the creative impulse will always come from within, no matter how cerebrally that impulse is manifested, and 2 + 2 will always add up to 4.

Throughout the afternoon, Mayer peppers his conversation with domestic references, revealing a reverence for the sort of picket-fence normalcy he gave up when he left the family home in Connecticut for Berklee in Boston, relocating a year later to Atlanta, where he would plot out and then execute his game plan. Domesticity is one of the things a young artist sacrifices when he chooses to grow up in public; loneliness is the ongoing result of having impossibly high standards for a relationship. So there’s a touching irony in the fact that the mundane joys of home and hearth preoccupied this unorthodox rock star throughout the making of Heavier Things, manifesting itself overtly in such songs as “Daughters,” “Come Back to Bed” and the elegant, poignant “Home Life.”

If a home life is Mayer’s dream, he’s presently a tireless nomad with a lot of pressure on his shoulders, some of it emanating from his label, Columbia (which is pinning its fiscal hopes on Heavier Things during the critical fourth quarter), some of it from within. But you’d never know it from his body language or his words.

“Part of me doesn’t mind failing,” Mayer asserts, though he may simply be sounding out an opinion in order to see if it actually holds water. “That’s not to say I don’t want to be a success. I want to be a pop musician, I want to be in the limelight, and I want to make the most of the limelight. I want you to all come to my castle in Tuscany.” He says this with his wry, cockeyed smile — the one that indicates he trusts the listener to receive the statement in the spirit he intended, a mixture of the self-deprecating sarcasm that grounds him and the overarching self-confidence he exudes. It’s the same attitudinal dynamic you’ll find in “New Deep,” in which he sings, without a trace of phoniness, “I’m so alive / I’m so enlightened / I can barely survive / A night in my mind / I’ve got a plan/ I’m gonna find out / How boring I am / And have a good time.”

A few hours later during the evening’s performance, our hero is loose as a goose, seemingly demon-free, as always, basking in the palpable adulation of another rapt multigenerational crowd and further buoyed by the belief he’s made the right record at the proper moment. Bouncing around the stage during an instrumental breakdown, Mayer allows himself a moment of spontaneity. He puts down his Strat and approaches a girl in the front row who’s snapping away with a digital camera. He grabs it from her, leaps atop the drum riser, raises his arms straight up and shoots the panorama before tossing the camera back to her. Then, in mock horror, he gingerly grabs a trendy cap off the head of another concertgoer, pulls out the ever-present Sharpie and writes on it, brandishing the headwear in front of him so that his handiwork can be seen on the giant overhead screen; on it, he’s scrawled, “The last trucker’s cap.” Then he replaces the offending fashion statement on the girl’s head, picks up his guitar and resumes playing, having made yet another point to his own satisfaction. Work and play are interchangeable in the seemingly untroubled universe of Johnny B. Goode.