Rock

John Mayer Continuum (2006)

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Anybody who was initially confused by singer/songwriter John Mayer'sforay into blues with 2005's Try! John Mayer Trio Live in Concert couldonly have been further confounded upon listening to the album andcoming to the realization that it was actually good. And not just kindagood, especially for guy who had been largely labeled as a DaveMatthews clone, but really, truthfully, organically as good as a bluesalbum in its own right. However, for longtime fans who had been keepingtabs on Mayer, the turn might not have been so unexpected. Soon afterthe release of his 2003 sophomore album, the laid-back, assuredlymelodic Heavier Things, Mayer began appearing on albums by such iconicblues and jazz artists as Buddy Guy, B.B. King, and Herbie Hancock. Andnot just singing, but playing guitar next to musicians legendary on theinstrument. In short, he was seeking out these artists in an attempt todelve into the roots of the blues, a music he obviously has a deepaffection for. Rather than his blues trio being a one-off side projectcompletely disconnected to his past work, it is clear now that it wasthe next step in his musical development. And truthfully, while Try!certainly showcases Mayer's deft improvisational blues chops, it's moreof a blues/soul album in the tradition of such electric blues legendsas Jimi Hendrix and Stevie Ray Vaughan, and features songs by Mayerthat perfectly marry his melodic songcraft and his blues-slingerinclinations. In fact, what seemed at the time a nod to his largelyfemale fan base (the inclusion of "Daughters" and "Something's Missing"off Heavier Things), was actually a hint that he was bridging his soundfor his listeners, showing them where he was going. That said, nothinghe did up until the excellent, expansive Try! could have prepared youfor the monumental creative leap forward that is Mayer's 2006 studioeffort Continuum. Working with his blues trio/rhythm section of bassistPino Palladino and drummer Steve Jordan, along with guest spots bytrumpeter Roy Hargrove and guitarist Ben Harper, Mayer brings all ofhis recent musical explorations and increasing talents as asinger/songwriter to bear on Continuum. Produced solely by Mayer andJordan, the album is a devastatingly accomplished, fully realizedeffort that in every way exceeds expectations and positions Mayer asone of the most relevant artists of his generation. Adding weight tothe notion that Mayer's blues trio is more than just a creativeindulgence, he has carried over two tracks from the live album in"Vultures" and the deeply metaphorical soul ballad "Gravity." These aregut-wrenchingly poignant songs that give voice to a generation of kidsraised on TRL teen stars and CNN sound bytes who've found themselvesall grown up and fighting a war of "beliefs." Grappling with a handfulof topics -- social and political, romantic and sexual, pointedlypersonal and yet always universal in scope -- Mayer's Continuum hereearns a legitimate comparison to Marvin Gaye's What's Going On?. Nobody-- not a single one of Mayer's contemporaries -- has come up withanything resembling a worthwhile anti-war anthem that is as good andspeaks for their generation as much as his "Waiting on the World toChange" -- and he goes and hangs the whole album on it as the firstsingle. It's a bold statement of purpose that is carried throughout thealbum, not just in sentiment, but also tone. Continuum is a gorgeouslyproduced, brilliantly stripped-to-basics album that incorporates blues,soft funk, R&B, folk and pop in a sound that is totally owned byMayer. It's no stretch when trying to describe the sound of Continuumto color it in the light of work by such legends as Sting, EricClapton, Sade, Stevie Ray Vaughan, and Steve Winwood. In fact, thesustained adult contemporary tone of the album, which could easily havebecome turgid, boring, or dated never does, and brings to mind suchclassic late-'80s albums as Sting's Nothing Like the Sun, Clapton'sJourneyman, and Vaughan's In Step. At every turn, Continuum finds Mayerto be a mature, thoughtful, and gifted musician who fully grasps hisplace not just in the record industry, but in life. ~ Matt Collar, AllMusic Guide

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