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Allan Raible's Take on the New Music Worth a Listen.
Allan Raible writes about music and the music industry. He is based in New York.
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Review: John Mayer’s “Where The Light Is – Live In Los Angeles”
July 14, 2008 5:47 PM
John Mayer has released four studio albums. In considering this fact, please keep in mind that his second album, “Room For Squares” contained many of the same songs as his first album “Inside Wants Out.” Now, realize that “Where The Light Is” is John Mayer’s third live release, following “Any Given Thursday” and “Try!” Isn’t that a little much? Do we need this much live John Mayer? The truth is, um...no. No we don’t! He keeps releasing live albums, though, and they serve a purpose. For those who see him as a wimpy, sensitive singer-songwriter, these records allow him to prove himself by flexing his blues muscle. He’s a stunning guitar player, perhaps one of the most technically proficient guitarists working today this side of Jack White, but his over-reliance on cheesy balladry and his not-so-strong falsetto hinder his ability to really show the world what he’s got. He’d be much cooler if he curbed these elements and did a more straight-forward rocking blues. Being cool isn’t everything though. It’s also a wonder how genuine his love for the blues truly is, or whether it’s just his latest flavor.
There’s an awkwardness to the juxtaposition of Mayer’s two sides. It’s as if after spending the last few years as this generation’s James Taylor, he has decided that he instead wants to be this generation’s Stevie Ray Vaughn. It sort of works, and his pure skill with his instrument carries him through some rocky points.
“Where The Light Is” is broken into three sets, spread across two discs. It’s also available as a concert DVD.
The first section is a solo acoustic set. The opening version of “Room For Squares” track, “Neon” is the highlight as he effortlessly bounces around the scale with quickness and ease. This song sounds like it would have made a good Soul Coughing song. It would probably suit Mike Doughty’s voice much better than it suits Mayer. Nevertheless this version is impressive.
All the earned good will from “Neon,” though is squandered throughout the rest of the set. “Stop This Train” is an OK soft, folk-driven song, but it doesn’t go anywhere. Mayer’s whistling solo is just strange. “In Your Atmosphere” is also too soft for its own good. When he’s in this mode of songwriting, he sounds like he should be played in the background of some lame teen soap along side Gavin Degraw. He’s better than that. He has more potential than that. These songs may make some women swoon, but they just make the rest of us nauseous.
“Daughters” may be used at a lot of wedding receptions for awkward father/daughter dances, but come on! It’s syrupy sappiness and nothing more. Even Mayer himself seemed befuddled when the song won a Grammy. It makes one wonder whether he actually believes in his own material.
The final track on the acoustic set is a botched cover of Tom Petty’s “Free Fallin’.” The original is so good, it shouldn’t be messed with. Mayer tries to keep it soft and jazzy. During the chorus where he should give the song a lift (and perhaps some stronger guitar) he instead takes it off in a still quiet direction. It’s a missed opportunity. It isn’t as good as his cover of “Message in a Bottle” on “Any Given Thursday.”
He redeems himself once again, at least a little on the next set, on which he’s joined by drummer Steve Jordan and bassist Pino Palladino. Once again, it’s his guitar work that is the star, not his song choice or his vocal delivery. Has he earned the right to sing a song called “Everyday I Have the Blues?”
His version of Hendrix’s “Wait Until Tomorrow” sounds a like a Spin Doctors castoff with a better solo. This is better than his later, wispy rendering of “Bold As Love,” on which he gives a somewhat pointless, endlessly meandering speech about how he “made it for himself!” What does that mean, really? I’m not really sure and it’s somewhat evident that Mayer isn’t really sure either. It’s just a random case of rock star banter gone wrong.
“Who Did You Think I Was” was already done well by the trio on “Try!” thus rendering this equally stirring rendition somewhat needless except for the intricate solo.
“Come When I Call” is blues by the numbers. Mayer does surprisingly well with this, but he lacks the vocal authority to give the song the thrust it needs.
“Good Love Is On The Way,” which was also on “Try!” is given a rather strong, arena worthy treatment. If only Mayer rocked this hard or harder more often. Here he almost finds his voice.
“Let me first say how wonderful it feels to know that it’s 2007 and we just launched into a slow blues and seven thousand people in L.A. just went nuts. All is not lost!” These are the words Mayer says as he sets off the ten-minute “Out of My Mind.” It’s a nice blues workout for him, and it does showcase his level of skill well. He once again ruins it with cheesy moves like singing to the audience, “Can I play my guitar? Can I play it loud?” My response would be, “I don’t know, apparently you can!” Such exercises in what Mayer probably views as “showmanship” can be done without.
“Vultures” was an almost decent song on “Continuum,” which was destroyed by Mayer’s falsetto chorus. (What? Is swapping trade secrets with Adam Levine?) He should really stay away from this range of his voice. It doesn’t serve him well.
Next up is the band set, in which he is joined by a fuller band. The set begins with “Waiting For the World To Change” which sounds way too close to “Sexual Healing.” It may have been a hit, but I can’t help but think Marvin Gaye did it better the first time.
“Slow Dancing in a Burning Room” is a great title for a song. It also shows Mayer’s better part of his softer side. This is similar to the side of himself he showed well on the majority of “Room For Squares.” That album was enjoyable (with the exception of “Your Body Is A Wonderland,”)
The next song on this live set is not only the best song on that record, but the best song Mayer has ever recorded. “Why Georgia” shows why Mayer is a star in the first place. It’s his sharpest bit of songwriting to date, thus it is also the highlight here.
“The Heart of Life” is also a strong softer number, only it’s from “Continuum.”
Next up is “I Don’t Need No Doctor.” The studio version of this was a collaboration with John Scofield on his tribute album for Ray Charles. Mayer shows some blues power here, but the horn section gives the track a watered-down, unwanted “smooth jazz” sort of vibe.
Is a nine-minute version of “Gravity” really necessary? The song isn’t even one of his best singles. Here it just never ends.
“I Don’t Trust Myself (With Loving You)” is capable, but like the original studio take, it’s forgettable and bland. Mayer has almost lost the songwriting spark that made him remotely interesting in the first place. When he first appeared, I was able to enjoy his work a great deal. Now, his newer songs seem boring and repetitive. It’s too bad. He needs to not rely so much on his softer side and allow himself to rock out a little more.
“Belief” has a little lift. It serves him better and proves that he can occasionally relocate some energy, but once again that “smooth jazz” element to his band’s sound hurts the track.
The set ends with “I’m Gonna Find Another You.” It’s a decent song, but it seems calculated to manipulate the audience. I really wonder how genuine Mayer’s love of the blues is. Here he seems to try to merge it with his adult-contemporary side. It’s an unnatural mixture, but it gets the audience going.
“Where The Light Is” will please many John Mayer fans. It shows a capable musician working in a variety of band settings. Mayer may be capable, but he suddenly lacks the little soul he needs to pull it off. Guitar skill alone can’t save him from his worst tendencies.
July 14, 2008 | Permalink | User Comments (5)
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Okay, so we have an album you didn't love that didn't elicit commentary from your followers. I would be worried if I were John Mayer (ps - you are so right about the album)
Posted by: Bill | Jul 17, 2008 1:24:16 PM
You are so wrong about the album.
I love everything about the album. I like this version of his old songs. Some of which I did not like previously. Things change and artists change. Why confine someone to one style of playing? Lighten up!
Posted by: Lena T | Jul 19, 2008 12:47:09 AM
You're an idiot.
Posted by: Charl | Jul 24, 2008 2:07:04 AM
I just bought the Movie DVD and was blown away by his mastery and his brilliance. I thought Free-Fallin was absolutely cool as well as was most of the other material. However, opinions are like assholes - everybody's got one
Posted by: Shayne | Jul 24, 2008 4:02:31 PM
i think your just jealous of the skill this man has and is yet to share with the world. im sure that majority rules this situation mate and everyone ive shown so far have been blown away.
Posted by: jake Dickinson | Apr 30, 2009 10:09:20 AM
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