Born And Raised

John Mayer

Columbia, 2012

http://www.johnmayer.com

REVIEW BY: Benjamin Ray

ORIGINALLY PUBLISHED: 10/18/2012

“I’m a good man with a good heart,” John Mayer insists at the outset of “Shadow Days,” the first of many, many attempts to move past the musical, public, and relationship personas that have characterized the maligned singer-songwriter.

Born And Raised is, quite simply, an album of apology, growing up, accepting responsibility, and looking for something deeper in life than the next female conquest, the next bong hit, the next good time. Given that John Mayer’s entire life seemed to revolve around those three things for the last decade, his turnaround is remarkable.

Those still mad at Mayer for Battle Studies and the absolute nadirs of his career – the Playboy interview and the song “Who Says” – may see this new side of him as posturing. I’m inclined to believe otherwise, simply because the Mayer of Continuum proved that there was more under the surface. Born And Raised is the sound of a man who realizes how he has treated women and how he has lived life; it’s simple, confessional, and personal without being maudlin.

Consider this examination of a failed relationship on “Shadow Days:” “I never meant her harm / But that doesn’t mean I didn’t make it hard to carry on / It sucks to be honest / And it hurts to be real,” which culminates in the discovery that “My shadow days are over now.” Or look at the regret of the title track: “I saw my friend, he’s in my head, and he said / You don’t remember me, do you / Then all at once it gets hard to take / It gets hard to fake what I won’t be…And it’s such a waste to grow up lonely.” my_heart_sings_the_harmony_web_ad_alt_250

When Mayer isn’t apologetic, he yearns for moving on. Themes include making something with one’s life on “Speak For Me” (“What a drag to say / At least I still have yesterday / Show me something I can be”), a new approach to relationships on “Love Is A Verb,” and domesticity-meets-commitment on “A Face To Call Home” (“So good you didn’t see / The nervous wreck I used to be / You’d never know a man could feel so small / And you never look at me / Like I’m a liability”).

The opening cut “Queen Of California” sets the stage for where this self-discovery takes place, name-checking Neil Young and Joni Mitchell and 1971. That era of music heavily influences the songwriting here; David Crosby and Graham Nash even guest star on the title track, and the beautiful, stately “If I Ever Get Around To Living” is a great update on anything Steven Stills ever released. A slight country influence is evident here as well, but it only colors the songs, never overpowers them.

A few quirks exist to remind you that this is still John Mayer, most notably the story-song “Walt Grace’s Submarine Test” and the jaunty “Something Like Olivia,” the latter an ode to a woman (reportedly actress Olivia Wilde). The Mayer of 2008 would have written this as a sexual come-on, but the Mayer of now writes it as a longing love letter from afar: “There’s only one man in this world who / Gets to sleep with her by his side…No, I’m not trying to steal no love away from one man / But if Olivia were at my door / I’d have to say I’d let her in.”

None of the songs have the pop overtones of Mayer’s early singles or the smarmy charm of something like “Waiting For The World To Change.” The 12 tracks here are muted, dusty, and take their time to burrow in to your consciousness, revealing a little more on each listen, although it never quite reaches the heights of Continuum. But when Mayer gets to the honest, heartfelt “A Face To Call Home,” you’re almost embarrassed to ever listen to “Your Body Is A Wonderland” ever again. Our boy has grown up, musically and personally, and it’s a pleasure to witness.

Rating: B

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