John Mayer Boldly Goes "Where The Light Is"
Author: Michael Irvin Arrington | 
Any critique of John Mayer's work requires a caveat. Yes, John Mayer is cute. He dates beautiful, famous women, and he has cultivated a fan base of young women who scream uncontrollably at the mention of the words "Your Body Is a Wonderland." He is also a darling of the pop music genre, having garnered surprising support among Grammy voters in recent years. In short, Everybody Loves John Mayer.
Having said that, it would be folly to dismiss his popularity as the result of just another pretty face and palatable set of lyrics. Simply put, Mayer is a talented musician and songwriter who does not seem to relish the pretty boy label. As evidence, consider Where the Light Is, Mayer's new two-disc concert set recorded in Los Angeles. Over the course of twenty-two tracks, Mayer demonstrates his skills as a pop star, a rock guitarist, and a burgeoning bluesman.
Mayer the Pop Star
Despite the absence of "Wonderland" Mayer's female following will not be disappointed by the concert's set list. "Daughters" makes the list, although longtime fans and more adventurous listeners likely will prefer the more experimental version that appears on the John Mayer Trio album, Try!
Mayer shines on solo guitar tracks such as "Stop This Train," an impressive, stripped-down cover of Tom Petty's "Free Fallin'," and, most notably, "In Your Atmosphere," one of the concert's most memorable moments. His radio-friendly "Waiting on the World to Change" is another high point of the album. In concert, he brings to life a track whose studio version lacked the intangible quality to separate a pleasent tune from a classic one.
John Mayer Rocks Out
Mayer does not overlook his rock influences (as evidenced by the aforementioned Petty cover). However, it is as a rock guitarist that his work leaves the most room for improvement. "Wait Until Tomorrow" and "Who Did You Think I Was" reveal considerable potential, but guitar aficianados will be left wanting more and wondering what Mayer will be able to do with these songs after a few more years of live performances.
"Gravity," on the other hand, is a track that seems more familar to him. (It appeared on his trio's CD.) Hence, he seems more at ease venturing into new territory with it, and most listeners will enjoy the ride. The blues-rock tune "I Don't Need No Doctor" also suggests a bright future for Mayer as a rocker.
John Mayer Sings the Blues
It is here that Mayer's greatest growth has occurred. Recent collaborations with artists such as B. B. King have broadened his musical range, and the growth is a pleasant addition to his musical catalogue.
"Out of My Mind" is an example of Mayer as a potential blues star on the rise. The best illustration of his potential, however, occurs on his live version of "I'm Gonna Find Another You," which is so vastly superior to the studio version (from his Continuum CD) that it is barely recognizable.
Professor Arrington's Grade
Too often, live CDs are lifeless efforts that may as well have borrowed the title of Tony Kornheiser's book, I'm Back for More Cash. Where the Light Is is an exception, illustrating the artist's musical growth since the material was originally recorded. Although the rock-influenced moments show less development from his other live efforts (Any Given Thursday and As Is), Mayer more than compensates for this minimal growth by showing off his mastery of pop stylings and his integration of the blues into his work. Such effort is worthy of an A-.
Album Review: Marc Ford Author: Ian Rice |
Former Black Crowes guitarist releases his third solo effort, one packed with steady blues riffs and his trademark guitar solos. A strong candidate for album of the year. With well over a century in its past, the blues as a genre has been given a considerable workout. Aside from being the root of jazz, R&B and bluegrass, the style has had a profound influence on rock music just as much as Elvis Presley and Buddy Holly. This is most likely due to its easily accessible format, which is based in a simple chord progression that provides the basis for haunting vocals and gut-wrenching solos to be added over. Thus, in 2008 it would seem nearly impossible to use the blues as a means of creating music that is original and vibrant, given the vast ground it has already covered. A handful of artists can still breathe life into the blues, though, despite the well-worn path it has tread up until now. Marc Ford is one of the aforementioned artists, as his latest release, Marc Ford and the Neptune Blues Club (Blues Bureau, 2008) clearly illustrates. Track after track, Ford and his new band (comprised of Southern California’s usual blues suspects) deliver the familiar style with a grace and innovation that reawakens the heart, mind and soul of the listener. Like Eric Clapton before him, Ford’s familiarity with the blues allows him to wander freely in its pastures and prove that there’s still fresh water to be drawn from its well. The SongsThe album opens with “Main Drain,” a concise blues-rock number that gets things going nicely before giving way to “Locked Down Tight,” a gritty shuffle that marries guitar and harmonica into a catchy melody that provides the first of many memorable hooks the album has tucked away into its twelve tracks. It is also on this track that Ford turns in the first of many thoroughly-inspired guitar solos, firmly cementing his place next to rock’s best and brightest players. Unlike on his previous effort, 2007’s Weary and Wired, Ford’s lead guitar work seems pushed to the forefront, indicating that above all else, this album is meant to showcase just how honed his skills really are. “Freedom Fighter” is the album’s first entry into the slow blues category, complete with a subdued-yet-powerful vocal performance from Ford. At home on any Gov’t Mule or latter-day Allman Brothers Band record, “Freedom Fighter” is perhaps one of the strongest testaments to the fact that the blues is still alive, well and able to pull on our heartstrings at a moment’s notice. The track also serves as the closest example of what it’s like to witness Ford performing live on stage, a feeling of spontaneity and in-the-moment flow abundantly present throughout. The album’s best track comes very late in the proceedings in the form of a soul-teased shaker called “Smilin’.” All the best elements of Sam & Dave, Otis Redding and The Isley Brothers come into the mix here and, when mixed with Ford’s guitar and Bill Barrett’s harmonica, gel into eight minutes of pure perfection. This song actually defies the listener not to move to its groove and will no doubt be a staple of any live set performed by Ford from this point on. The New BandFord isn’t the only member of Neptune Blues Club that is given a chance to shine on the record. Keyboardist Mike Malone steps to the forefront several times throughout, “Don’t Get Me Killed” being the first and perhaps the most noteworthy. Distorting his vocals through his harmonica microphone, Malone delivers a killer performance here, reminiscent of but not stolen from some of John Mayall’s best early material. Ford gracefully steps into the background when Malone takes center stage, but his presence is still undoubtedly known. The guitarist alternates between a dirty finger-picked progression and bristling slide guitar work, arguably his best in years. The real success of Marc Ford and the Neptune Blues Club can clearly be attributed to the fact that for the first time in his solo career, Ford has finally found a band worthy of his own talent. Whereas in the past the guitarist seemed to be pushing a band that was always a step or two behind up to the speed of his massive talent, here Ford seems to be in the company of musicians that maintain his pace at all times. This in turn seems to push him to deliver his best work, which is presumably why no track on the album falls flat or sounds uninspired. So, although he is known for being one of music’s last true journeymen, after listening to this release we should all hold out hope that Marc Ford sticks with The Neptune Blues Club for a little while. After all, somebody has to keep the blues alive. |