John Mayer's big-label debut was a multiplatinum breakthrough success whose sensual anthem "Your Body Is a Wonderland" scored him an unlikely Grammy for Best Pop Vocal. That out-of-the-box succes--and more than a few critics grousing that Mayer's muse was cloned from Dave Matthews--primed him for the typical sophomore slump. Instead, Mayer delivers an album whose tone and title suggests a gentle, tongue-in-cheek rebuke to his naysayers. Propelled by the subtle ambitions of an expanded pop-jazz framework (largely courtesy of Sheryl Crow/No Doubt/Jellyfish producer Jack Joseph Puig), Mayer's breathy vocal tack now suggests a detached, conflicted, and significantly less precious incarnation of Michael Franks. But, the way he weds fluid pop hooks to lyrical concerns whose self-obsessions are undercut by telling dollops of self-deprecation from the my-spirit's-too-big/smart-for-my-body laments of "Clarity," the upbeat single "Bigger Than My Body," and the bluesy plea "Come Back to Bed" to the cautionary, melodically-rich "Daughters" and even the antimaterialist agitprop of "Something's Missing should clearly draw in listeners." --Jerry McCulley
Continuum is about as apt a title as it gets for John Mayer's third studio disc. Every element, from the peerless guitar playing to the plainspoken poetry of the lyrics to the breathy-sincere singing, makes a return from previous efforts. But to weakly pronounce this another worthwhile effort from an artist the world has come to expect a whole lot from and then call it a day would be no minor misdeed, because it's also the best, boldest disc he's ever made. Taking maturity as a theme throughout, Mayer tackles a batch of adulthood's bogeymen: indifference on the uptempo chart-climber "Waiting for the World to Change," aging on the melancholy-sweet "Stop This Train," and emotional trainwreckage on the big-rocking "In Repair." That's not to suggest he's turned overly introspective--check the Jimi Hendrix cover "Bold As Love," where he hits one home for guitarists who've been living in the shadow of legend everywhere, and the hard-charging "Belief," which benefits from a mesmerizing, liquid groove. Continuum may be the third in a series, but a creative cop-out this is not; Mayer is his generation's musical superman--powerful, unassailable, and magnetic. Hand that man a cape. --Tammy La Gorce
The best version of John Mayer is him in concert. Live, Mayer often extends his songs to upwards of 10 minutes, feeling every chord he plays as he grooves across the stage. Mayer's talent exceeds what any listener can grasp from his studio albums, and as such the As/Is album is a little piece of soulful heaven for any Mayer fan, and is at least an interesting album for others. For anyone who wants to belt along to many of Mayer's hits over the entire span of his career, As/Is is a good album. But for anyone who wants to hear a spectacular guitar player and musician hit his stride, As/Is is the album. sony. 2005.
