It's hard to read the seemingly Jekyll-and-Hyde-like guitar guru that is John Mayer.
One can never really be sure which Mayer is going to show up to the party -- will it be the sensitive and charming musician who can disarm women as subtly as he plays his guitar strings? Or will it be the extroverted, explicit tabloid king that steals your girlfriend and laughs in your face?
Once again, it seems, as an artist, Mayer would rather take the tender, nice guy route and restrain the limitless, raw energy that can come out of his hands.
Although Mayer's new album, "Battle Studies," shows some sparks of genius, most of it sounds like Mayer is simply being disingenuous -- once again putting on an act and not letting his true self come out.
"Battle Studies" has the ability to pique your interest in the beginning, but it cannot sustain the level of enthusiasm it provokes throughout.
The beginning of this particular work is actually quite enticing when Mayer launches into the U2-esque "Heartbreak Warfare." This may be one of the strongest and compelling songs Mayer has ever done.
The song begins with an orchestra warm-up that morphs into the artist's effects-driven guitar.
Mayer compares a lover's quarrel to a battle scene: "Clouds of sulfur in the air / Bombs are fallin' everywhere / It's heartbreak warfare."
Another song, "Assassin," sounds like the "American Beauty" soundtrack with a thick bass line about a killer who has his female mark get the better of him, and he is killed instead. The elements in this song are things that could impress any music lover -- an interesting beat, a skillful guitar solo, and great lyrics.
Mayer also strikes gold with "All We Ever Do Is Say Goodbye" as one of his better acoustic ballads. The proficiency of his guitar skills shows in his bottleneck solo in the middle of the song.
Unfortunately, one can easily see this song become more fodder for those annoying guitar guys at a party who "Wonderwall" and "Hey There Delilah" over and over again because they are the only two songs they know how to play.
In the same way that those guys are screaming attention, it is like Mayer seems to be doing the same thing. But, in this case, there is something more under the surface that Mayer doesn't seem to want to let loose.
Hearing Mayer perform blues as part of the John Mayer Trio makes it evident just how good of a musician he really is.
That's what makes the album so frustrating.
It has tracks that seem like Mayer put the time into writing, but as one listens on, people may want to get a pot of coffee because it seems like he is not even trying.
For example, "Edge of Desire," to put it bluntly, sounds anything but musically compelling, and is as if Mayer simply picks through the same three chords for more than five minutes--the only thing that changes between the verses and the chorus is the addition of a keyboard and a walking bass line.
This kind of song is not going to win Mayer his fifth Grammy, and he knows it, too.
In a way, this is the perception people get when they hear the Jekyll side of Mayer. Most of this attempt is just the same placid string plucking that we've come to know from Gentle John.
It is almost like Mayer sadistically knew he was teasing us with some great, powerful songs and then retreated to that controlled, intricate style of songwriting he always does.
If this was his goal, I guess the Hyde Mayer showed up after all. That was a good one, John. You got us.
Grade: C
Download: "Heartbreak Warfare," "Assassin"
