Music Review: John Mayer’s “Battle Studies” (2009)

RATING:  3 / 5 stars

By Chris Moore:

As John Mayer explained in a recent interview, his new studio album is an exploration of the more violent side of a romantic relationship – thus the “battle” – but within the parameters of an intelligent, reasonable analysis – thus the “studies.”

If this sounds deep and insightful, well, it is.

Kind of.

One of the key aspects that detracts from Mayer’s music is his intermittently pedestrian lyricism.  I qualify this as “intermittently” because he certainly has moments, here as on his previous albums, of witty, striking, or just simply strong, well-worded lyrics.  And yet, there are also those head-shaking, “isn’t this your fourth album” moments when he sings lines like “I love you more than songs can say,” “then you come crashing in like the realest thing,” and the general “half and half,” mathematical confusion of “Half of My Heart.”

The line between innocent yet intelligent sincerity and downright derivative drivel has always been the debate about John Mayer’s music – recall, for instance, the title of his second album, Heavier Things.  And I would have screamed if I had to hear one more person referencing Continuum by saying, “His blues work is so strong, I can finally take him seriously.”

Regardless of your opinion of Mayer’s intellectual and lyrical prowess, Battle Studies is a well put-together record that consistently demonstrates his awareness of the big picture.  The album opens with a fade in to “Heartbreak Warfare,” which clearly establishes the battle imagery and the war metaphor for a romantic relationship in distress.  The song provides just the right blend of symbolic description and more literal framing for the album to follow.

“All We Ever Do Is Say Goodbye” is a perfect representation of that moment before a breakup when the fighting has ceased and the inevitability of it all can be depressing, crushing.  It is, of course, soon followed by a rationalization of the situation – Mayer interestingly brought in country music star Taylor Swift to simplify things and play a catchy, if straightforward tune.

Then comes the breaking point.

“Who Says” set off some controversy when it was first released due to the repeated question, “Who says I can’t get stoned?”  This is yet another example of the general public being incapable of taking a line metaphorically.  This is hardly a “tokin’ song,” as one YouTube viewer suggested in his poor review of the single.  Mayer is clearly – and has said as much himself – using the marijuana reference to represent actions that you wouldn’t normally be able to take due to the expectations of others.  This is quite in line with other queries in the song such as, “Who says I can’t be free from all of the things that I used to be?”

Even the line “I don’t remember you looking any better, but then again, I don’t remember you” is questionable.  Some have written it off as glorifying a reunion after a drugged or drunken one night stand.  I hope that I do not offer too much credit to Mayer when I read this as an extension of the experimentation and freedom of this song – in other words, he doesn’t remember this person because he has never met them before.  Now that he is single again, he is free to “meet all the girls in the county line.”

This declaration of rebellion and/or independence is followed by “Perfectly Lonely,” a catchy ode to bachelorhood that highlights some of Mayer’s best guitar work.  Then comes “Assassin,” an even deeper dive into the territory of the “player/heartbreaker.”

John Mayer's "Battle Studies" (2009)

John Mayer's "Battle Studies" (2009)

The most difficult track for me to process has been his cover of “Crossroads.”  Yes, this is an old Robert Johnson song, but Mayer is really channeling Eric Clapton here.  That being said, Mayer’s “Crossroads” is hardly a faithful cover of the Cream track.  Instead, there are remnants of the guitar riff included in a song just begging to be DJ’ed into a dance mix.

I’m not sure how I feel about that.

Well, I actually am sure how I feel about that.  But what I do like about this track is its thematic relevance to the album.  The idea of being at a crossroads comes at the perfect time, halfway through the album.  The previous three tracks have celebrated “loneliness” of a sort, but this track reminds us that if we are all alone, we may go unrecognized when we try to “flag a ride.”

“War of My Life” is a perfect choice to follow this cover, as Mayer reverts to that classic sound he has come to be known for – and I should emphasize that “Assassin” and “Crossroads” really do have a sound that is all their own on this record.  As per usual, Mayer returns to his standby pensive lyrics and pouty crooning.

The final section of the album is where something is lost, some energy and presence that was stronger in the opening half.  This is precisely where my opinion of the album wavers.

That being said, these final three tracks complete the cycle of this album concept, providing narration from a man on the “Edge of Desire” ready to go back on what he believes in order to restore his relationship.  Then comes the re-assessment, pulling himself out of that moment of weakness with “Do You Know Me.”  Finally, Mayer closes up shop on this album with the anthemic “Friends, Lovers, or Nothing,” putting forth a learned truth of sorts.

All in all, Battle Studies accomplishes what it set out to – namely, to study a relationship at the end of its lifespan from the perspective of an individual maintaining his dignity, going back on what he has said, and ultimately enjoying and – more interestingly – appreciating his individuality and independence.

Mayer has called this album a sidestep, and Battle Studies sounds like it picks up from where Heavier Things left off.

And that is more than all right with me.

“Sex and Candy” by Marcy Playground – Chords, Tabs, & How to Play

To see how it’s played in a cover song music video: CLICK HERE!

“Sex & Candy”
Marcy Playground

B                      G                         F#
Hangin’ round, downtown by myself and
I had so much time to sit and think about myself
And then there she was, like double cherry pie;
Yeah, there she was; like disco super-fly…

(Stop; riff)

(no chord)         B   G   A
I smell sex and candy here.
Who’s that loungin’ in my chair?
Who’s that castin’ devious stares in my direction?
A                                  D          A
Mama, this surely is a dream.  Yeah.
B                          G               D          A            B   G   F#
Yeah, mama, this surely is a dream.  Dig it.

Hangin’ round, downtown by myself, and
I’ve had too much caffeine and I was thinkin’ about myself
And then there she was
In platform double suede,
Yeah, there she was
Like disco lemonade…

CHORUS

Yeah, mama, this surely is a dream.  Yeah.
Yeah, mama, this surely is a dream.  Yeah.
B                          G                                 end on D
Yeah, mama, this must be my dream.

** These chords and lyrics are interpretations and transcriptions, respectively, and are the sole property of the copyright holder(s). They are posted on this website free of charge for no profit for the purpose of study and commentary, as allowed for under the “fair use” provision of U.S. copyright law, and should only be used for such personal and/or academic work. **

“Sex and Candy” (Marcy Playground Cover)

For Marcy Playground chords & lyrics, CLICK HERE!

By Chris Moore:

After both technical difficulties and more than my share of human error for the night, my “Chris Moore Monday” post is here!  Not only am I posting a video tonight for the best acoustic cover song music video blog known to man — and humble, too! — but this is actually the first of a double header that will conclude tomorrow night.  Since Jim is away for one more “Jim Fusco Tuesday,” I didn’t want to see anyone go without new material for even a day more.  So make sure to check back tomorrow for an all-new cover song and music video.

Tonight’s song is one that would have made me blush in 1997, and to be honest, it still does.  Back in late ’97 and early 1998, Marcy Playground’s “Sex and Candy” was everywhere, particularly if you listened to a modern rock radio station.  (CT locals may remember the alternative station Rock 104’s hey day in the nineties.)  At the time, this song broke the record for most consecutive weeks at number one on the modern rock charts — 15 weeks, to be specific.  Meanwhile, this song catapulted Marcy Playground to one hit wonder status, peaking at a solid number 8 on the Billboard Hot 100.

To this day, I’m not exactly sure why this song was such a big hit at the time.  Structurally, it’s a very simple song, and the vocals are very straightforward.  I think the song’s success can be attributed to its provocative lyrics and John Wozniak’s distinct vocals.  Fortunately for me, “Woz” as he refers to himself has a vocal range that is well within my own, at least on this song!

There are two reasons I’ve chosen this particular song for tonight’s session.  The first is that it reminds me of a time when I was first becoming interested in music, listening to the radio and just beginning to buy CDs at the overpriced Sam Goody’s store in the mall.

The second reason will be explained in tomorrow night’s session…

You know, another sign that this song was successful is that “Weird” Al included the chorus of “Sex and Candy” in his “Polka Power!” polka medley.  If only I, too, could one day have a song parodied by the man, then I would truly know I had earned success.  But, until then, I’ll just have to enjoy the new “Weird” Al video for his new song, “CNR.”  It’s a style parody of the White Stripes and the video was produced by JibJab, so it’s all the more hilarious.  While I thought the “Skipper Dan” video a couple weeks ago was enjoyable, this one is truly great — it made me laugh out loud a couple times and want to watch it again.

Okay, so that’s it for me for now.  I’ll see you back here, same Laptop Sessions time, same Laptop Sessions channel for an all-new “Chris Moore for Jim Fusco Tuesday” cover song music video.

See you next session!

“You’ve Got To Hide Your Love Away” by the Beatles – Chords, Tabs, & How to Play

“You’ve Got To Hide Your Love Away”
Lennon/McCartney

G        Dsus4    Fadd9    C    G
Here I stand,     head      in    hand,
C                             Fadd9     C
Turn my face to the wall.
G         Dsus4   Fadd9    C    G
If she’s gone,  I can’t       go   on,
C                        Fadd9     C     D
Feeling two foot small…

Ev’rywhere people stare,
Each and every day.
I can see them laugh at me,
And I hear them say:

G                          C                       Dsus4     D     Dsus2     D
Hey, you’ve got to hide your love away.
Hey, you’ve got to hide your love away.

How can I even try?
I can never win.
Hearing them, seeing them,
In the state I’m in…

How could she say to me
Love will find a way?
Gather round, all you clowns,
Let me hear you say:

Hey, you’ve got to hide your love away.
Hey, you’ve got to hide your love away.

(Flute solo over verse chords) x2, end on G

** These chords and lyrics are interpretations and transcriptions, respectively, and are the sole property of the copyright holder(s). They are posted on this website free of charge for no profit for the purpose of study and commentary, as allowed for under the “fair use” provision of U.S. copyright law, and should only be used for such personal and/or academic work. **

Make sure to check out all of the rest of our Beatles cover songs here on the Laptop Sessions acoustic cover songs music video blog!