divad23's Full Review: Room for Squares by John Mayer (Adult Alternative)
You gotta love a guy who uses the periodic table as the artwork for his CD.
Okay, so maybe being a bit of a square isn't all that John Mayer and I have in common. But it's a good start. The main thing that drew me to this young rising star was the other thing we have in common - a love for tasty guitar licks and clever lyrics. The difference is, of course, that he writes 'em and plays 'em, and I just listen to 'em. There's just something about the simplicity of an acoustic guitar strumming away that, when combined with a little more complex know-how regarding chords and song structure, and a little instrumental versatility (John plays the electric as well), just tickles my ears. And John Mayer's got that something in spades.
Those that first heard John's single "No Such Thing" on the radio were quick to liken him to a younger, version of Dave Matthews. That analogy only became stronger when the steamy follow-up, "Your Body is a Wonderland" was released, but I think something comes up a bit short with that comparison. As much as I love the DMB, I think there's a lot more going on here than what you might expect to find on a Dave Matthews solo record. For one thing, John's songwriting is a little bit more focused - the lyrics don't ramble on as much, nor do the songs extend out into long jams. (Not that that's a bad thing - that just ain't John's style). Definitely better suited for radio, John's music is also (mostly) free of the hedonism and morbid musings about death that sometimes trouble me about Dave. The two guys have a certain casual attitude in common, which I love about both, but overall I think John's a little more clean-cut.
With that comparison out of the way, let's dive into an album that isn't perfect, but never fails to make me stop in the middle of whatever I'm doing and go "Hey! I relate to that!"
No Such Thing The love to tell you "Stay inside the lines"
But something's better on the other side...
John's breakthrough single is a fine way to start off the record, with a quick acoustic strum, and introspective but playful lyrics that look back on the superficiality of life in high school - teenagers caught up in a race to be popular and teachers offering condescending advice on "the real world". John is overjoyed in this lively little number, because, as he explains it, "I just found out there's no such thing as the real world". Now he's not saying that life is without its troubles - it's just that he doesn't buy the woe-is-me tales of how you have to break your back working 60 hours a week to have a fulfilling life as an adult. There has to still be room for pursuing your dreams, and I think that's what John's getting at. One of my favorite parts of the song is when he slips into some weird inverted chords for the bridge and sings, "I am invincible... as long as I am alive." Which is kind of a duh statement, when you really think about it, but it's one of those truths that makes more sense in John's terms - nothing we've been afraid of has killed us yet, so why let fear hold you back?
Why Georgia Four more exits to my apartment
But I am tempted to keep the car in drive
And leave it all behind...
This song leads off with one of those fingerpicked acoustic riffs that just makes me drool with envy. It's one of the points on the album where John does get a bit cryptic, which keeps the song interesting despite its awkward placement as a mid-tempo second track. He seems to be contemplating the purpose of a rather transient lifestyle, which I guess is something rock stars do a lot, though I don't think he's been a traveling musician for that long. Anyway, I think he's from Georgia, and perhaps home feels like a constraining place to him, or perhaps he's not from there and wondering how he ended up there... I don't know. But the music is fairly tasty, which will always keep me spinning a song until I figure it out.
My Stupid Mouth And I could see clearly, an indelible line was drawn
Between what was good, what just slipped out, and what went wrong...
Now here's a song that I relate to so much, it's almost scary. Built around a jittery strum pattern and purposefully dense lyrics. It's a song about how John has a tendency to talk too much and make a fool out of himself, especially when he's trying to be funny to impress a date. I don't think I've ever heard better words to capture the awkward silence when you realize you've said something dumb and the girl across the table from you is desperately trying to change the subject. In the chorus, John vows that "I'm never speaking up again... starting now", which leads to an ingenious false ending, where you think the song's over, until he breaks his promise and busts back in - "One more thing..." Man, I can't count the number of times I've pulled that one. Just ask my mother or my ex-girlfriend.
Your Body is a Wonderland One mile to every inch of your skin, like porcelain
One pair of candy lips and your bubblegum tongue...
This is the aforementioned steamy love song. You might expect John's take on a sexy encounter with his lover to be a little more slow and jazzy - instead, it's actually rather upbeat and lighthearted. His wording is very playful, his invitation to "discover me discovering you" fitting perfectly with the drums and guitar as they bounce along. While it's obvious from the language that he's describing a sexual situation, there's nothing explicit here - which is good, because I think that would detract from the song's playful approach. The chorus - "Your body is a wonderland, I use my hands" is as obvious as it gets. While this one doesn't outdo Dave Matthews' "Crush" as my favorite sexy song of all time, I will say that this one pleasantly lacks the smoking and alcohol references that bugged me about that one. John's approach is different from Dave's in that it's more romantic, seeking more of a physical communication that pleases his partner rather than just rambling on about his ranging hormones. I'm sure countless girls have swooned at the line "You look so good it hurts sometimes". (Listen closely and you'll catch the line "I'm never speaking up again" creeping back in - even though it's a different song, he still can't keep his stupid mouth shut! Clever guy, that John.)
Neon I can't be her angel now
You know it's not my place to hold her down...
This is the first of a pair of songs that temporarily take us on a detour away from John's carefree romp in the country, placing us in the hustle and bustle of the big city,. And appropriately trading the acoustic guitar for the electric. He bases this song around a very tasty lick that gives the song more of a "sophisticated" feel, which is perfect given the song's description of an elusive uptown girl who "comes and goes like no one can". The description of things she likes such as "mix drinks and techno beats" make me think she's someone he met in a club and connected with, but had such a busy lifestyle that he couldn't keep up with her. Maybe it's just because I haven't been used to John playing only the acoustic for years, but I'll say that it's not as jarring of a transition when John picks up the electric as it was for good old Dave.
City Love From the battery to the gallery
It's the kind of thing you only see
In scented, glossy magazines...
This song had to grow on me - the first verse jumps in abruptly, almost rudely stating that "I never liked this Apple much" in reference to New York City, which is apparently where John's lover of choice in this song came from. The song has a slow, jazzy tempo, beefed up by bumping percussion and a sort of "big band" feel that's tough to describe. Let's just say it's appropriate music for catching a cab and riding over to Broadway in the rain to catch a play - once again there's that whole "classy" feel. Over the course of the song John describes this girl he's met - her name is Lydia, by the way - and how being with her has helped him adjust to city life. Even though she appears to be a live-in girlfriend who keeps a toothbrush at his house and wears his clothes and stuff (which is a slight blemish on an otherwise sweet love song), the style of the whole thing manages to win me over. I love the bridge, where he mentions a late night date after which they fall asleep to "the sound of sirens" (clever play on an old Simon & Garfunkel title there), and then the music pauses and the "big band" breaks in for the final chorus.
83 Here I stand, six feet small
Romanticizing years ago...
Despite the dangerous similarity of this song's opening strum to the first chords of "No Such Thing", this song stands out as being another winner. It's one of those classic, whimsical depictions of life as a kid - in this case, John's looking at his old neighborhood through the eyes of his 6-year-old self in the year 1983. (Wow, I guess that means he's just barely older than I am!) He reminisces about wanting to be Superman, missing his little bro, stuff like that. A brilliant twist occurs at the end, when a flute joins the mix and the whole thing starts to sound very "loungey", as John asks the burning question, "Whatever happened to my lunchbox? And what become of the day that it got thrown away? And don't you think I should have had some say in that decision?" It's cute, but also sad in a way - you never know how important some memories will be until later in life.
3 x 5 Today I finally overcame
Trying to fit the world inside a picture frame...
What would a good folk/rock album be without the obligatory "traveling song"? John paints this one with darker colors, employing shuffling percussion and a harmonica to give the whole thing a similar feel to a train chugging along down the tracks. At least, that's the picture I get. Wherever John was when this song was inspired, because he's writing home to some he loves with the basic "wish you were here" sentiments. You can tell by his voice and his words that he's weary of just sending her postcards - he wants her to see it firsthand. "Maybe I will tell you all about when I'm in the mood to lose my way with words," he remarks. (I know how that feels, having just got back from a trip to Hawaii. Sometimes words just don't do it justice.)
Love Song for No One Staying home alone on a Friday
Flat on the floor looking back on old love, or lack thereof...
Now that's an amusing title. This song takes more of a straight-up rock approach as John pines away over a lover he hasn't met yet. (Either this song happened before his "city love" or things didn't work out for them, I guess.) Rather than just whining pathetically, this song almost seems to be whining about his pathetic whining, as if he's aware how silly it is to think that he missed his only chance. "I could have met you in a sandbox", he muses, but does he honestly think he'd have met her that early in life? Probably not. This song could've been a little bit more clever than it was, but it's still an amusing one, even if its chorus, "I'm tired of being alone, so hurry up and get here" seems a tad uninspired.
Back to You Should have smiled in that picture
If it's the last that I'll see of you
It's the least that you could not do...
For some reason, this song's title always makes me think of TV news reporters - you know, how they say "Back to you" when they're done with their stories? Oh well, anyway, this another one of those "lost love" songs, except I don't think she's really lost, because he's still hung up on her and he almost has this smug assurance that she's still thinking of him, too. Not sure what to make of the whole thing. The musical mood is still fairly upbeat - more pop than rock, but still fairly catchy.
Great Indoors The TV is your window pane
The view won't let you down...
I wouldn't have expected so many up-tempo tracks toward the end of an album like this, but here we have another track with a fairly assertive rock beat to it. This time John's playing the role of motivational speaker and encouraging a couch potato to get up off their rump and go see places like the ones he described in "3 x 5". He uses a lot of good analogies there as he confronts the person about how the only scenery they see is the wallpaper in their apartment, the TV screen, etc. He asserts that the person may be safe and comfortable, but he knows there's more life out there for the person to discover. The song takes an interesting twist in the bridge when he admits that "I have seen the world, and sometimes wish your room had room for two." Aha! So this person is a girl that he likes, and he wants to be where she is, but she's so private that she's afraid to let him in. Interesting approach.
Not Myself Suppose I said colors change for no good reason
And words will go from poetry to prose...
For some reason, this song feels incomplete to me - probably because it has the fewest lyrics of any song on the album. Vagueness doesn't make John very interesting, nor does a lazy mid-tempo song without much musically to make it stand out. He seems to be describing an off day when he just isn't behaving normally, and asking his lover if she would still want him around when he's not himself, but it seems like a good idea that goes nowhere. Oh well.
St. Patrick's Day No way November will see our goodbye
When it comes to December, it's obvious why
No one wants to be alone at Christmastime...
Interestingly, there's nothing on track 13. Maybe John's superstitious. Anyhow, track 14 is the final song on the album - there is no gap in between 12 and 14, but for some reason this song still feels like a hidden track even though it's listed. One of few true ballads on the project, this one takes a clever walk through the winter months, taking on an almost Christmas-y feel as John tells the story of a relationship that was supposed to be a fling but just wouldn't die. At least, that's how I read it. It's kind of cute how John gets into these situations that end up with him unexpectedly falling head over heels in love. (Even if I think it's kind of a poor approach to relationships, but that's another story.) The tempo is a lazy 3/4, perfect for a stroll in a snowy park. It's a very "specific" song, and I think those are the kind that John does best.
Overall, Room for Squares is a fun collection of clever songs, mostly about love and taking life by the reigns. Some may find the subject matter repetitive, but there's a comfort to it that fits like a glove. My only real complaints at the end of the album are that some songs run together in my mind, and some of John's attempts to be clever fall flat near the end. Maybe it's just too much of a good thing. I would have liked to hear one or two tracks with just John and his guitar, but I guess I can always go see him in concert.
As long as he doesn't do those silly dances like Dave Matthews does.
ALBUM WORTH:
No Such Thing $2
Why Georgia $1
My Stupid Mouth $2
Your Body Is a Wonderland $1
Neon $1.50
City Love $1
83 $2
3 x 5 $1.50
Love Song for No One $1
Back to You $1
Great Indoors $1
Not Myself $.50
St. Patrick's Day $1 TOTAL: $16.50
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