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John Mayer's Paradise Valley (an album review)



I have a complicated relationship with John Mayer. I really liked Room for Squares when it came out because I was a twelve-year-old girl with an inclination toward anything that wasn't saccharine pop. After that album, I didn't really listen to him again. I heard rumors of douchebaggery and his music felt a little too Jack Johnson-y for me, and I am just not that into Jack Johnson (no offense, Jack Johnson. You seem like a really nice guy).

Anyway, my attitude toward John Mayer has changed in recent years. I watched him on SNL with Frank Ocean a few months ago, and he was great. My man knows how to play a guitar. I read an interview with him in Rolling Stone where the writer really gave him the benefit of the doubt. Rolling Stone knows how to make a fool out of pop stars they don't care for, so I figured I should give Mayer another chance if they did.

His new album, Paradise Valley, is really good. I don't have a lot to compare it to by way of his other songs since I haven't really listened to one of his albums in over a decade. However, I really like this one. Paradise Valley is a nickname for Montana, which is where he moved to get away from Hollywood and write this album. It feels really soulful, especially the first song "Wildfire." He was raised in Connecticut, but this song tricked me into thinking he was from New Orleans.

"Dear Marie" is a quiet singalong replete with chants, which is nice when you're just lounging around the house or taking a long drive. "Who You Love" features Katy Perry, and it's actually pretty good. I guess this is his way of marrying his two worlds, and I like it. Katy Perry's voice is nice on the song; she doesn't call unnecessary attention to it. It also features some horns and soft jazz crooning at the end but it feels more relaxing than cheesy.

Frank Ocean sings on the second "Wildfire" on the album, and I love it. I love Frank Ocean a lot, so I was happy to see his contribution. You need to close your eyes while you listen to this.

"You're no one 'til Someone lets you Down" might be one of my favorites on the album. It is pure old country.

All in all, this album is legit. I love it so much. I love it more than I thought I would.

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a pocketful of soul




Zach and I went to Kansas City and Des Moines for the first half of spring break. Our good friends Jeff and Amy (of Wires and Waves infamy) live in Des Moines, and it's only three hours past Kansas City, so we decided to make the trip up. Growing up in California, you don't learn much about other states. Or maybe I missed that part in school. I never even gave a second thought to Iowa, but it is actually a really cool place. Jack Kerouac even said, "The prettiest girls in the world live in Des Moines," and he knows everything.

I digress. Our breaks started grinding when we pulled into Des Moines, so we had to drop a boatload (I really wanted to say "buttload") of money to fix them. We are hoping we can drive this car into outer space when scientists figure out immortality and flying cars, so we want to take good care of it. Needless to say, we were a little blue. Maybe "red" is a more accurate word. To soothe our anger, we went to the Target up the road from the auto body shop and bought The 20/20 Experience. We listened to it one time through while iTunes was streaming it, and we have obviously over-listened "Suit and Tie" and "Mirrors," but we were still excited. 

The album begins with "Pusher Love Girl," where JT compares his girl's love to a high from a multitude of drugs. (Let's be real, though, JT: you would probably die if you did all those drugs at the same time. Don't die.) I really love it. It reminds me a lot of Raphael Saadiq, my only real familiarity with r&b and soul. He's also very reminiscent of Saadiq on "That Girl," which might be my favorite song on the album with the exception of "Mirrors." 

"Mirrors" is the strongest tie to his boy band breeding ground, but I say that with the utmost admiration. This song is beautiful. 

Most people seem to love the album, but critics have complained about the retro sound on "Suit and Tie." They have said that Bruno Mars is already doing the whole retro thing, which I kind of disagree with. I think it's just because they both wear gel and have good voices. This album is strong. He really put work into this, and it shows. It doesn't sound like a regular pop album. The lyrics err on the side of cheesiness at times, but it never feels cheap. As Pitchfork said, it's not like he's Frank Ocean. (Pitchfork and I actually agree on something for once!)

"Let the Groove Get In" sounds a lot like Gloria Estefan, which is pretty funny. Does anyone else remember Music of the Heart? The album ends with "Blue Ocean Floor," which actually reminds me of Frank Ocean a little bit, at least musically (not necessarily lyrically). 

I don't really dislike any of the songs on the album. I recommend all of them. It's good soul pop that exceeded all of my expectations. This album proves that he isn't just a pop star anymore. He's a real musician with staying power. 

Also, JT released this video for "Mirrors,"and I love it. 




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