Born and Raised is the fifth studio album by American singer-songwriter John Mayer, released on May 22, 2012, by Columbia Records. It marked yet another change in Mayer's musical style, incorporating elements of folk and Americana, as well as influences from Bob Dylan, Neil Young, David Crosby, Stephen Stills, and Graham Nash. Its cover, as well as that of the single "Queen of California", was designed by David Adrian Smith. Born and Raised received generally positive reviews from critics, who praised Mayer's technical skills as well as Don Was' production work. The first single "Shadow Days" was released on Mayer's Read more on Last.fm.
Considering my last favoured Mayer album was ‘Room for Squares’ I’d say this is an adequate follow-up. Of course artist don’t always get to pick their natural progression, therefore, Mayer does seem to revert a bit in this album, however, I dig it. I definitely goes with the season and I love every track from start to finish. “Whiskey, Whiskey, Whiskey”, “Queen of California”, and “Something Like Olivia” are the jams of choice.
Mayer manages to cheese this heartfelt new sound up a bit more than I believe it should be, but it’s an interestingly folky slab of California Gold all the same. Not what I was expecting at all – sleepy, ethereal, perhaps (in places) even poignant. It probably won’t last me past the summer, but it sure goes nicely with the season. If you’ve ever liked John even remotely, this record deserves a shot.
I really wanted to give up on John, but ‘Born and Raised’ is gonna keep me hangin’ on. While he’s still not doing the power blues that he seems born to do, this folksy, singer/songwriter effort is a step in a much more suitable direction for his songs. I’ll take it.
John Mayers been listening to Neil Young’s After The Gold Rush. He actually admits it on “Queen Of California”. This record, a far cry from 2009’s so-so Battle Studies, an awkward, overproduced followup to the excellent Continuum, is a total departure for Mayer. The melodies are saturated in California sunshine, the sound that Gram Parsons blessed Grievous Angel with, the essence of James Taylors Sweet Baby James.
It’s something no one expected and it works because Mayer isn’t trying to impress anyone. Quaint sleepiness, the acceptance of a sound lost in the years, every lyric bursting with comfortable nostalgia, the record has a careful blueprint. There’s nothing here that isn’t tailor made for the early 70’s. While this may put some modern fans to sleep, piss off radio execs and challenge the patience of casual listeners, it will certainly tug at the heart strings of people who still remember muggy summers in LA busking for a line of coke.
Where Mayer sounded confused on Battle Studies, he actually channels Neil Young quite effectively here, quiet songs about quiet things. It’s not revolutionary because its original…its not. What makes it work is the simple fact that it does what it sets out to do….take us back.
eh…not great not terrible. I fell asleep both times I tried to listen to this all the way through, so yeah… I didn’t hate it, it just didn’t really grab me like some of the previous albums.