A couple years later, Mayer would release a much more popular live record called Keep Me Where The Light Is, both a popular lyric and a reference to his desire for fame and happiness. That record is a sham. This is the real deal. It features Mayer singing his own songs, with stripped-back guitar and a fantastic duo of musicians accompanying him (Gravity is particularly stellar here), but it also includes a ton of covers of popular blues song done in what now feels like the trademarked Mayer style.

A lot of people compared early Mayer to Buddy Guy, which might be a bit much — particularly with the benefit of hindsight. But what hindsight has also revealed is how much Mayer got right about the blues. What Quentin Tarantino is to blaxploitation films, John Mayer is to the blues: a white man paying such incredible homage to what’s typically been considered a black genre (with roots going as far back as slavery), that it’s hard to consider him anything less than a genius in most circles. But John Mayer’s just a man who listens to a lot of blues. It shows. Try! is an essential part of any respectable blues fan’s library.

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Every single review I read of this record is awful. It’s all “John Mayer throws women away and half the songs are about ex-girlfriends” and all that kind of stuff other less-popular musicians don’t have to put up with. But isn’t that what blues is about? It’s a relief to hear Mayer stick to what he knows.

I’m of the belief that John Mayer’s always been a good songwriter, despite some of his lesser records. While Paradise Valley is no Continuum, it’s his best since. It’s got a little blues, a little country, a lot of Americana, and a little more of an optimistic outlook than songs like Dreaming With a Broken Heart.

Want some great tracks from the album? Check out Wildfire, a nice intro to Mayer’s newest stylistic country. Waitin’ On the Day and Paper Doll are the most old-school like Mayer cuts. My personal favourite, I Will Be Found (Lost at Sea), is beautiful, and Badge and Gun is as breezy Americana as you could ever expect.

The real talk of the record is Who You Love, which features Katy Perry. We’re all talking about it because Perry’s on it. But the song sucks, naturally, despite Katy’s less in-your-face vocal mannerisms. It’s not a good fit for her sexually grandiose style — Perry singing softly doesn’t feel natural. It’s the stuck-up thumb on an otherwise great record.

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