36 FROM THE VAULT

Episode: "Where The Light Is: Let's Talk About John Mayer"

Date: June 20, 2022
Hosts: Stephen Hyden & Rob Mitchum
Theme: A deep-dive into John Mayer’s career from pop stardom to Dead & Company, contextualized through his hit live album Where The Light Is.

Overview

In this special "curveball" episode, Stephen and Rob step away from the Grateful Dead's vault to analyze John Mayer’s Where The Light Is: Live in Los Angeles (2008)—a double album highlighting Mayer’s career zenith and stylistic evolution. With Rob in COVID isolation (humorously paralleling Mayer’s musical quarantine from his pop persona), the hosts examine Mayer’s growth from a soft rock heartthrob to a skilled guitarist respected by Deadheads, his relationship to the Dead, the context of his public controversies, and the critical reception of his work among both fans and Dead "hipsters."

Key Discussion Points & Insights

1. COVID Isolation and Podcast Serendipity

• Rob is broadcasting from COVID quarantine, paralleling Mayer's own musical transitions during isolation periods in his life.
• The timing aligns with their long-promised John Mayer "curveball" episode.
• The hosts reflect on how COVID has been a backdrop to their podcast's entire run (03:42).

Notable Quote:

"I would love to say I caught Covid from listening to John Mayer, but I gotta be factually accurate."
— Rob Mitchum (01:47)

2. Why John Mayer?

• The episode was partly designed to finally address the long-running jokes about Mayer's place in the Dead universe.
• The hosts distinguish between "mainstream" Dead fans (who largely accept Mayer) and internet-based "Dead hipsters" (who remain skeptical) (13:31).
• Discussion of Mayer winning over Deadheads and the generational divide among fans who only know him from Dead & Company.

Notable Quote:

"He has really become this star in the community...there's a whole generation of people who only know John Mayer as the guitarist of Dead and Company."
— Stephen (14:32)

3. John Mayer’s Pop Ascendancy—and Image Problems

• Quick rundown of Mayer’s origins: Berklee dropout, indie EP, then massive early-2000s success (Room for Squares, Heavier Things, Continuum) (27:14).
• Mayer as "college rock for party guys": the Dave Matthews/faux-sensitive tradition.
• Discussion of Mayer’s divisive persona: his "fratty" image, romantic ballads, and divisive voice alienating would-be fans (29:44).
• Expansion into "cooler" musical circles—collaborating with Chappelle, Kanye, Alicia Keys; positioned himself as a guitar hero (32:25).

Notable Quote:

"It's like music frat guys put on to make out to."
— Rob (29:44)

4. Mayer as Guitar Hero: The Trio and the Blues Turn

• The leap from pop balladeer to "guitarist’s guitarist"—the John Mayer Trio (Steve Jordan & Pino Palladino), heavy blues focus (35:08).
• Try (2005) as a key pivot, echoing Stevie Ray Vaughan’s aggressive style and Hendrix covers (38:09).
• Hosts contrast Mayer’s technical proficiency and blues influences with Garcia’s "singular" style in the Dead (40:26).

Notable Quote:

"It's amazing he decided to pick these guys that are, like, real ringers...another piece building up respect for John Mayer."
— Rob (35:33)

5. The Playboy Debacle and "Musical Exile"

• Recap of Mayer’s infamous 2010 Playboy interview: crude comments about his celebrity relationships, racialized language, and a destructive desire to be seen as funny (47:31).
• Discussion of how this scandal, combined with shifts in pop culture, led to Mayer’s retreat from the limelight, influencing more introspective and Dead-influenced solo work (49:40).

Notable Quote:

"If this interview had happened five years later, he would be finished."
— Stephen (48:44)

6. Finding Himself (Sort Of): From Blues to Deadhead

• Mayer’s post-scandal records (Born and Raised, Paradise Valley) already show distinct Dead influences.
• Sober observation that Mayer is a perennial "chameleon," endlessly searching for his authentic artistic self—before finding a home (and some humility) with Dead & Company (50:47).
• Sob Rock (2021) is cited as a moment of self-acceptance, with Mayer finally leaning fully into his 80s soft rock impulses (51:01).

7. Becoming a Deadhead: The Althea Revelation

• In 2011, Mayer’s first exposure to the Grateful Dead came via Pandora—Althea became his gateway song (42:23).
• Hosts note the appropriateness of Althea as “the most John Mayer Grateful Dead song” (43:26).
• Mayer is derided and praised for being "ego-free" as Dead & Company's classic Jerry emulator, which may be why the band has lasted with him (17:37).

8. The Live Album: "Where The Light Is"—Format and Venue

• Recorded December 8, 2007, at LA’s Nokia Theatre, the venue is mostly known for award shows, fitting Mayer’s dual status as celebrity and musician (57:51).
• The set is divided into three:
  • Acoustic set
  • John Mayer Trio (blues power-trio)
  • Full solo-band set
• Each segment highlights different phases/styles: soft acoustic pop, blues virtuosity, and full-band pop rock (55:47).

Detailed Album Breakdown & Musical Highlights

Acoustic Set (Disc 1)

• "Neon": Celebrated for its complex riff; technical prowess shines.
• "Daughters": Universally panned by both; seen as Mayer's "smarmiest" and least authentic moment.

  "[It’s] about all the broken women I’ve dated who, like, dads weren’t good to them...this, you are the worst."
  — Rob (84:51)

• "Free Fallin'" (Tom Petty cover): Mayer’s most-streamed song; reinterpreted as a swooning ballad, nearly out-streaming Petty’s original (73:53). Mayer’s vocal approach is considered "more ingratiating but also more calculated" than Petty’s vulnerable, laconic style (77:36).

Discussion Point:
Mayer’s skill at covers is foreshadowing his future as a "Jerry Garcia emulator" (75:14).

John Mayer Trio Set

• Blues-heavy: Yields the most surprising appreciation—both hosts enjoy Mayer in this context, especially due to Steve Jordan and Pino Palladino's high-caliber musicianship (86:22).
• "Every Day I Have the Blues" / "Out of My Mind": Rob jokes this is his "nightmare" (90:22), but admits the trio chemistry draws out more exciting, risk-taking guitar from Mayer.
• Mayer’s jam style here, influenced by Stevie Ray Vaughan and Hendrix, grows more appealing as he stretches out (91:11).
• The trio’s improvisational looseness (relative to Mayer’s studio work) presages his later growth with Dead & Company (95:53).

Notable Quote:

“This is my favorite part of the album, too. The trio set. Maybe it’s the COVID brain, but I found myself enjoying this more than the other two.”
— Rob (89:34)

Band Set (Disc 2)

• Heavily drawn from "Continuum" (2006) and older hits: Well-executed pop/soft-rock, but panned as less dynamic or satisfying than the previous set.
• "Slow Dancing in a Burning Room" features a particularly problematic lyric—a sign of Mayer’s later image woes (112:14).
• Notable musicians include session ace Robbie McIntosh (Pretenders, Paul McCartney).
• Both hosts critique Mayer’s lyrics ("paint-by-number," unsatisfying) but praise the band’s technical sound.

Covers: Evidence of "Jerry Potential"

• Mayer’s ability to deliver strong, emotive versions of covers (Petty, Hendrix) is seen as the skillset that would eventually make him an effective Dead & Company frontman (75:14).
• Vultures (an original) is surprisingly praised for its "Sabrak-era" flair.

“Who Benefited More—Mayer or the Dead?”

• Thoughtful debate woven throughout: Did the Dead gain more by recruiting a massive pop star, or did Mayer’s career/life/artistic fulfillment benefit most by joining the Dead? (18:10, 123:41)
• The hosts conclude it’s a mutual triumph.

“I think it enriched his life and his music...the Grateful Dead sort of played a beneficial role for him.”
— Rob (123:41)

Context and Culture Segment

• 2007 pop culture described as a "low point"—reality TV’s dominance, lackluster top hits, and Mayer’s declining pop relevance set the stage for his blues/roots and, later, Dead turn (63:43 – 70:00).
• The era’s musical and societal climate is cited as crucial to understanding Mayer’s musical pivots.

Memorable Moments & Quotes (with Timestamps)

• Rob on "blueshammer" fears and trio surprise:

  “This is my nightmare...but almost all the stuff in between I actually really enjoyed.” (89:20)

• Stephen on Mayer’s appeal:

  “If I can get a combination of making movies, No Jacket Required and The Dream of the Blue Turtles, I’m happy...” (111:10)

• On the longevity of the Dead:

  “Eventually John Mayer will be [in] the Bob Weir role, and there’ll be some other young dudes surrounding him...” (119:17)

• On Mayer’s post-scandal humility:

  “It’s...impossible to hate John Mayer in this context. He’s just coming at it from...a pretty pure place and a pretty deferential place.” (125:17)

• On Dead and Company’s future:

  “These songs are just gonna be played and kept alive. The same way people are playing ‘Every Day I Have the Blues,’ they’re gonna be playing ‘Saint of Circumstance’…” (122:03)

Final Thoughts

• Both hosts (especially Rob, to Stephen’s mock disappointment) leave with newfound respect for Mayer as a musician, Deadhead, and collaborator—even if his lyrical and stylistic choices are sometimes an acquired taste.
• Where the Light Is stands as a revealing snapshot of Mayer mid-transformation: technically assured, searching for authenticity, and only a few years away from “joining the circus” with the Dead.

Closing Quote:

“He found the Dead just like you and I became fans of the Dead. And I think it enriched his life and his music.”
— Rob (123:41)

Timestamps for Key Segments

• COVID Isolation & Episode Premise: 01:19–04:51
• John Mayer vs. the Dead Universe: 13:30–18:10
• Mayer’s Career Arc & Scandal: 27:14–50:01
• John Mayer Trio & Blues Set: 85:47–89:34
• Pop Culture at the Time: 63:43–70:00
• Album Breakdown (Acoustic/Trio/Band): 71:37–113:12
• Dead & Company Reflections / Future: 119:17–123:41
• Wrap-up: 125:17–128:12

Tone: Insightful, irreverent, and conversational, blending deadpan humor with deep musical (and Dead) fandom. Fans of the Dead, Mayer, or pop culture transitions—and especially suspicious Deadhead “hipsters”—will find much to chew on.