One look at the cover of “Sob Rock” is enough to fully understand the imagery and nostalgia John Mayer instilled into the album: the stoic pose against the window of a sunlit room; the stickers paying homage to early Columbia records; the pastel-hued guitar contrasting with dark denim. In a Wall Street Journal interview back in early June, Mayer describes how, in producing his newest release, he channeled the “security-blanket aspect[s]” of the 1980s — comforting, smooth and soft. This tone shines throughout “Sob Rock,” yet a deeper listen shows that Mayer is more focused on style than lyrical prowess. 

The album opens with “Last Train Home,” a song that evokes the ‘80s aesthetic with a heavy hand. Mayer’s synth-infused production appears to take inspiration from American rock, such as Toto and Pat Benatar, and European pop, like Eurythmics and a-ha. The lyrics show the true flaws of the song, though. It feels a bit exhausting, if not disappointing, to hear such an accomplished artist like John Mayer fall back on clichés like “maybe you’re the last train home.”

The lyrics continue to falter as the album progresses. “Why You No Love Me” struggles to find its place despite its humble and silky melody. The repetitive whine, “Why you no love me? Why you no even care?” adds more weight to the title “Sob Rock,” as Mayer’s melancholy chorus sounds more annoying than anything else. “New Light” describes a man courting a close friend: “Pushing 40 in the friend zone / we talk and then you walk away every day.” Ironically enough, this “nice guy” material does paint Mayer in a new light, just maybe not a positive one. 

The true success in “Sob Rock,” however, lies in its later songs, where Mayer mixes genres and influences to embody a feeling that he describes as “reminding [him] of a safer time” (see that same interview quoted above). John Mayer’s experience touring with the Grateful Dead’s Bob Weir, Mickey Hart and Bill Kreutzmann rears its head in the guitar riffs of “I Guess I Just Feel Like.” The piano in “Carry Me Away” that accompanies its smooth verses are reminiscent of something close to Phil Collins. Bluegrass and folk converge in “Wild Blue,” a song that seems fresh off 1988’s “American Dream” (which, coincidentally, was also the eighth release by supergroup Crosby, Stills, Nash & Young). 

The ‘80s theme that pervades “Sob Rock” is a double-edged sword; Mayer assigns a cohesive “brand” to the 10-song collection, yet he potentially sets an expiration date on it. Fortunately, Mayer did cite his sources, as he has consistently stated his love for the time period and the artists that came before him. Additionally, “Sob Rock” credits Toto’s Greg Phillinganes and Don Was as two (of many) contributing musicians and producers that provide some credibility to Mayer’s trip down memory lane. 

“Sob Rock” offers a unique introduction to the sounds of the 1980s, particularly for those who may be a bit averse to any music that was produced before the 2000s (here’s to us post-Y2K college students!). While its lyrics are mostly surface level, John Mayer does have some room to coast on his previous accolades as a songwriter, especially considering he had a different goal in mind this time. In accomplishing that goal, Mayer succeeds, proving himself to be not only a strong musician, but a true historian looking to preserve an iconic era of music.