Does anyone even remember what John Mayer is famous for anymore? After running through his list of ex-girlfriends, which inspires envy in every single man — no exceptions — and following his daily routine through tabloids and gossip blogs, it is easy to lose sight of the fact he originally made his name through being a musician and a pretty exceptional one at that.

Despite how public his private life has become, his guitar playing abilities are renowned, and his silky smooth voice captivates listeners, leaving them spellbound. He will inevitably go down as one of the keystone musicians of this generation. After the success of his bluesy 2006 release “Continuum,” Mayer has resurfaced musically with his latest release, “Battle Studies,” and it is clear he’s ready to put the focus back on his music.

As a quick recap, in case you went missing for the last few years: Mayer has dated and broken up with Jessica Simpson and Jennifer Aniston, so the content of “Battle Studies” is predictable before the first notes even ring out. The album is defined by emotion, mainly heartbreak, and Mayer’s reaction to it. The vessel for these emotions is not the blues-infused sound Mayer employed on his previous release but a more straightforward, contemporary pop sound.

“Heartbreak Warfare” opens the album with a hazy look at a late-night lover’s quarrel. Mayer’s smooth and steady voice, changing only to reach for a few high notes, sounds flawless, and this mid-tempo tune announces Mayer’s return to the musical world. That is until the misdirected — or perhaps just mistimed — “All We Ever Do Is Say Goodbye” starts and drains the life out of the album.

If “Heartbreak Warfare” was a sprint out of the gates, “All We Ever Do Is Say Goodbye” is the nap that follows the sprint. Terribly positioned and painfully boring, the song would be better off in the second half of the album or simply not included at all.

Mayer regains his momentum with a little help from Taylor Swift on the upbeat and brilliant “Half Of My Heart.” This is where the album begins to find its footing, and the Mayer-Swift collaboration is followed up with the acoustic pondering of “Who Says.” The song, despite the references, is not an anthem for legalization of marijuana but rather a deep and thoughtful look at one’s personal freedoms. Mayer shines through the simplicity of the track, leaving the focus solely on his acoustic strumming and his cerebral crooning.

“Perfectly Lonely” is a picture-perfect piece of pop music and, alliteration aside, is possibly the best track of the album, as Mayer positively spins a recent break up while his electric guitar wails. The dark and brooding “Assassin” is an unexpected change of pace to the album, and Mayer’s guitar solo late in the song makes it a noteworthy track.

The funky “Crossroads” is a bit self-indulgent and feels more like the product of a quick jam session rather than a well-thought out track ready to be heard by the world. Thankfully the ultra smooth “War Of My Life” gets the album back on track with Mayer’s warm vocals over a soft beat.

The ballad “Edge of Desire” is a slow-moving tune that feels a bit like the Bridge to Nowhere. The song goes on and on and never reaches any sort of climax that gives the listener something to latch on to. It goes down as perhaps the most forgettable track of “Battles Studies.”

“Friends, Lovers, or Nothing” is a bold proclamation to an indecisive lover and serves as the most complete track of the album. Mayer’s guitar work blazes throughout, horns come and go abruptly and layered vocals winding down the track make the album’s finale nothing short of grand.

Mayer’s fourth studio album is an intelligent and heartfelt look at the palette of emotions that comprise a break up but is not without its missteps.

Reach the reporter at jdfourni@asu.edu.