“One Tree Hill” theme song musician Gavin DeGraw released his fourth studio album Sept. 20 with RCA Records.
The 10-track album showcases DeGraw’s vocal range and songwriting abilities that fans have come to love since the release of his first album, “Chariot.”
“Sweeter,” DeGraw’s fourth LP, mixes his soulful flare with a heavy bass drum beat that twines throughout the album. DeGgraw’s unique voice brings each song to life, showcasing the style that made him famous, and combining it with a little experimentation with fresher sounds.
The opening song on the album is “Sweeter.” It starts off with a heavy drum beat reminiscent of a bluesy-rock sound, like that of The Black Keys. The intro rhythm almost makes it seem as though you’re listening to the wrong album, because it’s so different from what listeners usually hear when turning on Gavin DeGraw.
Although the sound is different, it kicks off the album with a solid, memorable tone. The repetitive drum and guitar chord beat create a deep, captivating vibe that almost overshadows DeGraw’s vocals. But it’s the vocals, that at times have an almost gospel-like quality to them, that re-emphasize his usual influences — those of old time R&B. The song is a strong synthesis of rock and blues, and shows similarities to modern-day artists like Cee Lo Green. But DeGraw is able to maintain his uniqueness with the irresistibility of his croon.
The album’s single, “Not Over You,” reveals DeGraw’s knack for writing catchy relationship songs that don’t seem excessively cliché or boring. As the second song off of the LP, it continues the album’s upbeat sound and moves toward a more pop style. The heavy drum beat is present in this song as well, but it isn’t as stressed because DeGraw has incorporated his go-to instrument — the piano. The lyrics talk about not being able to move on after a relationship ends. Although it seems as though we’ve heard it a million times, DeGraw makes the topic fresh by not making it an explicit “I want you back” song, because he simply addresses how difficult it is to completely let go of someone he desperately cared about. It’s a sad topic, but the beat keeps the song from falling into ballad territory.
Track eight on the album is “Radiation.” It’s a slower tune, but not completely a ballad. The song is very bluesy and sounds more like an ode to the R&B of the ’50s than a Gavin DeGraw track. His voice is a few octaves lower than normal and sounds eerily similar to Prince on his “When Doves Cry” track. But as the song pulls into its chorus melody, the song reverts back to a sound that DeGraw fans fell in love with on his debut album back in 2003.
The best song is “Run Every Time,” which appears third on the album. Following the pattern of the two tracks before it, the song contains a more upbeat track and incorporates a stronger piano sound during the chorus. The lyrics are catchy, especially the chorus, and make the song an easy sing-a-long. “Run Every Time” blends into a more pop-rock sound, yet stays bluesy with DeGraw’s vocals. The song is definitely hit single material and makes for a perfect radio record.
The song builds throughout the choruses and as it nears the end, breaks and falls into an almost a capella resolution that sounds similar to a Michal Bublé song ending. It’s not bad by any means; rather, it gives the song a more melodic end that’s oddly bittersweet because you don’t want the song to end.
DeGraw’s voice croons in and out through upbeat tracks and slower piano ballads during this fourth studio album, displaying his range and talent as a musician. Although a few songs are easy to overlook because they are a little lackluster, these fall few and far between, especially with the 10-track LP.
We all know that Gavin DeGraw has a magic talent for creating amazing songs that make even more amazing theme songs, and this album is just another display of that talent.
