DeGraw may be Free, but he definitely isn't falling
With his 2003 debut Chariot and 2008 self-titled follow-up, Gavin DeGraw had successfully, albeit somewhat mockingly, carved out a certain niche for himself. Cashing in on the oozing, over-indulged sappiness of One Tree Hill, the CW drama that initially landed DeGraw on the iPods of teenage girls across the nation, DeGraw found his place as a gospel-voiced piano-man, a lovelorn mixture of Isaac Slade and Lionel Richie, with a hint of Howie Day on the side.But with the March 31 release of DeGraw's third effort, Free, it's safe to say that the 32-year-old has abandoned the niche he has furnished so well. Gone are the over-produced, tinny guitar riffs; gone is the simple piano-and-drums formula; and gone, for the most part, are the Coldplay-esque refrains of unadulterated love, the kind of quixotic stuff that enthralls Madame Bovary and pisses off Chuck Klosterman.
Free trades in these tried and true recipes for nine hauntingly-good songs, rich from DeGraw's timbre and pleasing from his innate sense of easy melody. This album conveys an unburdened, stripped-down demonstration of someone whose talents are clearly evident. Without the poppy accoutrements of his previous album, Free presents DeGraw at his best: earthy, clear and fresh.
Don't be mistaken: The themes that DeGraw has peddled for six years are still present. In the album's first single, "Stay," DeGraw beseeches his love to remain just a little longer, for, after all, he does "not want to be the one searching." This song will be eaten up by tweens across the nation, but it is little more than catchy, instant-radio-hit fodder to satiate a base that felt disappointed by his sophomore album.
DeGraw slowly weans his loyal fanbase off the traditional formula with his second single, the intimately-crafted, piano-only "Dancing Shoes." Again, DeGraw details his dealings with one dear to his heart, but instead of sharing the moment with thousands of fans, it feels as if you are the only one in the room. The gem of the album, "Dancing Shoes" perfectly bridges the syrupy DeGraw of old and the evolved musician we now see.
In his attempts to break from the shackles of sentimentality, DeGraw abandons the piano that had been his partner for years, trading the ivories for a guitar on almost half of the album. Nowhere is this tactic more effective than on "Waterfall," DeGraw's hazy, lethargic love-liloquy. Thanks to Chariot's "Chemical Party," we know that DeGraw enjoys illegal consumption, which makes "Waterfall" exude a certain weed-and-Ritalin sense of auditory attraction.
The other winner on this album, melancholic and strong, is "Mountains to Move." DeGraw seems to have been the victim of some aching breakups, and fortunately for his fans, his streak of misfortune has yet to see its end. "Worse times are coming - I don't have to tell you times are already hard," he bleakly informs his now-ex, before painfully explaining, "It's going to be a long walk, and you know what you can lose, when you've got mountains to move." Carrying the weight of the Rockies in his voice, DeGraw's "Mountains" may not get much airtime, but that won't keep it from rattling around your brain for days.
Despite the album's brevity, a couple misfires come through. "Free" struggles with a tempo that can't be corralled, leaving the audience in need of a motion-sickness bag, and "Why Do The Men Stray" feels like little more than a B-side, a possible shout-out to his Chariot: Stripped album of 2003 or mere filler on an album that waited only 10 months to hit the shelves.
But when these songs fill up your earbuds, you won't have any qualms about returning to any of the other tracks, regardless of how many times you've already consumed them. Just try leaving "Stay." Try finding a distraction while listening to "Mountains." Try remaining still with "Dancing Shoes."
You won't be able to - and that's what makes this album a pleasure to listen to.
When we first met him, DeGraw told us that he didn't want to be anything other than what he was trying to be. With this third, movingly-melodious effort, one can't help but thank him for returning to this endeavor.
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