In 1996, Matchbox Twenty burst on the scene with the bravado-powered and angst-fueled “Yourself or Someone Like You.” Matchbox Twenty’s debut was as compelling as it was raw and passionate. Over the years, the band has grown to produce a smoother, more polished power-pop sound that appeals to the masses. “Yourself or Someone Like You” opened with the powerful “Real World” as Thomas asked, “Well, I wonder what it’s like to be the head honcho?” On the band’s second album, Thomas soaked in the success of “Mad Season” and answered his own question as he became rock star, celebrity, heartthrob and head honcho in one fell swoop. Thomas attempts to revisit the good old days with “Real World ’09” as he sings, “Welcome to the real world/Nobody told you it was gonna be hard.” The real world has been good to Thomas, and he in turn has been very good to his legion of fans as he displays the uncanny knack for penning well-crafted, infectious arrangements dripping with mainstream sensibilities. Thomas’ solo success was officially christened with his writing of “Smooth” for Carlos Santana’s 1999 comeback album, “Supernatural.” Building on the song’s huge popularity, Thomas’ first solo album, “Something to Be,” was released featuring a change from the Matchbox Twenty guitar sound to dance- and world beat-influenced material that produced the hits, “This Is How a Heart Breaks” and “Lonely No More.” “Cradlesong” features Thomas’ engaging lyrics caressed in slick hooks and sophisticated touches of musical perfection, proving how much Thomas has grown from the unbridled and raw days of “Push” and “Long Day.” “Her Diamonds” highlights the new material with African beats and Thomas’ passionate voice blending perfectly with soulful background vocals as they reach a euphoric crescendo. “Give Me the Meltdown” is the closest Thomas comes to resembling Matchbox Twenty with an INXS-sounding opening guitar riff leading into a flurry of vocals and guitars that make it the standout track from a bounty of glorious material. As good as Thomas can be, he does produce an uninspired song now and then. To read the rest of Rhode’s review, go online to www.howyouspinit.com.
“Fire on the Mountain” is a lethargic social commentary tune that noticeably struggles to find a spot alongside the richer material. Fortunately, that’s the only misstep the smooth-singing Thomas manages to create as he continues to compose a body of work that will be well remembered for a long, long time. On “Wonderful,” Thomas announces tongue-in-cheek, “Look at me/I’m made of wonderful.” “Cradlesong” only proves his point one satisfying hook after another. For more of Rhode’s music reviews visit www.howyouspinit.com.
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