Review-Daughtry-Leave This Town

Chris Daughtry has been one of American Idol's most successful contestants post-show. Interestingly enough, he has had a more meaningful (and lasting) level of success than many of American Idol's winners. Does anyone know what Ruben Studdard, Taylor Hicks and Jordin Sparks are up to these days? I don't!

Daughtry is an unlikely rock star personality. He is unapologetic about his strong Christian religious beliefs and his love for his wife and children in a world where hedonism and a lack of any sort of stability and maturity seem de rigeur. This examination of the drama and work involved in a long term relationship inform many of the songs on Daughtry's latest "Leave This Town." Daughtry isn't the first to write about marriage...but he may be the first successful rocker to write about it in such unvarnished terms. Daughtry writes intimately about the downsides-the inevitable misunderstandings, the arguments, the regrets, the momentary temptations to stray and the subsequent passionate re-discovery of each other.

For example-in "Ghost of Me," Daughtry tries to soothe a lover who in her dreams has grave doubts about the relationship. "What I Meant to Say" is actually anti-apology...coming from the perspective of a guy who can't quite seem to get the upper hand in the dialogue. These songs concentrate on real problems in relationships and not on Hollywood informed romance. When Daughtry does talk about new love in "Supernatural" it is almost done in a blushing schoolboy sort of way that would be more at home on a Jonas Brothers release than a record by a serious mature rocker. Writing about committed monogamy would work better if Chris was a more on point at the line level in his songs. He is prone to using shop-worn cliches and then will indulge in flowery phrases that show off his considerable vocabulary and work against his carefully cultivated "married Joe Average" persona.

This conceptual lyrical maturity is juxtaposed with typically anthemic arena rock played by a young band with verve and muscle. Drummer Joey Barnes is the most notable player here-his use of staying ahead of the pocket a bit pushes the band forward and drives songs that might otherwise plod and dawdle. Guitarist Josh Steely has lots of great little riffs that dart in and out of these tunes. The best thing about this record by far is Chris Daughtry's voice...it is muscular and gritty and yet he hits these high notes that are laid open-clear and strong...clearly he is a considerable vocal talent.

Daughtry has discovered a vast previously untapped market for his brand hard rock. He is popular with soccer moms, PTO parents and "nice kids" that would not go for the hedonistic vision of rockers past. The music itself is instantly familiar because it is arena rock played by-the numbers. In short, there is nothing musically groundbreaking here. Chris Daughtry's mature lyrics and vocal moral life choices are the key to his enormous appeal. He has created a sound that is going to continue to be enormously popular with middle America. Ignore Chris Daughtry at your own peril. I suspect this album will be played by radio stations for the next two years. I also expect by then I will fully tire of it.