Jon McLaughlin Indiana Island/Def Jam Records Pop 05-01-2007

SCORE 88%

It takes a relatively short time of listening to Jon McLaughlin’s label debut to understand the buzz behind this young Midwestern artist. And I don’t generally appreciate sweet. But his madly appealing piano pop invokes summer drives with the top down, honest and earnest soul-searching, and sweet youthful romance. I know, again with the sweet. But I mean the good kind, sans sugar, heavy on the introspective vulnerability. What can I say, the album is wearing a groove in my player and stands a good chance to elevate the piano in much the same way as Billy Joel in the early ‘90s.

Swift arpeggios and splashy drums open the standout opening track, “Industry,” and the disarming honest susceptibility flows from the get-go. Quickly moving into bouncy pop, its upbeat pounding keys and intelligent vocal phrasing are so fresh it takes a moment to realize McLaughlin is revealing the concerns of his heart over the pitfalls of the industry as he stands at its threshold. It is one of the more overt tracks, spiritually speaking, and even it is veiled to the uninformed ear, but his closing refrain rings true: “When You grow silent, I start to fall.”  It is followed by another track making a big splash: “Beautiful Disaster” (the title apparently taken from the Kelly Clarkson hit of the same name) appears in the recently opened movie, Georgia Rules. Highlighting McLaughlin’s heart-rending sensitivity, it details the traps of contemporary standards of love and beauty as perceived through the eyes of a bewildered young woman. Subdued keys and soft vocals lament her lack of choices, and the big chorus brings its emotional impact to the forefront.

McLaughlin co-wrote all 13 tracks, with the help of noted songwriters like Marcus Hummon, Matthew Gerard, and producer Jamie Houston, who I guess is responsible for the album’s one defect, some heavy-handed strings. This is a pet peeve of mine, especially unappreciated in the case of an artist as capable as McLaughlin. Producers often rely on strings to evoke emotion, but on this album particularly I found them unnecessary and even obtrusive, as on “Already In,” distracting from the showcasing of McLaughlin’s wide vocal range.

But all is forgiven when the melodic “For You From Me” begins. McLaughlin’s vocals careen from a soft croon to a solar soar with ease on the throbbing chorus. The song is the kind of charming romantic pop track the radio eats up. And he is equally perceptive on the serious side. The melodic piano chords of “Human” plop like fat raindrops in a summer storm as he bemoans our human tendencies to misunderstand. But it is the show-stopping title track that serves as the album’s centerpiece. The thoughtful enchanter “Indiana” underscores his emotive vocals, a quiet cello underscoring the reflective mood as he peers out over the edge of his future. “Proud Father” is similar in tone and contains the poignant line, “No one’s intended to die with their hearts still intact.”  

But when it’s time to rock, the thick rolling groove of “Anthem for American Teenagers” and the arpeggio-laden “People” hold up, too. Rock isn’t McLaughlin’s strongest suit, but he’s no slacker, as the thumping drums and driving rhythms of “Praying to the Wrong God” attest. But pop is his forte, and the ridiculously infectious “Perfect” seals the deal, its romantic playfulness, upbeat images, and hooky chorus making it shine with the force of a locomotive.

All in all, Indiana offers a thoroughly cohesive and wildly enjoyable treat for your summer senses. We’ll be hearing a lot more from Jon McLaughlin, and there’s absolutely nothing wrong with that.