Clive Davis Must be Pissed.

Clive Davis is a smart gent. If he thinks something is going to blow up, he’s usually right. A few years back Mr. Davis proclaimed a young unknown, Gavin DeGraw, the next big thing in music. It was said that DeGraw had the cross generational appeal to write big bonfire songs in the vein of Billy Joel.

To his credit, DeGraw’s ambitious first record Chariot, featuring both a studio and a stripped (acoustic) version, was loaded with promise not to mention a bouquet of great tracks.

Fast-forward to DeGraw’s self titled second record where we find him smack dab in the middle of a sophomore slump. Which is a real shame because I tend to agree with Davis that DeGraw is capable of crafting the part-the-sea-chorus and songs big enough for both you and your mom to sit under. But if his second record is any indication it appears DeGraw is content leaving these duties to Rob Thomas and John Mayer.

DeGraw’s second record begins with the first single “In Love With a Girl.” The track starts with some warpath guitar reminiscent of early Tim McGraw (when he still had the mustache). It’s an all right song, it sounds like a single, but it’s not special in any way. That same sentence could describe “Cheated on Me,” “I Have You to Thank,” and a handful of other songs on the record. That’s because most of Gavin DeGraw is comprised of slightly above average bland pop.

And that’s the real problem here. Only once, yes once does DeGraw provide a glimpse of what made him a white-hot prospect in the first place. Only once does DeGraw sound like the phenom that could make music infectious enough to make a 34-year old dad consider buying a short brim army hat.

Yes “Next to Me (Wait a Minute Sister” is the only song on DeGraw’s record you need pay full attention to, and it’s a dandy. “Next to Me (Wait a Minute Sister)” is such syrupy pop you won’t stop singing in the car even if someone catches you in the act. That’s right, you’ll finish—it’s that good. With the wind chime guitar and the up-tempo vocal, “Next to Me (Wait a Minute Sister)” will sound great on your next burned compilation CD.

After “Next to Me (Wait a Minute Sister)” there are a couple tracks that come close. “Young Love” flirts with it, if only for a moment. “Young Love” will get your attention with crisp guitar and compelling storytelling lyrics about “young lovers taking the hill. One plants a flag while the other is killed.” We hear the tale of “Young Love” told by narrators drinking their wine and reflecting. It’s this distance that prevents “Young Love” from going all the way. On “Young Love” DeGraw sounds like he’s playing the part of war photographer instead of joining the battle himself leaving the song a couple muskets short of the passion it needs.

“She Holds a Key” is the second best track on the record; it’s a nice churchy love song complete with backing vocals. This slow to build ballad will grow on you and is a rare example of a song where DeGraw sounds completely at ease. On “She Holds a Key” DeGraw sings like a weight has been taken off his shoulders. He sings like the young man Clive Davis discovered.

Other than that the only track worth mentioning is “We Belong Together,” which like almost anything DeGraw sings sounds like you could have already heard it on the radio. “We Belong Together” should light up state fair band shells this summer especially the stripped down one minute ending. DeGraw is more than capable of ripping a “tell me are you a Christian child? I am tonight!” It’s a shame most of his second record is buried in the production and only provides one irresistible track in “Next to Me (Wait a Minute Sister)” and a glimmer of hope in “She Holds a Key.”