By Elyssa A. Goldstein

After spending nearly 10 years as the front-man for one of rock’s most successful contemporary acts, Matchbox Twenty, Rob Thomas has taken a step back from the band that sold over 25 million albums worldwide and has had more chart-topping hits and weeks on the national Modern AC and Adult Top 40 charts than any other act. Thomas’ first solo attempt was a smash success, when he collaborated with legendary guitarist, Carlos Santana, on “Smooth,” which earned three Grammys.

Despite his young age, Thomas has been merited as one of the industry’s most gifted songwriters, receiving 13 BMI Awards (including both songwriter and song of the year), being named Billboard’s Songwriter of the Year two years in a row, nods from both American Songwriter and Performing Songwriter magazines, induction into the South Carolina Music and Entertainment Hall of Fame, and the Songwriters Hall of Fame’s first-ever “Starlight Award” for talented young songwriters.

With his first solo album, Thomas plays it safe. He doesn’t stray much from the sounds that put Matchbox Twenty on the map. His new, slim-downed style seems to be the biggest change on the record. “This Is How A Heart Breaks” picks up where the band’s 2002 record, More Than You Think You Are, left off. The first single, “Lonely No More,” follows the same style as the Thomas-Mick Jagger collaboration, “Disease,” becoming the second track in the history of the Adult Top 40 chart to gain over 1000 plays in a week.

…Something To Be was produced by Matt Serletic, who also plays keys on the record, but his producing leaves the album in a repetitive groove, making it boring to listen to and not terribly special. Despite the use of some interesting instruments and arrangements (Robert Randolph on lap steel guitar on “I Am An Illusion” which also features a trumpet and sax; marimba, bells, a shofar, kanun and dudek on “All That I Am”), the album’s downfall lies in the bland vocal lines and unimpressive lyrics. Thomas’ songwriting abilities are completely lost on this album, and even collaborations with Mike Campbell, Mike Elizondo, Gerald Hayward and pop superstar John Mayer (guitar on “Streetcorner Symphony”) don’t redeem the record’s mundane quality.

The only true highlight is the last track, “Now Comes The Night,” featuring Thomas on piano. This album will please the average listener and Matchbox Twenty fan, but for fans who were craving true originality, disappointment is a listen away.