The most common argument you’ll hear against The Fray is that “every song sounds the same.” Some will nod their head to that and others will roll their eyes.

This time around, they might have proven their critics wrong. Finally, in Scars & Stories, The Fray’s third full-length release, the group has advanced far enough to understand what it takes to pull together a successful album. This third release is a test of the band’s longevity, because if a band’s second album is even remotely successful, it has withstood the test of a sophomore slump. This means that upon hearing from the band the third time, fans have either forgotten about them, or they are placing a lot of pressure to perform as well as its predecessors.

In their first CD, audiences were okay with their sound to remain simple and condensed because it was new and fresh to the public. Some believe the band won’t ever surpass their commercial success with 2005’s How to Save a Life. People weren’t as forgiving the second time around.

Now, in The Fray’s third time around, Scars & Stories finally achieves masterful variation in their sound meanwhile remaining true to their styling. It finds success in staying true to The Fray’s history, message and continuation of their discography. The only question is, will people give them another chance?

It’d be a shame if they didn’t, because Scars & Stories has some great material. Not only is it expansive and diverse, accompanying a wide range of melodies as well as a substantial amount of subjects, but it sounds universally likeable, to the extent that should radio give it a chance, some songs could reach great heights.

Granted, no song on this album is as relevant now as “Over My Head (Cable Car)” was in 2005, but the Denver rock group puts up a fight. Scars & Stories covers a lot of ground within less than forty-five minutes of jams. Several levels of energy are represented, between slow killers and upbeat wonders.

The album’s opener, “Heartbeat,” is especially rhythmic. If nothing else, Adult Contemporary station listeners will really jive with this song. It moves at such a pace that it can’t be argued with and its message can’t be interrupted. Its harmless words sung along with great upbeat tempos are surprisingly pleasant. Just as the hollowed lines of “Turn Me On” between “oh” sounds that really project a provocative image as it intends.

The image they featured as the 2012 release’s cover was very interesting. The band chose to take a more vinyl approach that appears more vintage and worn, with a dated font representing their name. It’s fun to look at, whether or not it explains their story well. But as you revel in The Fray’s clever use of album artwork, don’t look past their lyrical capability in Scars & Stories. It’s well-represented in “The Wind,” singing:

Oh my God, think I’m lost at sea
The silent waves are my company
And I lost the land between the sky it seems
And wondering, “Will the wind ever come free?”

In most full-length albums, listeners can usually pick out a song or two that doesn’t fit or falls flat amongst the rest. There doesn’t seem to be a low point on the CD where energy is lost or inspiration dwindles. Between the heavy artistry in “Munich” and the reminiscence in “1961“, Scars & Stories brings together a whole bulk of greatness. They even give vocalist Isaac Slade a rest while guitarist Joe King takes the reins for “Rainy Zurich” to keep listeners on point. It was a smart move, too, because somehow King takes the song to a higher level.

The Fray still stands strong as a steady pop-rock ensemble and they don’t need the help of the Grey’s Anatomy soundtrack to propel them to success this year. As long as this group still believes in good music, people will believe in The Fray. Because as far as we’re concerned, The Fray still makes wonderful tunes.