Take a moment to imagine Jack Johnson’s musical infancy: A gnarled acoustic guitar, a cramped UCSB dorm and a series of wistful, recurring dreams. These were likely the only tools adorning the singer-songwriter’s repertoire before 2005’s “In Between Dreams” gave two million Americans something to talk about all summer.

If you take away the distinct Hawaiian flare, peaceful contentedness and pensive reminiscence heard on Johnson’s records, Welcome to Florida, the little-known college quartet from Peterborough, N.H., takes the sensual out of the love song, lightens the mood with driving grooves and turns Johnson’s love lyric precedents on their pretty little heads. Damn those no good college kids.

In short, Jack Johnson with an adrenaline shot, a new-found appreciation for funk and a parental advisory sticker plastered on best describes Welcome To Florida’s sound.

Hints of virtuosity bubbling from unexpected crevasse within the album coupled with thorough, tight-knit production, propel the band’s fourth effort from the dredges of “just another college album,” “The Good Word.” The album culls the mundane and predictable, swinging a furious left that commands attention.

Funk-based drum patterns and high treble strum spurt from rhythm guitars showing WTF’s deep-seated appreciation for a genre that’s seen its peaks, valleys and plateaus over the past 45 years.

Avoiding the typical love-lyric route that most college bands trek, the lyrics are often crude yet comical, and quite frankly overdue. This revision to lyrical levity is a necessity in times of commercial radio overborne with weak pop standards or the latest manufactured Nickleback single.

“Crime & Punishment” starts out slow-paced, with light bongos and mellowed acoustic strums that lead to a pentatonic guitar solo, illuminated with lightning-fast blues licks as the melody crescendos.

“Here Comes January” is soft and melodic with tuneful lyrical symmetry that catches you off guard. But the difference rests in the delivery. Therein lies the brazen quality afforded only the sheer arrogance of college.

All in all, “The Good Word” is a good album made up of smooth pop, faux-funk and enough college-age angst and moxy to make it all fit.