Will Hoge is one of those artists that spans a vast spectrum. Equally at home in the mainstream Nashville fraternity as signalled by his smash hit that Eli Young took to great heights as playing grittier Americana settings as evidenced when he stepped in to headline the Maverick Festival a couple of years ago. The key is probably simple. He is just a good ole fashioned rock 'n' roller with an innate skill of being able to write incredibly strong songs. This back to basics stance is the rich backbone to his latest album. WINGS ON MY SHOES is Will Hoge right on the nose. To borrow a phrase from an astute fan - 'thoughtful, tuneful, sometimes tender and usually load'.
For those of a certain disposition, there is a distinct structure to the ten-track / forty minute status of a record packed to the hilt with revealing nuggets. Hoge rarely wastes a moment of this succinct template as he blends the power of rock with the soul of sincere songwriting. There is also an addictive feel to listening to the music of Will Hoge as you just want to dive deep into his lyrical offerings. They aren't always poetic and metaphorical, but that's not the country or heartland rock way. What is the way is to possess a voice aching with the song.
The ten tracks exist in a malleable sphere. On the record, the full band attack periodically raises the volume, though there are moments of sedate reflection. On the road where the need may be to play solo, many will deconstruct without losing their appeal. Ultimately, the gifted Hoge doesn't court his listener. He operates in the shop window where folks can view an artisan plying their trade.
As intimated earlier, nuggets frequently pop up from the pompous brash opener 'John Prine's Cadillac' to the delightful country closer 'Whose God Is It?'. These two tracks are part of a quartet to surface ahead of the full release date. The latter has more appeal here courtesy of the late introduction of pedal steel and a lyric laden delve into tuneful prose, with a touch of wry humour detected. The other half of the quartet see Hoge shift to ballad mode. 'Queenie' is a touching composition with the lure of wanting you to cling to every line with the phrase 'orphan's heart' repeatedly driving the feel. 'The Last One To Go' is more heartened sentiment, comes across as deeply personalised and, amongst the pin drop, a little mellow cello is detected.
One prime moment away from the promoted four is the jangly guitars attached to 'It's Just You' in a case of west coast meets eastern heartlands. 'Ain't How It Used To Be' is a slice of blue collar twangy country nostalgia for folks of a certain age. Hoge's twenty plus year recording career puts him in safe territory writing such pieces. Like so many of his songs, the lyrics flow from the veins.
Elsewhere, any track titled 'Birmingham' gets a smile here, while 'All You Can Take' is one of those blistering moments where the forces of rock 'n' roll are unleashed. 'Dead Man's Hand' is archetypal story telling. 'You Are The Place' brings the track numbers to the round ten and fits in as one of the solid support cast. A line about 'roaming around in Brighton a bit' raises the eyebrows.
WINGS ON MY SHOES may well end up defining Will Hoge. That is probably a longterm view. More importantly, if you have a desire for gritty heartland rock with a countrified edge and are partial for the meaningful song, then look no further than this forceful release.