Will Hoge / Sundy Best About Will Hoge: "Took a whole lot of miles to know what I know now," sings Will Hoge on "Growing Up Around Here," the opening track off of his tenth studio album, Small Town Dreams. "I'm kinda proud of growing up around here." It's been a whole lot of miles, indeed: miles on the road, driving the bus himself from venue to venue since the nineties; miles to and from Nashville writing rooms, where he's spent countless hours penning songs some for him, some for others; miles exploring lands outside of his native Franklin, Tennessee, chasing the spirits of his musical heroes. Roads meet, roads split, roads led to home. This is the album that follows them all, every twist and turn in Hoge's American journey a journey that's positioned him as one of our keenest, most honest modern storytellers, telling both his tale and ours."It's a reflection of where I am currently in my life," says Hoge of Small Town Dreams, "but also where I grew up, and, ultimately, where I think I'm going." From the streets of the town where he was raised, to the sidewalks of cities a hundred times the size, we all have dreams; and these are the stories of growing up, looking back and passing on those dreams, told as only Hoge can. Nostalgia, in his hands, is truly magic.After producing several albums on his own, including 2013's Never Give In, Hoge partnered with Marshall Altman (Frankie Ballard, Eric Paslay, Matt Nathanson) on Small Town Dreams, after the idea to work together popped into his head during one of those late-night drives. Ballard's "Helluva Life" came on the radio followed by Paslay's "Friday Night," and he was taken by how true to the artist the production rang. "Neither of those sound like records I would make, but they both sound so uniquely them," Hoge says. "So I called up Marshall, at 2 a.m. he was up in the studio that late. We started the process right after that. He's part cheerleader, part conductor, part coach, part fan, all at the same time."The result is a collection of songs that paint a vivid snapshot of the American experience the struggles to overcome the confines of youth; the perfect cycle of parents watching their children make the same beautiful mistakes they once did; the feeling when we realize our roots run deeper than we've ever known. The partnership with Altman (as well as a guest appearance from Vince Gill on guitar) bred a sound that's both crisp and raw, letting the lyrics and unforgettable melodies shine while never casting too much of a gloss on Hoge's signature raspy bellow.An extremely prolific songwriter with ten albums under his belt and countless songs written for others (including a Grammy nomination for Eli Young Band's number-one hit, "Even If Breaks Your Heart," co-written with Paslay), Hoge saw this next phase of his journey as an opportunity to explore even deeper into both his country and rock & roll roots. Never fitting particularly neatly into a genre box, he's always just made the music that moved him but it's safe to say that he feels more kinship with the country community than ever, particularly as a storyteller."That's my favorite thing about the genre itself," he says. "That's what I love most. Country music is the only genre left telling anybody's stories anymore."Those stories are part of what has made Hoge a vital force in fan's lives who have followed him across the country and seen countless shows his songs speak to the reality of all our experiences, delivered in a way that is honest, true and ever changing. There's no musical formula here or predictability to seeing Hoge live whether opening for the likes of Eli Young Band or Dierks Bentley, or playing his own sold-out dates, he can stir up somber, acoustic moments in one turn and then spring a hard-rocking, plugged-in number the next. "The magic happens in the unsafe moments," he says.There's safety, however, in Hoge's words, as he documents the mystery in our future and the security of our past. It's human experience he studies, and connecting with the listener is part of what makes it all worthwhile for Hoge."I tell these stories about me, or a friend, or an experience," he explains, "and to have someone come up to me and say, 'that's exactly how I felt,' or 'your songs helped me through a tough time,' that's the ultimate compliment."Take "Middle of America," which opens with a simple, sweet guitar strum and ushers into a full-fledged rock-country anthem with a rollicking heartbeat it's about the moments, both perfect and flawed, that unite us all. Or "Guitar or a Gun," that tells the story of a young boy, a few dollars in hand, facing a pivotal decision at the local pawnshop: should he buy a guitar, or a gun? "One can feed your family, and one will end you up in jail. He seemed to know which one was which but me, I couldn't tell," Hoge sings in impossibly vivid storytelling that's one part Bruce Springsteen, one part Bob Dylan, one part Hank Williams. And then there's the closer, "Till I Do It Again," that's as much The Clash as a country romp, showcasing the best of the special hybrid that Hoge hits with every lick.The title of the album, Small Town Dreams, was inspired by a photo that Hoge found while visiting his mother back in Franklin a picture of him as a child, riding bikes with a group of neighborhood kids in the field behind his house. "We're the most non-threating small-town gang ever," he laughs. "It's this real innocent photo, and everybody's smiling and happy. I started thinking about all the people I had lost contact with, and how, at that age, everybody in that photo truly believed they could do anything they wanted to, and that those sort of small town dreams are possible."But when those photos and yearbooks of our youth have been lost in the piles, and the yellowed pages of newsprint has disintegrated into dust, we'll still have our stories: and Hoge turns those stories into song, into melodies that last far longer than any etched or snapped record. Will Hoge, the man, is many things. A husband, a father, a survivor, a devoted small-town son who credits much of his love of music to his rock 'n' roll loving dad. Will Hoge, the artist, belongs to us all a storyteller first and foremost, charting and living our Small Town Dreams.About Sundy Best: In the universe of music-making, countless debates have been had comparing and contrasting less vs. more, style vs. substance, form vs. function.Those debates have little merit if the final product isnt excellent. Quality trumps all other quantitative discussions.When you look at the recent output of Sundy Best, the Lexington, Ky.-bred duo comprising Kris Bentley and Nick Jamerson, you certainly see they have the quantity side taken care of. Since signing with eOne Music in 2013, the band has released three separate studio projects a deluxe version of their independently produced album Door Without A Screen, early 2014s Bring Up The Sun, and now, a brand new collection of songs titled Salvation City, their second effort working with veteran producer RS Field (Justin Townes Earle, Allison Moorer, Todd Snider, Webb Wilder, Sonny Landreth.)And this is where the excellence comes in.With each step along the way even the quick-step nature of rolling out music almost as quickly as they can write and record it you hear the maturity, the confidence and the capability of this duo rise and rise, especially on the tracks that make up Salvation City, a mythical place Jamerson describes as more an attitude than anything concrete.Even with social media, I dont think the world is in any worse shape than its ever has been, but it can really bring you down, if youre always on Facebook and Twitter and constantly connected, he says. I found the only time we could really escape it was at our shows, when we were working.Its like we were creating this little separate environment away from all the negative stuff, so thats where we came up with Salvation City, he continues. Its whatever in your life thats an escape from the nonsense thats out there, if that keeps you sane, thats your Salvation City.People just getting their first taste of Sundy Best over the past couple of years might have chosen to look simply at the form the band took Jamerson on an acoustic guitar, Bentley on a cajn drum and overlook the function the sparseness served, delivering raw, yet powerful down-home sonics merged with the childhood friends intertwining vocals.For Salvation Citys season, though, Jamerson, Bentley and Field have chosen to flip the switch, not only adding more electric instrumentation to the mix, but also adding to the variety of styles the band was already playing adeptly in.RS says one of two things when hes asked about our music, Bentley says. First, if hes asked what it sound like, he calls it Appalachiadelicfolksoulrocknroll. And second, if hes asked if its country, he says, Yeah, its country music. Its made in this country.Its that trust between band and producer that allowed Sundy Best to manifest new ideas and sounds in this latest studio go-round, conducted in the midst of a busy 2014 that had them on the road near-constantly, experiencing career goals such as multiple appearances on the Grand Ole Opry and headlining a sold-out show in New York City.We find out new things about ourselves and our music every day were in the studio with him, Bentley says of Fields influence. Every time we talk we learn something, and as Nick and I continue to write, we send him stuff for feedback. Its a relationship beyond the studio. Its more than just the music.As long as everybodys on the same page, you can never have too many good ideas, Jamerson says. Its OK for somebody to say youre wrong if you are wrong. It takes more than one person, it takes more than two people; you have to have somebody steering the ship, but if nobodys rowing the boat, youre not going anywhere.Which is why tracks like I Want You To Know (World Famous Love Song) sounds like a 21st Century Marty Robbins reignition, and why My Sweet Thing has a fuzz-box funkiness and loops galore, and why they fit right alongside the cautionary tales of road life found on Get Back Home To You, the electro-acoustic stomp of Shotgun Lady, the cheeky lament of Piece of Work, and the up-tempo, dream-chasing challenge of Do You Wanna Go?The music and ideas on Salvation City fit anywhere and everywhere simultaneously, a challenge in an era that demands easy identifiers, especially when it comes to music.What is a genre anymore? Jamerson asks. Really, in this day, its either good music or its bad music. If people enjoy it, thats enough for us.It starts with who we are as people. Were as real and honest and genuine as we want people to be with us, Bentley continues. I think, hopefully, someday people will hear that through the music as we continue to try to do things our way. We just want to be as much of ourselves as we can.