But a whole lot of Woodard shows through, too. He has a way of sketching a story, as on “Reno,” a duet with violinist Sara Watkins that tells of two souls finding their intendeds at a desert truck stop. The unblushing romanticism of “Older” and “Beautiful Now” and Woodard’s self-deprecating sense of humor and handy way of turning a phrase in “Hoops” make the cuts some of the album’s best. Like John Mellencamp and Bob Seger, much of Woodard’s country-tinged (with mandolin, banjo, lap and pedal steel) power-pop has the feel of working-class hope… of leaving the played-out old for the unexplored new.
Woodard mostly passes up “guitar stud” solos for big-chorded washes, highlighting the similarities with Seger and Mellencamp.
Five albums is a lot for any songwriter – most are down to dog ends by then. But Woodard’s background as an ex-surfer, ex-child actor, ex-economics student, ex-investment company/internet-business worker helped him come up with a solid fifth album, with songs full of blood and humor and life. You can’t always judge a man by his resumé.
This article originally appeared in VG’s Dec. ’08 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.