“HIGH ON THE HOG” By Mogipbob (Album)

There’s something refreshingly honest about “High on the Hog,” the twelve-track release from Alberta-based songwriter Mogipbob, the recording identity of Jason Graves. Instead of chasing trends or overproduced polish, this album leans into storytelling, humor, and the comforting familiarity of roots-inspired songwriting. Blending folk, country, and touches of 70s pop-funk, the album feels like sitting around a kitchen table listening to someone who knows how to turn everyday moments into musical snapshots. The project’s AI-assisted instrumentation and vocals are not used as gimmicks but as tools to amplify Graves’ primary strength: writing songs that sound lived-in and real. It’s a clever fusion of old-school songwriting sensibilities with modern creative methods, and that contrast gives the record a unique personality right from the first spin.

The opening track, “High on the Hog,” sets the tone with confident storytelling and a groove that immediately establishes the album’s playful character. The melody is warm and inviting, pulling listeners into Mogipbob’s world where humor and reflection coexist. From there, the record dives headfirst into lighthearted storytelling with “She’s Too Hairy for Me” and “Blame the Cat,” two tracks that showcase Graves’ wit and willingness to embrace quirky narratives without sacrificing musicality. These early songs work as a statement of intent: this is music that doesn’t take itself too seriously yet still values craftsmanship. The infectious hooks and conversational lyrics help create an approachable entry point for listeners who appreciate character-driven songwriting.

Midway through the album, the mood shifts into more textured territory with “Eileen” and “Even Steven.” Here, the songwriting slows slightly, allowing emotional nuance to emerge beneath the humor. “Eileen” stands out with its slower pacing and reflective tone, offering a glimpse into the songwriter’s introspective side. Meanwhile, “Even Steven” balances groove and storytelling in a way that evokes the classic singer-songwriter tradition while maintaining the relaxed charm that defines the album. These tracks demonstrate that “High on the Hog” is not just built on jokes or playful concepts; it also carries a steady emotional backbone that keeps the listening experience grounded.

As the second half begins, the playful energy returns with “Gimme That Dirty Bird,” “She Thickened Up,” and “Soap on a Rope,” a trio of tracks that leans into humor, rhythm, and infectious hooks. These songs feel like snapshots of small-town conversations turned into music, exaggerated just enough to entertain but rooted in real observation. The grooves here nod subtly to vintage funk influences without overwhelming the folk and country foundations. There’s a sense of freedom in the arrangements, as if the songs were allowed to breathe and evolve naturally rather than being forced into rigid genre expectations. This section of the album feels especially strong because it captures the balance between humor and musicianship that Mogipbob handles so effortlessly.

The emotional centerpiece arrives with “The Longest Goodbye,” one of the album’s more contemplative moments. This track slows things down and lets the storytelling take center stage, highlighting Graves’ ability to shift from playful lyricism to reflective honesty. The arrangement feels more expansive, allowing the melody to linger and resonate. Following that, “Them There Blazers” injects a dose of character and personality again, functioning almost like a narrative interlude before the closing stretch. Then comes “Unemotional Rollercoaster,” a cleverly titled song that plays with contrast, restrained delivery paired with underlying emotional tension, reinforcing the album’s recurring theme of finding humor even within complicated feelings.

Closing track “When Summer Fades” is a fitting finale, stretching out into a more reflective and mellow landscape that leaves listeners with a sense of closure. Where the earlier songs invite laughter and toe-tapping, this final piece feels like a quiet conversation after the party has ended. The slower pacing and nostalgic tone wrap the album in warmth, emphasizing the human element that runs through every track. By ending on a reflective note, Mogipbob reminds listeners that beneath the wit and playful storytelling lies genuine emotion and thoughtful songwriting. The album doesn’t just entertain, it lingers.

One of the strongest aspects of “High on the Hog” is its accessibility. The album is available globally across major streaming platforms including Spotify, Apple Music, Amazon Music, iHeartRadio, YouTube, and other digital services, making it easy for listeners everywhere to discover and enjoy the project.  This wide availability fits the album’s approachable spirit, songs that feel personal yet are meant for communal listening, whether in a car, at home, or shared across playlists. The album has already begun earning positive attention for its balance of tradition and experimentation, reinforcing the idea that strong songwriting still cuts through in today’s digital landscape.

In the end, “High on the Hog” is more than just a collection of songs; it’s a portrait of a songwriter embracing both the past and the future. Mogipbob proves that authentic storytelling doesn’t need to be flashy to be effective. By combining small-town humor, honest reflections, and groovy retro influences with modern AI-assisted production, Jason Graves has crafted an album that feels refreshingly genuine. For listeners who enjoy narrative songwriting, classic melodic sensibilities, and music that doesn’t forget to have fun, this album delivers warmth, personality, and replay value. Shout-out to Mogipbob for creating a project that stays true to its voice while boldly exploring new creative territory, a reminder that great songs always begin with a strong story.

Written by Manuel