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Pop - Paru le 1 mai 1987 | A&M

Distinctions Discothèque Idéale Qobuz
In 1987, John Hiatt, clean and sober and looking for an American record deal, was asked by an A&R man at a British label to name his dream band. After a little thought, Hiatt replied that if he had his druthers, he'd cut a record with Ry Cooder on guitar, Nick Lowe on bass, and Jim Keltner on drums. To Hiatt's surprise, he discovered all three were willing to work on his next album; Hiatt and his dream band went into an L.A. studio and knocked off Bring the Family in a mere four days, and the result was the best album of Hiatt's career. The musicians certainly make a difference here, generating a lean, smoky groove that's soulful and satisfying (Ry Cooder's guitar work is especially impressive, leaving no doubt of his singular gifts without ever overstepping its boundaries), but the real triumph here is Hiatt's songwriting. Bring the Family was recorded after a period of great personal turmoil for him, and for the most part the archly witty phrasemaker of his earlier albums was replaced by an wiser and more cautious writer who had a great deal to say about where life and love can take you. Hiatt had never written anything as nakedly confessional as "Tip of My Tongue" or "Learning How to Love You" before, and even straight-ahead R&B-style rockers like "Memphis in the Meantime" and "Thing Called Love" possessed a weight and resonance he never managed before. But Bring the Family isn't an album about tragedy, it's about responsibility and belatedly growing up, and it's appropriate that it was a band of seasoned veterans with their own stories to tell about life who helped Hiatt bring it across; it's a rich and satisfying slice of grown-up rock & roll. © Mark Deming /TiVo
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Blues/Country/Folk - Paru le 21 mai 2021 | New West Records

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En 1970, le très jeune aspirant songwriter John Hiatt s’installait à Nashville en rêvant d’y lancer sa carrière. Sans doute qu’en passant devant l’immeuble des studios RCA, où furent enregistrés tous les géants de la country, son cœur battait plus fort. Cinquante ans plus tard, Hiatt y est chez lui. C’est dans le studio B, un vrai monument historique de la musique américaine, qu’il a enregistré Leftover Feelings, plus ou moins son 25e album. Sans pression, comme à la maison, avec un groupe d’amis de l’americana dirigé par le joueur de steel-guitar Jerry Douglas. Pas de batterie, uniquement des cordes, guitares, violon et contrebasse pour marquer le rythme. Tout acoustique, contrairement à la longue Cadillac noire de la première chanson de l’album, qui elle est électrique (la voiture, pas la chanson). Cette Long Black Electric Cadillac inaugure un nouveau trip dans le monde de l’americana, cette musique intemporelle de l’Amérique où chaque chanson est comme un arbre, une pierre, une rivière ou un rayon de soleil dans un parc national de l’ouest. Encore un disque d’americana, oui, mais jamais le même, parce que tout est dans les détails et la personnalité de l’auteur. Avec sa voix de Dylan sudiste, ses chansons comme griffonnées sur une carte routière (Mississippi Phone Booth, I’m In Ashville…) et son goût des personnages, John Hiatt confirme s’il en était besoin (mais il n’en était pas besoin) son statut de grand songwriter – écrivain de chansons en français. Et deux ans après un gros coffret rétrospectif de ses albums pour le label New West, il prouve qu’il n’est pas encore prêt pour la retraite. © Stéphane Deschamps/Qobuz
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Rock - Paru le 1 janvier 1988 | A&M

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After the success of Bring the Family, John Hiatt originally intended to reunite that album's all-star backing band (Ry Cooder, Nick Lowe, and Jim Keltner) for a follow-up. Hiatt's "dream band" proved to be unavailable, and he ended up cutting Slow Turning with his road band, the Goners, but the finished product proves he remembered well the lessons learned from Bring the Family. Slow Turning is a lighter and wittier affair than Bring the Family; the outlaw rocker "Tennessee Plates" and its more subdued companion piece, "Trudy and Dave," are more rambunctious than anything on the previous album, and the tempos are sharper this time out, with a bit less blues and a touch more twang in the melodies. But Slow Turning is also an album of hard-won lessons about life and love, placing a subtle but pronounced emphasis on the nuts and bolts of family life with the mingled joys and annoyances of parenthood dominating both "Georgia Rae" and the title cut, and the newfound maturity that made Bring the Family so special is still very much in evidence. And while the Goners aren't quite up to the standards of the quartet that recorded Bring the Family (and who, pray tell, is?), they're still a stronger and more empathetic band than Hiatt usually had in the studio, with Sonny Landreth's guitar work a standout. Following the best album of your career is no easy task for most performers, but with Slow Turning John Hiatt made it clear that the excellence of Bring the Family was no fluke. © Mark Deming /TiVo
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Rock - Paru le 1 janvier 1998 | CAPITOL CATALOG MKT (C92)

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Rock - Paru le 1 mai 1987 | A&M

In 1987, John Hiatt, clean and sober and looking for an American record deal, was asked by an A&R man at a British label to name his dream band. After a little thought, Hiatt replied that if he had his druthers, he'd cut a record with Ry Cooder on guitar, Nick Lowe on bass, and Jim Keltner on drums. To Hiatt's surprise, he discovered all three were willing to work on his next album; Hiatt and his dream band went into an L.A. studio and knocked off Bring the Family in a mere four days, and the result was the best album of Hiatt's career. The musicians certainly make a difference here, generating a lean, smoky groove that's soulful and satisfying (Ry Cooder's guitar work is especially impressive, leaving no doubt of his singular gifts without ever overstepping its boundaries), but the real triumph here is Hiatt's songwriting. Bring the Family was recorded after a period of great personal turmoil for him, and for the most part the archly witty phrasemaker of his earlier albums was replaced by an wiser and more cautious writer who had a great deal to say about where life and love can take you. Hiatt had never written anything as nakedly confessional as "Tip of My Tongue" or "Learning How to Love You" before, and even straight-ahead R&B-style rockers like "Memphis in the Meantime" and "Thing Called Love" possessed a weight and resonance he never managed before. But Bring the Family isn't an album about tragedy, it's about responsibility and belatedly growing up, and it's appropriate that it was a band of seasoned veterans with their own stories to tell about life who helped Hiatt bring it across; it's a rich and satisfying slice of grown-up rock & roll. © Mark Deming /TiVo
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Rock - Paru le 12 octobre 2018 | New West Records

Avec The Eclipse Sessions, le chanteur de country-blues d’Indianapolis continue son aventure sur le label New West Records. Depuis son dernier, Terms of My Surrender, en 2014, John Hiatt a pris de la bouteille, pour une cuvée toujours meilleure. Impacté par tous les changements que la vie peut offrir, les naissances et les pertes ainsi que les marques du temps sur le visage, il peut enfin jouer son rôle de grand sage. The Eclipse Sessions est un disque de l’instant, qui assume son aspect brut et ses fissures. En choisissant comme thématique centrale l’évolution de sa carrière, Hiatt ne manque pas de textures et jongle entre lyrisme et spirituel, humour et peines mais surtout authenticité. Enregistré en moins de six jours, pendant l’éclipse du 21 août, un aspect mystique s’ajoute à cette œuvre. Accompagné de Patrick O’Hearn à la basse et de Kenneth Blevins à la batterie, c’est dans la ferme de son ami pianiste Kevin McKendree que le troubadour enregistre. Simple et efficace, dans une ambiance chaleureuse et décontracté. Même le fils de McKendree, Yates, participe avec sa guitare alors qu’il n’a que 15 ans. Pour les cœurs brisés et solitaires, la voix rugueuse et entraînante de John Hiatt ouvre sur une chanson de rock roots intitulée Cry to Me. Puis son humour décalé et intelligent ne tarde pas à faire surface, lorsqu’il se décrit comme une imitation ratée de Dieu sur Poor Imitation of God. Un blues groovy qui fait rapidement oublier que le chanteur a déjà soufflé ses 66 bougies. © Clara Bismuth/Qobuz
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Rock - Paru le 1 janvier 1995 | Capitol Records

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Pop - Paru le 1 janvier 1993 | A&M

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Rock - Paru le 1 janvier 1990 | A&M

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Rock - Paru le 1 janvier 1988 | A&M

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After the success of Bring the Family, John Hiatt originally intended to reunite that album's all-star backing band (Ry Cooder, Nick Lowe, and Jim Keltner) for a follow-up. Hiatt's "dream band" proved to be unavailable, and he ended up cutting Slow Turning with his road band, the Goners, but the finished product proves he remembered well the lessons learned from Bring the Family. Slow Turning is a lighter and wittier affair than Bring the Family; the outlaw rocker "Tennessee Plates" and its more subdued companion piece, "Trudy and Dave," are more rambunctious than anything on the previous album, and the tempos are sharper this time out, with a bit less blues and a touch more twang in the melodies. But Slow Turning is also an album of hard-won lessons about life and love, placing a subtle but pronounced emphasis on the nuts and bolts of family life with the mingled joys and annoyances of parenthood dominating both "Georgia Rae" and the title cut, and the newfound maturity that made Bring the Family so special is still very much in evidence. And while the Goners aren't quite up to the standards of the quartet that recorded Bring the Family (and who, pray tell, is?), they're still a stronger and more empathetic band than Hiatt usually had in the studio, with Sonny Landreth's guitar work a standout. Following the best album of your career is no easy task for most performers, but with Slow Turning John Hiatt made it clear that the excellence of Bring the Family was no fluke. © Mark Deming /TiVo
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Country - Paru le 8 avril 2013 | Humphead Records

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Rock - Paru le 1 janvier 1994 | A&M

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Rock - Paru le 1 janvier 1983 | Geffen

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Rock - Paru le 1 janvier 1999 | A&M

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Pop - Paru le 1 janvier 2006 | Hip-O Select

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Rock - Paru le 1 janvier 1997 | Capitol Records

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Rock - Paru le 1 janvier 1989 | Geffen

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Rock - Paru le 12 juillet 2019 | New West Records

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Rock - Paru le 1 janvier 1980 | Geffen

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Rock - Paru le 1 janvier 1979 | Geffen

L'interprète

John Hiatt dans le magazine