John Hiatt Shm

John Hiatt's highest-charting album yet is a step down from the dizzy heights of Bring the Family and Slow Turning, as he abandons his more acid commentaries and turns in a self-deprecating set full of promises of reformation and celebrations of marriage and family life. But the observations remain acute, and Hiatt's singing (so much camouflaged in his early days) is becoming his secret weapon.

John Hiatt's highest-charting album yet is a step down from the dizzy heights of Bring the Family and Slow Turning, as he abandons his more acid commentaries and turns in a self-deprecating set full of promises of reformation and celebrations of marriage and family life. But the observations remain acute, and Hiatt's singing (so much camouflaged in his early days) is becoming his secret weapon.

At the time of its release, Two Bit Monsters was perceived by critics who had caught up with John Hiatt on Slug Line as a less impressive follow-up to that record. In retrospect, it may be the better of the two albums, boasting an even more simplified musical approach and such notable songs (and future Rosanne Cash covers) as "Pink Bedroom" and "It Hasn't Happened Yet." Hiatt here was starting to emerge from the "new Elvis Costello" tag that had been affixed to him with Slug Line, but his reviewers, however well-meaning, seemed determined to keep him in that category.

At the time of its release, Two Bit Monsters was perceived by critics who had caught up with John Hiatt on Slug Line as a less impressive follow-up to that record. In retrospect, it may be the better of the two albums, boasting an even more simplified musical approach and such notable songs (and future Rosanne Cash covers) as "Pink Bedroom" and "It Hasn't Happened Yet." Hiatt here was starting to emerge from the "new Elvis Costello" tag that had been affixed to him with Slug Line, but his reviewers, however well-meaning, seemed determined to keep him in that category.

Hiatt's fifth album and his first for Geffen, his third record label, was given a somewhat inappropriate big-gloss production (all shimmering keyboards and filtered vocals) by Tony Visconti, known for his work with David Bowie. What counts with Hiatt, though, is the songs, and this album contains "I Look for Love," as knowing a dissection of the dating scene as anyone has yet attempted.

Hiatt's fifth album and his first for Geffen, his third record label, was given a somewhat inappropriate big-gloss production (all shimmering keyboards and filtered vocals) by Tony Visconti, known for his work with David Bowie. What counts with Hiatt, though, is the songs, and this album contains "I Look for Love," as knowing a dissection of the dating scene as anyone has yet attempted.

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.

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.