Customer Reviews

Crossing Muddy Waters

5 star:		(42)
4 star:		(14)
3 star:		(4)
2 star:		(2)
1 star:		(0)

 

 

John Hiatt is simply one of the greatest singer-songwriters alive, and unlike his previous album "Little Head," "Crossing Muddy Waters" is a stellar example of his great talent.

This album is definitely Folksy and Blues... the instrumentation is sparce, but each song is deceptively simple. Like the Recovery Trilogy, the lyrics here seem to come from Hiatt's personal experience, and listening to them is like having a deep heart-to-heart with a great friend.

Those who most liked Hiatt's Perfectly Good Guitar and Warming Up to the Ice Age may not be thrilled with this one, because you definitely notice the absence of drums and other instrumentation, but the three-piece sound definitely works for me!

This album could easily win a place in fans hearts right next to the three masterpieces of Bring the Family, Slow Turning, and Stolent Moments... It reminds me of why I fell in love with John's music in the first place: because it makes you think, it makes you feel, it makes you tap your foot, and it makes you sing along.

This is not just Mr. Hiatt's best album, it is one of those stunning masterpieces of musical authenticity that are bestowed upon us once or twice a year. Crossing Muddy Waters eclipses the so-called "masterpieces" of his earlier career, such as 1987's "Bring The Family," because it is the kind of tutorial on the origin's of American music that John Hiatt had been working towards for over a decade. This is Hiatt's only no nonsense, stripped bare, down to business collection of songs, on which jangling acoustic guitars pervade every song and craft the album's sound. Yes, you'll here some spare percussion, a few blues guitars here and there, and even a Tom Waits-ish banging on the heroically brilliant and instantly addictive "Lift Up Every Stone," which sounds like Tom Waits took Hiatt to the junk yard in search of new musical weaponry. Despite that song's success, Hiatt shines most luminously on the bare folk tracks, which drive the final nail through any lingering doubts as to Hiatt's importance in America's contemporary songwriting scene. Brilliant folk songs like "Take It Down," "Lincoln Town," "What Do We Do Now," and "Only The Song Survives" all designate Hiatt as one of the country's best contemporary songwriters. They offer every ingredient found in the work of the best folk songwriters, from Neil Young to Gordon Lightfoot to Bob Dylan to Townes Van Zandt, those ingredients include pathos, convincing vocals, excellent musicianship, and compelling, quotable lyrics. You bet your last dime that this album deserves to win the "Best Contemporary Folk Album" Grammy for which is was recently nominated.

Disagree with just about everybody here. Hiatt's bluegrass turn is just fine and even includes a couple of good rockers (Lincoln Town--which has plenty of sass & Lift Up Every Stone--featuring excited gospel stylings). Crossing Muddy Waters is a great slow song (and I love the pun in the title) and Gone is a jaunty little divorce number that Emmylou Harris would have been happy to have recorded in her prime. I love Slow Turning & Bring The Family but I hate to think that Hiatt should have to keep recording in that vein forever. The best since Walk On. Hope you enjoy it too.

RA

John Hiatt's title song is the bravest work of art I've ever experienced. He uses the title as a metaphor for his first wife's suicide: she's crossed the waters, leaving him and an infant daughter to struggle alone on the other side.
At night when the wind blows he hears her moans of remorse in the trees. But the waters have widened and there's no crossing back.
Hiatt's simple arrangement makes the song even more evocative by providing a haunting melody that doesn't drown his words in molasses.
It took amazing courage for Hiatt to express this achingly sad experience in song and share it with the world. "Crossing Muddy Waters'' also highlights his artistry: in less talented hands the song would sound mawkish, i.e., Nashville mainstream.
That Hiatt, a recovering alcoholic, has lived on some of life's highest peaks and in its deepest valleys makes his music so much more meaningful than the canned crap rolling out of the Acme Music Factory that Nashville has become.

The awesome thing about John Hiatt is he really doesnt care if his music is a mass appeal chart topper. One listen to his latest folk release and it's obvious. What's also obvious is that Hiatt shows more talent in one folk recording than most artists show in a career of music.

If you're looking for "Smashing A Perfecty Good Guitar 2" or "Slow Turning dos" you're looking in the wrong place. The closest recording you can compare "Crossing.." to is "Walk ON". This recording is less country and more folk than that 1995 release.

The annoying thing about Hiatt is every recording seems to be so different than the last. The awesome thing about Hiatt is every recording seems to be so different than the last. With Hiatts career it's hard to compare his recordings... they are all so varied but always as solid as can be. The One constant is that each of Hiatts recordings are going to contain some songs with lyrics that will blow you away.

Are there better voices out there than Hiatt? Of Course. Are there better writers out there than Hiatt? Of Course NOT.

"Crossing.." is a wonderful folk album from the chugging 1st tune "Lincoln Town" right to the up tempo but gentle "Before I Go".

Simply put...if you're a Hiatt fan you love this recording...if you're a folk music fan you'll love this cd....if youre a radio obsessed..mass appeal..big production..fluffy lyric fan...you better stay away.

This is a classic Hiatt record. It's got it all--great tunes, great singing and heartfelt lyrics. The fact that it's acoustic doesn't mean that it's mellow--this collection features Hiatt's usual energy. Several of the songs on here will break your heart. If you were a fan of John's lyrics in the days of his recovery trilogy (Bring the Family, Slow Turning and Stolen Moments), this will will wow you.

"Crossing Muddy Waters" is another fine example of one of the most underappreciated songwriters and singing talents in the industry. John Hiatt's new release is much more open and exposed than several recent releases (i.e. Slow Turning, Perfectly Good Guitar, Walk On), focusing more on the playing than the production. John's vocals are very soulful in this album and the instrumentals are used to highlight the feeling, avoiding the electified sound of recent albums. The use of acoustic guitars and mandolins makes the mood of the album seem more of a LIVE album. The songs are easily approachable and have a bluesy- country feel with a twist of funky grove. As I listen to this album, I can just see myself sitting on the front porch of a big ol' farm house listenin' to John and the boys jamming their hearts out. GO BUY THIS ALBUM!

I remember the chills Bob Dylan's early stuff put down my spine.(Hollis Brown, etc) John Hiatt does the same with his mournful lament of lost love and wasted lives ( Crossing Muddy Water). Hiat is folk, bluegrass, and rock and roll all balled into one. Who could ask for anything more in this world of canned airplay and mindless drivel. John's writing has kept most of the western world in songs for awhile now, let us hope he does not stop!

A John Hiatt album is always a no-brainer in my book . . . I pick them up automatically and am never disappointed (though I have scratched my head on one or two occasions). Hiatt's new album, Crossing Muddy Waters, is arguably his best yet. I never thought I'd say that about any disc other than Bring the Family, and being a Ry Cooder maniac I still hold back on making the statement definatively, but Crossing Muddy Waters is certainly his best since then.

The songs are uniformly excellent and his interplay with fellow musicians msrs. Farragher and Immergluck (spell check anyone) attest to the years these guys have spent together - Farragher since the tour supporting Perfectly Good Guitar, Immergluck since Walk On (another Hiatt must).

The depth of the songs and the playing make every listen like the first kiss of discovery.

Pick it up!!

(A side note: after seeing Hiatt a couple of summers ago solo, he was talking like his next disc would be a Goners reunion [the band from Slow Turning - another Hiatt must], and a recent Sessions at West 54th seemed to support that . . . what happened? I'd love to see that one next!)

Bring The Family is the album which converted me. This seems like its companion CD. Genuine, casual, serious,....classic; John Hiatt at his very best. Having seen JH live 10+ times, I know there is nothing like a Rocking JH; but one always feels his roots and passion are in solid songwriting and his Tennesee roots. You get the goods here. You won't be bopping up and down as you would on Perfectly Good Guitar or Little Head. But its a more mature version of Walk On, more comfortable than Slow Turning; a mellow "sit on the porch" version of Bring The Family. You feel like this is the music JH really wants to make, which might be why he is with a new label (I'd like to think). Another highlight of this disc is David Immergluck. The mandolin work on this CD is fantastic; sublime really (never know it came from a Berkeley boy). And its great to hear Davey Faragher with JH; his beautiful backup vocals ("like a bird") and strong bass (not to mention "foot-stomping") enhance this strong work. Hiatt has a great talent and great musicians always work with him. I have yet to see a weak collaborator, and Immergluck and Faragher are two of his best. Do yourself a favor and buy this CD; and tell your friends....make their lives' richer too. Song 3 on the CD is "What Do We Do Now." The Answer: Buy this CD, fire up the CD player, pour yourself a cool,frosty one, grab a loved one and stare into God's Golden Eyes.