Customer Reviews

Hot House

5 star:		(22)
4 star:		(7)
3 star:		(3)
2 star:		(0)
1 star:		(0)

 

 

This album is both addicting and mesmerizing. From the first strains of Spider fingers to the last notes of Cruise control, Bruce Hornsby proves that he is the consumate musician and story teller. He's racked up a bunch of superior musicians and vocalists to work with here. Incuded are Jazz guitarist Pat Metheney, country Banjoist Bela Fleck and the always funky and fabulous diva Chaka Khan. All of them give stellar performances, but none outweigh the arresting presence of Bruce himself. The cd just gets better and better with each track, my favorites are "White wheeled limosine" the story of a jilted bride and "Country doctor" the story of a doctor who's wife dies under mysterious circumstances. The music is jazzy and jammin not the pop piano songs that you might expect. It's hard to believe that this is the same guy who wrote "The way it is". Patty Hayes

After a musical stumble in "Harbor Lights," Bruce Hornsby gets back on his feet and delivers a masterpiece. While lacking a haunting ballad like "Mandolin Rain" or "The Valley Road," "Hot House" is probably Bruce's most consistent and satisfying recording. As with "Harbor Lights," "Hot House" adds jazz influences to Bruce's Appalachian-rock. But, while "Harbor Lights" is mired in adult-contemporary noodling, "Hot House" kicks the intensity up several notches, and the jazz influences create a hearty, funky musical stew. "Hot House" is, in my opinion, the true musical heir of Lowell George's classic Little Feat recordings - and I can think of few higher compliments for a roots-rock album.

In my view both "Harbor Lights" and "Hot House" are musical masterpieces, since they feature a very entertaining and skillful fusion of pop and jazz music. Listeners who are not to keen on "pure" Jazz, but like a few jazzy interludes here and there will love this CD. Also a big plus: the guests apperaring on this recording, e.g. Bela Fleck's superb Banjo playing on "White Wheeled Limousine", or Jerry Garcia's very last guitar solo of his life in "Cruise Control".

Undoubtedly Hornsby's best studio recording to date. Each song has its own character while still retaining his hybrid, jazz-pop trademark. He made the right decision to leave the Range and this cd really proves it (not to diminish his work done on harbor lights which was also fantastic). But this cd shows how his confidence has grown while deciding to become independent. And if fans from his early days say he cannot produce songs quite like he used to than check out "Walk in the Sun". Anyways, he's not quite solo on this cd, getting lots help from virtuoso jazz-guitarist Pat Metheny who contributes to about half the songs and who was a major influence, even on his last record. On some pieces Metheny really is the main star such as on "The Changes". On others he and Hornsby feed off each other to produce songs such as "Country Doctor" which I feel is absolutely brilliant and maybe even the pinnacle of the cd and a highlight of his career. Both musicians show their sheer talent on this song while telling a complex story, which is similar to "White Wheeled Limosine". That is something not easily achieved and so successfully, (even though overlooked) in the music industry. Personally, I consider the whole work in its entirety a masterpiece in its particular field, from the funky-high energy "Spider Fingers" all the way to "Cruise Control". There is a lot more depth and substance musically than his time spent with the Range. Not one bad song, and I do not say that often. I highly reccomend you pick up a copy.

Bruce Hornsby has now had a long and varied career as a musician somewhere in between pop, Dead/jamband, and jazz with little detours into bluegrass and rock along the way. All his albums have something to recommend them, but I find this one to be the most consistant and enjoyable. The sound, especially from the rhythm section, is huge and doesn't suffer from the separation in the mix that is evident in Harbor Lights or Spirit Trail. The songs are all engaging, and while the melodies might not be as immediate as on his first three albums, the band jamming factor more than makes up for it. When the group gets really revved up, such as in Spider Fingers or in the intense swinging section of Hot House Ball, it's a sort of musical ecstacy. Fans of Hornsby as a balladeer will probably prefer other records, but this one is really energetic and seems to be the one I come back to the most. Guest appearances by Pat Metheny and Bela Fleck are great while fitting seamlessly with the regular band. I wish Bruce would work with this drummer again.

This album is perfect for those who are intrigued by the harmony of jazz, but are frustrated when they hear jazz players who play so far "outside" that any hint of the original tune/hook is lost. If you hear yourself scream "Where's the melody?!?!" while listening to most jazz, then this disc as well as Harbor Lights is for you. Hornsby is one the few virtuosos who is also a superb songwriter, but he writes jazz flavored pop. Steely Dan did too (and I love them), but most of this is more atmospheric, spacey, and angular in the chord changes. If you love alot of the old ECM jazz albums like Pat Metheny and Jan Garbarak, this should please you. The song "The Changes" absolutely floored me the first time I heard it--I thought I was hearing the Pat Metheny Group (Metheny plays on that and other songs). Also, the musicians-for-hire are excellent, but other reviews here touch on that, so.....
In any case, if you like clever pop/folk songwriting that's heavily jazz flavored and features unbelievable playing, check this disc out and give your money to a truly talented pianist who dares to go against the grain of today's souless popular styles.

One of the best CD's I've ever heard. The songs are smooth and jazzy, sometimes streaming along at time signatures that deviate heavily from the 4/4 that is so standard. Each song is a jewel. Listen to the INSANE drums on "Swing Street". Try not to bop your head on "Spider Fingers". Hear how sad "White Sheeled Limousine" is. It might take a couple listens to see exactly how much is going on in this album. I'm still discovering new things after years! I can't recommend it enough.

Hot House totally surprised me with its incredible mixture of jazz, blues, rock, country/folk and Hornsby's finely-tuned pop sensibilities. I find myself constantly going back to this album as one of my faves of the 1990s as well as Hornsby's catalog. So many different emotions and styles here, but all of it blends perfectly. Favorite tracks include "The Longest Night," "Swing Street," and "Cruise Control," but for me there is no miss. Only hits on Hot House! Recommended for anyone who loves musicians who are songWRITERS, not just performers. Hornsby's work reminds me of the best of Billy Joel and Elton John (mainly their 70s catalogs) as he tells stories. He's not just writing a quick pop tune for a paycheck. He creates characters, a world for them to inhabit and a mood for them to feel. He puts you in their minds, lets you walk in their shoes. I've never understood why he doesn't have a stronger following, but folks in the know realize what a talent and craftsman Hornsby is and, quite honestly, always has been. FIVE STARS OUT OF FIVE STARS.

...and to get the bad out of the way first, "Big Rumble" is the only matter that needs composting. Otherwise, these tuneful flowers are beauties: standouts are "Swing Street," "Walk In The Sun," "The Changes" (contra the previous reviewer who wrote about whiny musicians, this is the only song that deals with disaffected musos, and does it well) which rock and swing with the best of 'em. "Spider Fingers" (Hornsby's nod to his Dead fans) and "White Wheeled Limousine" are good here, but even better in a live setting, as are "Hot House Ball," a tongue-in-irradiated cheek ode to living near a nuclear power plant ("where everyone glows in the dark") and "Country Doctor," a sinister funk rocker about a very wicked character.

One of Hornsby's best, and another criminally-underrated 90's release.

Bruce Hornsby doesn't have much of a voice, but he plays piano like a rocking Keith Jarrett, writes songs that tell stories, and really knows how to put a crack studio band together. With musical guests such as Pat Metheny, Jerry Garcia (his very last recording session, I believe), Bela Fleck, and Chaka Khan supplementing his crack studio band (special kudos to Jimmy Haslip on bass and John Molo--a real dynamo!--on drums), Hornsby has produced a CD that really cooks from start to finish, and which is recorded with plenty of gusto. Whew!