Since John Hiatt and the major labels decided to go their separate ways around the turn of the century, his approach to record making has been direct and organic; most of his albums have sounded as if Hiatt and his sidemen put them together without a lot of fuss, placing the emphasis squarely on Hiatt's dependably strong material and tough, flinty vocal style. But 2011's Dirty Jeans and Mudslide Hymns is a more polished and ambitious affair than Hiatt has delivered in years. The sessions were produced by Kevin Shirley, who has previously worked with Aerosmith, the Black Crowes, Dream Theater, and Journey, and though his approach isn't especially intrusive, the sound of this record is certainly more luxurious, with the guitars sounding bigger, the drums booming a bit louder, and strings and keyboards decorating several tracks and the arrangements, gaining a greater sense of drama along the way.

Indiana-born John Hiatt is an unlikely but enthusiastic champion of the Midwestern work ethic - he's been making records since 1974, but 2010's The Open Road is his sixth studio effort since the dawn of the new millennium, and it sounds like the work of a man who isn't about to stop doing this work anytime soon. Like 2008's Same Old Man, The Open Road was recorded at Hiatt's home studio, and while he and his road band (Doug Lancio on guitar, Patrick O'Hearn on bass, and Kenny Blevins on drums) conjure up a lean, soulful groove on these sessions, the mood is easygoing and almost casual, which easily suits the bluesy tone of these songs.

Crossing Muddy Waters was singer-songwriter John Hiatt's fifteenth album, released in 2000. A raw album recorded with no drummer, it was a purely acoustic album that brought elements of bluegrass music into his Americana sound. (The title of the album is a pun, referencing blues legend Muddy Waters.) It was nominated for a Grammy award in 2001 for Best Contemporary Folk Album.

EXCEPTIONAL BROADCAST RECORDING FROM AN OCCASIONAL QUARTET John Hiatt’s Bring The Family album, released in 1987, introduced the veteran minstrel to a new generation of fans. Choc- Full of supreme compositions, it also featured one-hell of a line-up. Hiatt of course did most of the singing and strummed a sad acoustic, the mighty Ry Cooder handled electric guitars and a little sitar on one number, Nick Lowe played his signature bass and the man who banged the drum for everyone from Bob Dylan to The Manhattan Transfer, , the wholly underrated Jim Keltner, kept time superbly. The easy way this quartet clicked was what led to the album Little Village in 1992, but the group’s one and only album together, while it didn’t take off commercially, certainly hasn’t dated since. In the album’s wake the Villagers hit the road; veterans to a man of the live circuit, the shows were a magnificent spectacle.

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.

Roots and groove mark this teaming of John Hiatt and the North Mississippi Allstars. On Master of Disaster, legendary Memphis producer Jim Dickinson and his sons Luther and Cody (the Allstars' guitarist and drummer, respectively) team with veteran bassist David Hood to give Hiatt's music a slow simmer rather than the high voltage fans might have expected from the collaboration. Yet the airy, organic interplay of the band provides the perfect complement for Hiatt's songs of folkish simplicity and lyrical grace. With the title track, he addresses the artist's midlife crisis and finds creative renewal in the process, a theme revisited in the country balladry of "Old School." There's a ragtime spirit to "Wintertime Blues" and "Back on the Corner," the insistence of a tom-tom's thump on "Love's Not Where We Thought We Left It" and "Find You At Last," a slide guitar that slices and dices through "Ain't Ever Goin' Back." With "When My Love Crosses Over," Hiatt returns to the soulful, soaring romantic balladry that remains a signature specialty, while "Cold River" tells a story that probes the coldest resources of the human heart. The result is his richest and most consistently satisfying release since the late 1980s.

Recorded on October 11, 1997 at the John F. Kennedy Center for the Performing Arts, Washington D.C., an impressive All-Star cast of Blues musicians, including Muddy's own son Bill Morganfield, turned out to pay homage to the Legendary Muddy Waters, the King of Blues. Features special guests, John Hiatt, Peter Wolf, Buddy Guy, Koko Taylor, Charlie Musslewhite, Robert Junior Lockwood, Big Bill Morganfield, Nick Gravenites, Mem Shannon and Phoebe Snow.

Throughout the 1990’s, Hiatt recorded a series of well-received and commercially successful albums and toured widely. Chart position by now became perhaps less relevant to Hiatt's career: he was developing a consistently supportive audience; he was nominated for Grammy awards. By the end of the decade, Hiatt was releasing albums on independent labels and achieving consistent success outside mainstream commercial structures. In this 2003 concert, Hiatt is joined by Sonny Landreth on guitar, David Ranson on bass, and Kevin Blevins on drums – the tight and virtuoso combo Hiatt dubs the Goners; these musicians had played on "Slow Turning", and "The Tiki Bar Is Open", as well as on "Beneath This Gruff Exterior", Hiatt's most recent album when this concert was recorded.

John Hiatt finally achieved some sort of fame in 1987, when his comeback album Bring the Family sparked a career renaissance. For the next decade, his albums sold well and his songs were continually covered by other artists, all of which earned him acclaim as one of the finest songwriters of his era. Despite its title, The Best of John Hiatt 1973-1998 is a chronicle of those successful ten years. Only two songs – "Riding With the King" and "Take Off Your Uniform" – date from before 1987, which means that the collection effectively sidesteps Hiatt's years of searching for a style; it chooses to ride with him once he settled on roots rock. Of course, that's where he did the bulk of his best work, and The Best Of does offer a good overview of his prime period. Since much of his best work was recorded for labels other than Capitol, the label releasing The Best Of, Hiatt entered the studio to record two new songs ("Love in Flames," "Don't Know Much About Love") and cut his first version of "Angel Eyes," the song he gave to Jeff Healey, who turned it into a hit in 1989. He also re-recorded "Have a Little Faith in Me" and "Drive South," two of his best songs from the late '80s. Although these new versions are OK, they don't compare with the originals and only hammer home the fact that this is merely an acceptable compilation, instead of the perfect one that it could have been. Nevertheless, it's a good sampler for the curious, and the hardcore fan will not be disappointed with the new material, even if they're frustrated that they have to purchase a whole new album to acquire it.

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…

In the midst of a global pandemic, John Hiatt walked into Historic RCA Studio B to record a record. Hiatt teamed up with multi-grammy award winning artist and producer, Jerry Douglas and his band, The Jerry Douglas Band. The result of those sessions would be the album, Leftover Feelings. There's no drummer, yet these grooves are deep and true. And while the up-tempo songs are, as ever, filled with delightful internal rhyme and sly aggression, the Jerry Douglas Band's empathetic musicianship nudges Hiatt to performances that are startlingly vulnerable. In life, leftover feelings can remain unresolved. Explicated in a place of history, a place of comfort. A sacred place, if you believe the documentation of human expression to be a holy thing. Here are Hiatt and Douglas, creating love songs and road songs, sly songs and hurt songs. Their songs, and now our songs. Leftover feelings that edify and sustain.

In the midst of a global pandemic, John Hiatt entered the historic RCA Studio B and opened up a lifetime of feelings left behind. Half a century ago, Hiatt was living in a shabby $15-a-week room on 16th Avenue in Nashville, less than a mile from the RCA and Columbia studios that were the heart of what became known as Music Row. Over the next 50 years, he evolved from a scrappy young buck into a celebrated grand master of song.

John Hiatt naît en 1952 à Indianapolis. Très vite, il doit faire face à des événements tragiques : son frère se suicide à 21 ans et son père décède d’une maladie deux années après. Afin de s’échapper de la dure réalité, Hiatt commence à écouter Elvis Presley, Bob Dylan, les Rolling Stones et du blues. A onze ans il commence à jouer de la guitare et se met à jouer régulièrement dans divers bars locaux.

The legendary Neville Brothers are joined by an extraordinary group of musical guests for an exciting, once in a lifetime musical event filmed live at the famed Storyville Jazz Hall in New Orleans. Musical guests include Gregg Allmann, Ed Bradley, Jimmy Buffett, The Dirty Dozen Brass Band, The Dixie Cups, Herbie Hancock, John Hiatt, Daniel Lanois, Ivan Neville, Dennis Quaid, Bonnie Raitt, Buckwheat Zydeco.

Pave The Earth is a 1900 sampler CD made by A&M Records. It explores new and then-upcoming music the label had worked on or were working to release, with material from Soundgarden, Blues Traveler, Del Amitri, Intelligent Hoodlum, Sun Ra. Suzanne Vega, and many more.