John Hiatt's talents as a singer and songwriter have never been a matter of question, but for the longest time neither
Hiatt nor his various record labels seemed to know what to do with him.
Epic Records thought he was some sort of a folky, while
MCA figured, since his songs were often cranky and angular, he could be sold as a skinny-tie
new wave guy. Neither idea made much of a dent in the marketplace, and by the time
Hiatt cut his second album for
Geffen,
Riding with the King, someone had come to the reasonable conclusion that
Hiatt was a
roots-rocker at heart -- but what kind of
roots-rocker? Side one of
Riding with the King was produced by
Ron Nagel and
Scott Mathews of
the Durocs, with
Hiatt singing and playing guitar and
Mathews handling everything else; the results have a thick, glossy
retro-pop sound with a vague '50s undercurrent, complete with twinkly keyboards and honking saxophones. Side two was cut with
Nick Lowe at the controls, featuring a band assembled from
Lowe's touring unit (which at one time included
Hiatt); these tunes are leaner and
blusier, but also a bit more laid-back. While the two halves of the album have decidedly different sonic personalities, the consistent strength of
Hiatt's witty, sweet-and-sour songwriting holds the album together, balancing punchy
rockers like
"Say It with Flowers" and
"Falling Up" against soulful contemplations of the ups and downs of love, such as
"She Loves the Jerk" and
"You May Already Be a Winner." And while
Hiatt's voice doesn't boast much range, he knows how to make the most of what he's got, and his vocals here sound a lot more subtle and incisive than the albums that preceded it.
Riding with the King may be a bit mixed-up, but it was certainly a step in the right direction for
Hiatt. ~ Mark Deming
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