Cracks In Sidewalks

One of the most interesting rock “power trio’s” to ever emerge would have to have been the band Morphine.  With their unique instrumentation of bass, saxophone, and drums, their music was hard to categorize except to call it “alternative.”  But you could be anywhere, in the middle of a crowded space or involved in a conversation, if their music was being played you could hear it.  It stood out, because their sound, which was always recognizable, was truly original.

Creating that sound the band used to call “low rock” for all the low tones it played upon and generated, Morphine incorporated flavors of jazz and blues into their music.  Mark Sandman, the bands vocalist and bass player, played a two string bass that he used like a slide guitar, and his partner Dana Colley played saxophone, but mostly baritone and bass sax.  Then there was drummer Jerome Deupree and later drummer Billy Conway.

The band, from Boston, formed in 1989 and recorded their first album, “Good,” on the Accurate/Distortion label and later re-released it on the Rykodisc label.  Their “Cure for Pain” disc from which the song “Buena” is taken was recorded in 1993.  The band later signed with Dreamworks and released their critically acclaimed album “Like Swimming.”  Although highly respected Morphine never quite completely broke through to the mainstream though they did gain greater notoriety when several of their songs “Sheila” and “In Spite of Me” were placed in the film “Spanking the Monkey.”

An unusual band with good songs, and a great sound, they seemed to know how to position themselves.  They made the most out of what made them different.  Unlike other “power trio’s” they didn’t use a guitar or keyboards to fatten their sound and make it seem big, instead they played up and made more out of less of what they did have, and in the process created a style that myself and many others came to love.  I also have to mention the smooth low vocals of Mark Sandman that blended so nicely with their instrumentation.

Morphine is a band I like to listen to at night, perhaps while sipping a single malt scotch, and sitting next to someone I like.  To me it’s either social intimate music or the complete opposite having it be very solitary.  In either case the room is dark, the mood relaxed, and it is late.

The band Morphine disbanded in 1999 when founder vocalist/bass player Mark Sandman had a heart attack on stage while the band was performing in Italy.  He was pronounced dead on arrival.  The remaining members along with some of their friends formed a big band called “Orchestra Morphine” the following year.  They rearranged many of Sandman’s songs, and toured the country playing his music bringing new life into his works while carrying on the legacy of his musical creations.

To see and hear a live performance of the band performing their song, “Buena,” either click on the link below or cut and paste it into your browser.

http://www.youtube.com/watch?v=yNEYKrFJgRo

I love Brazilian music!  I use to name my cats after Antonio Carlos Jobim tunes.  There was “Dinde” and “Triste,” both beauties that would have made Jobim proud.  Besides listening to Brazilian music late at night I also love to listen to it on Sunday mornings with the windows open, sipping my first cup of strong freshly brewed coffee, while reading the Sunday paper.  Having been a vocalist, I can’t listen to lyrics I can understand and read at the same time.  I’m not saying all vocalists or former vocalists aren’t able to do this, but in particular this one has not yet mastered that skill.  I need to either put on classical music orchestral only, instrumental anything usually jazz, or someone singing in a language I can’t understand.

To me there is almost nothing sweeter than the sounds and rhythms from Brazil.  Hearing Portuguese sung in their own unique accent is music to my ears.  And to me one of the sweetest voices to come from Brazil would have to be the famous falsetto voice of Milton Nascimento who started his career at the age of 13 and has gone on to become a Brazilian legend in both his country and around the world.

Born in Rio de Janeiro, Nascimento’s mother was a maid.  She died when he was only one and a half.  The people with whom she had previously worked adopted the young child.  When he was two, the family moved to Tres Pontas in the state of Minas Gerais.  In his teens he started a band called “Lunar de Prata” with Wagner Tiso with whom he would continue to play into adulthood.  While living in Tres Pontas, Nascimento also had a stint as a local DJ.  Moving to the town of Belo Horizonte, the capital of Minas Gerais, to study economics, Nascimento made the acquaintance of many musicians who would play a pivotal role in Nascimento’s musical life as he would in theirs.  He helped bring to the forefront not only Wagner Tiso, but also Marcio Borges, his brother Lo Borges, and Fernando Brant, who co-wrote the song “Travessia,” that I have linked below for you.

Before his much widespread international acclaim there was a time in the 70’s when Milton Nascimento’s music was censored by the military regime in Brazil.  It was during this time that Nascimento made his way to the states and made albums with well-respected jazz artists such as Airto Moreira, Herbie Hancock and Wayne Shorter.  And it was his album with jazz great Wayne Shorter, “Native Dancer” in 1974, that eventually created his international breakthrough. After this Milton Nascimento caught the eye of other top musicians, producers, and arrangers, like Quincy Jones, George Duke, Paul Simon, Herbie Hancock, Pat Metheny, Peter Gabriel, and even Duran Duran with whom in the 90’s he co-wrote the song “Breath After Breath,” which was featured on the bands album of the same name “Duran Duran.”  He also performed with the band.

Having influenced generations of musicians both in Brazil and abroad, I hope you will enjoy the sounds and voice of an all-time Brazilian favorite of mine, Milton Nascimento.  If you do, consider buying one of his many albums.  They are all good, but one of my favorites is the album “Yauarete,” recorded by the artist in the late 80’s.

Below is a link to a live performance of Milton Nascimento singing and playing one of the first songs he ever recorded “Travessia.”  It’s really beautiful!  To listen either click on the link of cut and paste it into your browser.

http://www.youtube.com/watch?v=Jo5UlFDTZ6g

I’m about to go to a yoga class in a little bit, but wanted to get some writing done before leaving my apartment and I was thinking about who I would want to write about today or what I’m in the mood to listen to or research.   Then it hit me, even though this is a departure from my usual rock, jazz, blues, folk “Daily Tune On,” today I decided I wanted to write about the Sanskrit singer Krishna Das who performs and records Indian chants called “Kirtans.”

Having been a yogi for many years Krishna Das has been a favorite of mine when listening to that vein of music, to which I have to confess I don’t listen to a lot.  I’m not really big into “New Age” and most “Spiritual” music.  Musically I like some of it OK, but I don’t go out of my way to listen to it or buy it.  But I’ve always been drawn by the sound of Krishna Das’ voice and find myself playing his music and listening to it even when I’m not in class.  His music falls into a different category.  It’s one of devotional music, but one that I can relate to and do, and I really enjoy it.  There’s one chant he does where he intertwines “Amazing Grace” into the chant and it is just beautiful.  I have bought several of his CD’s including “Pilgrim Heart” and “Door of Faith,” and if they were vinyl they would be well worn.

There’s a sort of deep drone to his voice that is very musical, almost like another instrument and very hypnotic.  I use to teach yoga and I would play his CD during my class.  Then I’d have to hold myself back from singing along.  Sometimes I was successful and sometimes not.  My students use to find it funny.  They knew that I worked in music, use to sing, and was drawn to vocals.  And on occasion I just couldn’t help myself and the chants would roll off my tongue and I would be humming and singing while aligning students and instructing my class, but somehow it all flowed together.  I also use to open class with a call and response chant, many times using a Krishna Das like arrangement, as in my minds eye he was the “chant” guru.  I have to say it was really beautiful and I loved doing it.

Krishna Das as many would think is not Indian.  He was actually born on Long Island, but found himself getting involved with eastern philosophy and spirituality when he lived with “Ram Das” after Ram Das’ return from his first trip to India.  This led to Krishna Das going to India himself where he stayed and studied for three years with guru, Maharaj-ji.  It was here where he learned the many chants he sings and all about the custom of “Kirtans.”  But it was through his many subsequent years of study and multiple pilgrimages back to India, where he met teachers from many traditions, that these teachings were absorbed in his person.  And that is what one feels when he sings, the culmination of all those years, the depth of his life journey.  It is within this context that his voice reaches out and draws you in with its big warm seductive tone blending with the harmonium in one big pool of spirit.

To learn more about Krishna Das I suggest going to his website.  I’ve included the link below.  And if you want to hear a cut from the Krishna Das CD “Pilgrim Heart,” I’ve included a link to a chant he sings with “Sting” called “Mountain Hare,” but I have to warn you it’s long.   For easy reference cut and paste either of these links into your browser.

http://www.youtube.com/watch?v=7WpdSh8VYd4

http://www.krishnadas.com/

I don’t think this is what the rabbi’s had in mind, but I thought it would be nice to bring in the year 5769 with a little “Love and Happiness” and “Mr. Soul” himself the one and only Al Green.  For me his vocals and his heart are as sweet as apple’s dipped in honey helping to bring in a good, healthy, happy, and of course sweet New Year.

This is a time of reflection for Jews and for me Al Green and his music can be used as a measuring stick, a mirror or reflecting pool.    His music takes me back.  At the sound of his voice I can visualize who I was in other Audrey lives during my brief time on this planet, feeling with all my senses that person of the past.  I can listen to and enjoy his music in the present, seeing where it takes me as he is always uplifting; and I can imagine a brighter future because in his music I experience my soul, and I’d have to say “I believe” whatever that means.  Al Green and his music touch me in a deep place and that is what music can many times be for me.  It is something spiritual that runs through my veins and connects me to a higher place, other people, and this planet.

I grew up listening to Al Green, and his music has accompanied me on my own life long tour and journey.  Sometimes there’s no one better to listen to.  His songwriting is up there in the category of all-time greats, and if I’m allowed to say during this sacred time when asked the question of who puts you “in the mood” to make a connection with someone you love, one of my favorites would have to be the voice, sounds, and songs of Al Green.   After all, isn’t it about “love and happiness?”

To add a little “Love and Happiness” to your life, just click on the link below or cut and paste it into your browser.

http://www.youtube.com/watch?v=_cwYpefWD3Y&feature=related

Had dinner with a friend the other night and we got around to talking about George Porter who in my opinion is one of the funkiest bass players alive.  I’ve had a love affair with his playing for a long time, not to say I haven’t enjoyed watching him play too.  My friend was in New Orleans recently working on a music project where George Porter was the bass player.  I have to admit I was extremely jealous.  It’s been some time since I’ve seen him perform, and I’ve never been in a recording session with him.

I proceeded to tell my friend that I own everything the Meter’s ever recorded (Porter is the bass player), have seen him perform live multiple times both as a part of The Meter’s, doing his own thing, and also several times with Leo Nocentelli who use to be the guitarist for The Meters and sometimes plays with them again now.  I’ve screamed and yelled and danced and wiggled my way around many a Meter’s show.  I’ve seen them in large crowds and in small clubs and have been to shows where they played for 3 hours straight and Art Neville had to be practically dragged off the stage to quit playing.  They were amazing, digging their music at least as much as their audience if not more.  I was lucky to be at a reunion concert at the New Orleans Jazz & Heritage Festival in 89,’ and to live in SF when Bill Graham managed The Neville Brothers, so The Meter’s (by then reformed with Russell Batiste on drums instead of Modeliste) tended to be in SF frequently and played fairly often around town, and those who were in the know reaped the rewards.

If you’ve never met The Meter’s, it’s time you did.  The original Meter’s formed in 1965 with Art Neville as its front man playing keyboards and singing.  The band also included as mentioned guitarist Leo Nocentelli, bassist George Porter, and drummer Joseph “Zigaboo” Modeliste.  They became the house band for Allen Toussaint and his record label, and in 1975 Cyril Neville joined the band on percussion and vocals. They released some major R&B hits, but it wasn’t until the mid-seventies that they became better known in more musician circles and to a greater fan base.  Performing at a party for Paul and Linda McCartney The Meter’s caught the eye of Mick Jagger and were soon asked to open for The Stone’s on their next American and European tour.

Seeped in New Orleans culture their music combines funk, soul, and dance grooves in a “jam band” style that is distinctly unique to The Meter’s.  Having a great influence on the New Orleans music scene for decades, the group seems to have had a greater influence and more popularity after the fact.  Disbanding in 1979 and then regrouping in the late 80’s to the present, both with and without Nocentelli and Batiste and Modeliste at times, they are a signature of a certain New Orleans sound and have been copied, sampled, and honored by many young players and bands from hip hop to soul to alternative rock and pop.  Adding Neville Brothers guitarist Brian Stoltz to the lineup as guitarist in 94’ when Nocentelli left the band, the group started to go by the name The Funky Meters. It gets a little confusing as to who is playing with who at times as it keeps on changing, so when playing with the original members they call themselves The “Original Meters,” and when playing with some of the replacement players, “The Funky Meters.”  In either configuration you will get a great funky energetic sound full of soulful playing and stellar Neville vocals.  In 2007 guitarist Stoltz left the “Funky Meters” to pursue a solo career and was replaced by Art’s son, Ian.

To hear a version of The Meter’s playing their song “Just Kissed My Baby,” either click on the link below or cut and paste it into your browser.

http://www.youtube.com/watch?v=lA6dhdLmmSI

To learn more about The “Original” Meters or The “Funky” Meters go to their official sites, which are listed below.

http://www.themetersonline.com/

http://www.funkymeters.com/

I think it was my Irish blooded brother in law who first turned me onto The Corrs playing their music in the car when picking me up at the airport.  I remember really liking their sound.  I can’t tell you what year that was, but it was a while ago.  Since then the band has come and gone, not completely gone, just on hiatus while some are raising families and one sister Andrea pursues a solo career.

Born to two musician parents who performed and encouraged their children to learn instruments and play music, it was not a far stretch to think that the “Corr” children would become professional musicians too.   Besides Sharon playing violin, Andrea learning tin whistle, Caroline drums, and Jim guitar, their father Gerry taught them each piano.

The band formed in 1990 when the two siblings, Jim and Sharon started playing pubs as a duo.  Having practiced for years as a family, it wasn’t long before the duo added their younger siblings, still in school, to the group.  With younger sister Andrea as their lead vocalist their career took off in 1991 when the group auditioned for the Irish movie, “The Commitments.”  They all got small parts, but more than that they caught the eye of soon to be manager, John Hughes.

In 94’ the American Ambassador to Ireland heard the group and invited them to play the FIFA World Cup in Boston.  This led to the band performing at the World Olympics in Atlanta, Georgia, which led to even greater recognition and worldwide exposure.  From the beginning with David Foster getting them signed to Atlantic Records to Bono recently executive producing Andrea’s solo album, the group has achieved varying degrees of commercial success over the years.  Finding their greatest popularity besides Ireland, in the UK and Australia, several of their albums have gone multi-platinum including their most popular, “Talk On Corners.”

The group’s music has been described as a combination of traditional Irish music and modern pop-rock.  They incorporate acoustic instruments with modern technology including violin, tin whistle, and an Irish hand held drum.  Then of course there are the harmonies of the siblings and a blend that only siblings seem to be able to find.

FYI The Corrs were born in the Irish town of Dundalk, a small harbor town of about 35,000 people between Dublin and Belfast.  They say that music is in the blood of the people of Dundalk and they like nothing more than to go out and hear live music in the pubs.   In Dundalk these live sessions are known as “Crack.”   And with that I couldn’t resist!  As this was the first time I had heard that expression and given the name of this site, and my “Daily Crack,” etc., I googled Irish “Crack” Wikipedia.  This is direct from Wikipedia, not me.  “Crack” now takes on a whole new added meaning.

Crack or craic is “fun, enjoyment, abandonment, or lighthearted mischief; often in the context of drinking or music.”

So for some more “crack” or fun, below I’ve included a link to an “unplugged” video of The Corrs performing an arrangement of Jimi Hendrix’s song, “LittleWing,,” tin whistle and all.  Very lovely with great vocals!

http://www.youtube.com/watch?v=M5rVgxmekeM&feature=related

Writing about John Hiatt last week got me thinking about Louisiana guitarist Sonny Landreth.  He and “The Goners” use to back John Hiatt, but Sonny Landreth is a talent in his own right and deserves a column of his own.  Best known for his slide guitar work, many well-known musicians have called upon him for work on their own projects, but it should be known that he is a guitar force to be reckoned with as his own leading man.  One musician who has recognized the talents of Sonny Landreth besides John Hiatt is famed guitarist Eric Clapton who had Landreth as his opening act at last years “Crossroads Guitar Festival” in Chicago.

Having been influenced by Elvis guitarist Scotty Moore and groups like “Chet Atkins and the Ventures,” Landreth’s biggest guitar influence and personal hero was Robert Johnson stating that he also closely studied the guitar styles of Mississippi John Hurt, Skip James and Charlie Patton.  Lyrically he’s said he was influenced by a number of writers and Robert Faulkner was one writer up at the top of his list.

Born in Mississippi, his family soon moved to Lafayette Louisiana.  Starting off as a trumpet player Landreth later switched to guitar where he developed his own unique style of playing slide guitar.  His first professional gig eventually came with accordionist Clifton Chenier and then Landreth struck out on his own.  Catching the eye of Nashville Landreth was soon working with the likes of John Hiatt, and eventually John Mayall, Bonnie Raitt, Jimmy Buffet, Steve Conn, Gov’t Mule, Mark Nopfler, Buddy Guy, Eric Clapton, and Jimmy Buffet with whom he toured, to name a few.

A guitarist most people have never heard of, Landreth’s newest release, “From The Reach,” his ninth, is the first of his records to be released on his own label, “Landfall.”  On this disc Landreth collaborates with five of the top guitarists still alive today; Eric Clapton, Robben Ford, Mark Knopfler, Vince Gill, and Eric Johnson; something the artist had never done before.  Landreth says on his website, “I’ve wanted to make this kind of record for a long time – to do an entire album that would feature some of my favorite players as special guests.”  He’s also joined on the disc by Dr. John and Jimmy Buffett who add their own unique touches of piano and vocals on the cut “Howlin’ Moon.”

On tour this month you can check his website to learn more about Landreth and see if he’s playing anywhere near you.  And if you would like to hear a cut from Sonny Landreth’s most recent release, “From The Reach,” one of his collaborations with Eric Clapton, “When I Still Had You,” simply click on the link below or cut and paste it into your browser.

Sonny Landreth – “When I Still Had You” with Eric Clapton
http://www.youtube.com/watch?v=U8JvPu3FCVM

Official website of Sonny Landreth
www.sonnylandreth.com/

Having lived with a jazz guitarist for many years, there was a time I could tell you about all these obscure musicians and their styles, but I couldn’t tell you about the persons who were topping the charts of Billboard.  Guitar and jazz bands were in our house all the time and the music was non-stop.  After a while some of it rubbed off and I’ll always be grateful for all that I learned about music and musicians during those years.

My boyfriend who studied as a teenager with LA guitar guru Ted Greene, played guitar like a piano, a thumb style like Wes Montgomery, but with big chords like Lenny Breau and another favorite (both happen to be Canadian), Ed Bickert who played with Paul Desmond’s band.  He and his guitar friends would transcribe and study every note these players played.  And if they weren’t gigging that night, they’d be up til 3 or 4 in the morning until they learned the part they had been working on so hard that day.  And if  I wasn’t up with my boyfriend, whether I wanted to or not I would hear the music come floating through our bedroom door.  Another guitar player friend of ours wrote for Guitar Player Magazine and had the opportunity to visit with Lenny Breau on a number of occasions for articles he would later publish.  We listened attentively to his stories each time he would go to LA and return. From what I gathered Lenny was a great guy, but he lived a hard life.

A well-known studio guitarist in Canada he had his own show on CBS and regularly recorded for CBS Radio and CBS Television in Canada.  But he got his early start as a young boy playing with his musician parents who performed country and western music, and by the age of 15 he made his first professional recording entitled, “Boy Wonder.”  When Breau was about 16 his family moved to Winnipeg and the family band with Lenny as lead guitarist played around the province.  It wasn’t until a couple of years later that the young guitar player began to seek out local jazz musicians and began performing on his own without his folks.  From there the guitarist moved to Toronto where he formed the jazz band, “Three.”  “Three” developed a reputation and following playing in Canada and the U.S. and performed on national television shows such as the “Jackie Gleason” and “Joey Bishop” shows.  Breau’s styled developed.  Greatly influenced by Chet Atkins and Merle Travis his style not only incorporated a Bill Evan’s jazz piano feel, but also his many other influences including his country roots, classical music, and even flamenco and Indian.  Eventually his music found its way to one of his idols, Chet Atkins, and the two became friends.  At this point Lenny started to record for RCA and released his first two LP’s “Guitar Sounds From Lenny Breau,” and “The Velvet Touch of Lenny Breau.”

In the mid 70’s Breau moved to the U.S. and lived between Nashville, NYC, and the state where he was born, Maine.  In the early 80’s he moved to LA where he lived until his death in 1984.  The day he died I remember getting the phone-call from our friend so upset and sad on the other end of the line.  Lenny Breau who had had a serious drug problem all his life but had managed to stay clean the last year of his life, was found strangled in the swimming pool of the apartment complex where he lived.  The case has never been solved.
To view a short clip of the “Genius of Lenny Breau Excerpt 1,” either click on the link below or cut and paste it into your browser.  If you have any interest in jazz guitar it is very much worth viewing.

http://www.youtube.com/watch?v=-9SvTtaQLC4&feature=related

If you read today’s “Daily Crack,” you already know that I’ve known Taj for a number of years and he is someone special to me.   And when you write about Taj it has to come from the heart, because that’s who he is and what his music represents to me, heart music.

I’ve been thinking about writing about Taj ever since I started my blog, but I wanted to wait.  I also didn’t know which side of him or song I would want to showcase first.  Over the years Taj has managed to mix together the sounds, rhythms, and flavors of the world and serve it up on a big blues buffet featuring a number of different specialty dishes.  But the trouble for me is I don’t just like one or two of the dishes he’s conjured up in his musical career, I like them all!   I just love hearing Taj sing and play, there is something joyful and uplifting in his presence and the songs he sings whether it’s Taj singing more traditional blues style songs, him singing and playing with the Hawaiian Hula Blues Band, the Tuba Band, or listening to Taj play with some of the music masters from Mali, the list goes on and on.  Taj is infectious.  He not only loves music and music from around the globe; is an ethnomusicologist; an accomplished player of multiple instruments; but he seems to truly love people, all different kinds of people.  Taj is a very warm person, and when you sit down for a taste of what he offers, he brings all of the above to his musical table for you to enjoy.

I can’t count the number of times I’ve seen Taj play, the different configurations of groups I’ve seen him play with, and the different types of venues in which I’ve witnessed his performances. But no matter the size of the group, big, small, or solo, or the size of the venue, the essence of the man always shines through.  He gives of himself and the audience feels it and knows it; and over the years I’ve come to think of Taj as some sort of great big human spirit musical connector.

I recently saw Taj for the first time in a very long time.  He was headlining the “Putumayo” 15th Birthday Celebration in Central Park playing at SummerStage.  He played as a trio and I couldn’t believe the big sound that they got.  And once again like so many other times before the second he started playing and singing people were smiling and dancing.  I was so happy to see Taj!  In recent years every time he’s played New York I’ve been out of town.  This time I was here and there was no way I was going to miss the show!  I made my date stand in the rain under the Putumayo tent for two hours during the previous acts in order to see him play.  But miraculously right before Taj came on the clouds parted, the sky got blue, the sun came out, and all was good.

Taj Mahal was born Henry Saint Clair Fredericks in Harlem, New York, but he grew up in Springfield, Massachusetts in a musical family.  His father was a West Indian jazz arranger and piano player and his mother a gospel singer.  To learn more about Taj and to hear some of his music I’ve included below links to his official website and also to his Myspace page.  If you’re looking to buy some Taj Mahal CD’s some of my favorites are “Giant Step”,  “An Evening of Acoustic Music,” “Senior Blues,” “Sacred Island,” and “Kulanjan,” to name just a few.  His newest CD “Maestro,” will be released this October.  Some of his most popular songs are “Fishin’ Blues,” “Gonna Paint My Mailbox Blue,” “Corrina,” “Stagger Lee,” “Built For Comfort,” “Cakewalk Into Town,” “Take a Giant Step”, and “Senior Blues.”

To connect to Taj’s website or Myspace page and hear Taj play and sing, either click on the links below or cut and paste them into your browser.

www.tajblues.com

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=96306092

For some reason today I got thinking about John Hiatt.  Maybe it was because of all the news about New Orleans these past several days.  And perhaps it was because I saw John Hiatt perform at the “New Orleans Jazz & Heritage Festival” along side Sonny Landreth and the “Goners” and he slipped back into my consciousness?  What ever it was I wanted to hear the sound of his voice today and I’ve fulfilled my wish and now I’m sharing it with you.

I was a major John Hiatt fan.  I played him all the time.  I knew his albums and lyrics by heart and I probably had a crush on him.  He could be so close, yet so illusive, troubled and talented.  He was an artist respected by many other great artists and writers and they were people I respected too, like Ry Cooder, Nick Lowe, Roseanne Cash, and Iggy Pop.  He never seemed to quite have the fame and notoriety that I felt he deserved, kind of like a male Bonnie Raitt who played for years before making it big, only he never had the “Luck of The Draw” album to cross that line and break through to the other side of commercial success.  All the other great songwriters and players, his peers, were out there rooting for him too.  He had a big following of fellow musicians and does to this day.

I shouldn’t be talking about John Hiatt in the past tense because he’s out there putting out albums, writing new material, and touring.  I am simply being nostalgic about a musician I have so dearly loved and always thought more people should notice and appreciate.  In his singing there is a raw quality that one is drawn to or not, and there is an honesty in the way he writes; there is a lilt to his voice, a yearning in his sound, and a sense of humor and simplicity in his performance.

Seeming to put out an album about once every two or three years for the past several decades, the ones I am most familiar with are the ones he recorded with A&M Records, “Bring the Family,” “Slow Turning,” “Stolen Moments,” and “Perfectly Good Guitar.”  Being a consummate songwriter his songs have been covered by a number of other artists but probably the one most familiar would have to be Bonnie Raitt’s arrangement of his song, “Thing Called Love.”  With a style that has been described as a “rootsy fusion of rock & roll, country, blues, and folk,” his is a sound that appeals to me.  It strikes a chord so to speak, that and of course his soulful intelligent songwriting ability of which you will find a small sampling below.

To hear John Hiatt sing “Have A Little Faith In Me,” from his “Bring the Family” album just click on the link below or cut and paste it into your browser.

“Have A Little Faith In Me”
http://www.youtube.com/watch?v=8UkKTlzyLhQ