Those of us who grew up understanding there was no difference (that mattered) in the music of Elvis, Ray Charles, Slim Harpo and Johnny Cash knew immediately upon hearing John Hiatt’s first numbers 31 years ago that he was a kindred spirit.

A garage band veteran while growing up in Indiana, Hiatt found inspiration in the groundbreaking songs of Bob Dylan, another figure with an encyclopedic knowledge of and love for vintage American music, plus the ability to communicate sentiments and feelings many Americans either feared or pretended didn’t exist. When he arrived in Nashville as an 18-year-old, it was clear to anyone who listened closely that he not only had a lot to say, but was presenting it in a manner that brilliantly blended passion and sophistication. Early covers of Hiatt’s work by the Neville Brothers, Ronnie Milsap, Bonnie Raitt and many others began alerting music lovers to his compositional flair.  

Then Hiatt began gaining equal notoriety as a performer, particularly a stint where he served as America’s answer to the angry Brits of the late ‘70s, plus some time working with Ry Cooder. The evidence of his evolution into a formidable artist also became more apparent in his live shows. Soon such seminal releases as Bring The Family in 1987,  Slow Turning in 1988, Stolen Moments in 1990, and Walk On in 1995 were the signal that he had become a distinctive and dynamic star. Hiatt’s greatness couldn’t be denied, and he subsequently made three more astonishing releases as the 21st century began: Crossing Muddy Waters in 2000 reaffirmed his songwriting chops (as if that was necessary), The Tiki Bar Is Open showcased the rock ‘n’ roll roots and Beneath This Gruff Exterior revealed an artist still capable of surprising, shocking and delighting his audience.  

But with his latest release, Master of Disaster, John Hiatt shows he still has plenty of compositional and vocal might. Two of the disc’s 11 cuts that really reaffirm the strength of the Hiatt/Dickinson/North Mississippi Allstars musical union are “Love’s Not Where We Thought We Left It” and “Ain’t Ever Goin’ Back.” The former contains some edgy, inventive lyrics revolving around disillusionment and hypocrisy, but only Hiatt would fuel the song by using a dispute between Jesus Christ, the apostles and Mary Magdalene to launch things. The latter has a loping country feel, anchored by a gritty Hiatt lead vocal and acoustic/electric counterpoint in the arrangement that makes the song’s expressions of loss and regret sound even more brooding and intense.   

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