Vintage Review: John Hiatt's Hiatt Comes Alive At Budokan? (1995)

John Hiatt has created a lengthy and prosperous career out of outliving other people's expectations. Originally labeled as a young punk in the vein of Elvis Costello or Joe Jackson, way back in the mid-‘70s, Hiatt outlived that albatross only to be pigeonholed as a singer/songwriter. Several country hits penned for other artists threatened to stereotype this talented artist as a Music Row songmeister; a trio of brilliant albums in the late ‘80s/early ‘90s served to revitalize Hiatt's career and send him along the road to stardom. Unsatisfied, Hiatt threw critics another curve, recording an uncompromising rock ‘n’ roll record  – Perfectly Good Guitar – with a bunch of young alternative types. When will they get it into their heads that Hiatt is one of those rare originals that can't be categorized. Hiatt loves the music, genres be damned.

Having more fun that he probably ever has, Hiatt now kicks out this set of fifteen cuts, Hiatt Comes Alive At Budokan?, softly spoofing a trend towards live albums with the Budokan label on them that were hot shit when he first hit the scene. Recorded at a series of dates last spring (none of them in Japan), this collection is a fine representation of Hiatt's dynamic live performances. Culled from shows performed at venues as diverse and different as clubs, theaters, racetracks and auditoriums, Hiatt Comes Alive At Budokan? showcases Hiatt's extraordinary songwriting skills on tracks like “Icy Blue Heart,” “Angel Eyes,” “Have A Little Faith In Me,” “Tennessee Plates,” and my personal fave, the rocking “Perfectly Good Guitar.”

Hiatt is a soulful vocalist, pouring his heart into each cut, wrapping each song with great emotion and electricity. Regardless of the size of the forum, Hiatt's delivery is warm and personal; the backing band, The Guilty Dogs, a solid set of professionals following Hiatt's lead. Hiatt Comes Alive At Budokan? is not a "big sound" live disc like so many bands offer, instead it is a more subtle experience, one that plays to your heart and your mind rather than bludgeoning one into unconsciousness. In the marketplace of trends, this set may be overlooked; Hiatt transcends time, however, and cannot be refused his due. (A&M Records, released November 22nd, 1994)

Review originally published by R.A.D! Review and Discussion of Rock ‘n’ Roll zine, 1995