Album: Bring the Family
John Hiatt was a hoary veteran by the time he broke into the charts for the first time with Bring The Family, his eighth album.
And part of the reason he broke into the charts was that the advance word was that he’d been able to recruit a crack band featuring Jim Keltner on drums, Ry Cooder on guitar and Nick Lowe on bass to play a tough but sparse set of rootsy songs.
Album: John Fogerty
Maybe because it had been five years since the last great Creedence album — Cosmo’s Factory for those of you keeping score at home — and maybe because the last two Creedence albums had been sub-par and his first solo album all covers, John Fogerty’s self-titled 1975 album has kind of been lost to history.
And that’s a shame, because it’s a far better record than the John Fogerty comeback albums that you remember from the mid-1980s.
Album: Who The Hell is John Eddie?
Luckily, John Eddie knew the question you were going to ask when you saw this post, and named his album after it.
As it turns out, Who The Hell is John Eddie? is still the only music I’ve ever heard from Eddie, who is basically a straightforward heartland rocker based out of New Jersey. And I’m not going to lie: I had just turned 40 when I got this album, and the opening verse of “Forty” was completely relatable.
Album: A Love Supreme
A Love Supreme, of course, is probably one of the two or three best-loved jazz albums of all time.
Recorded in a single blast in December of 1964 and released a scant month later, it’s one of the very few not just records, but works of art that pretty much everybody agrees is completely and utterly transcendent.
Album: My Favorite Things
As the patron saint of rock ‘n’ rollers who dabble in jazz, John Coltrane carries a lot of spiritual weight on his long-dead shoulders.
I’d always been intrigued by Roger McGuinn invoking him as an influence on the almighty “Eight Miles High,” but it wasn’t until KFSR that I truly discovered his music.
As some of you might remember, in the early days KFSR started its broadcasting weekdays 6:00AM (or so, because college students) with six hours of J-A-Z-Z jazz, followed by afternoons and evenings of alt-rock. The practical upshot of this was that it was my first firehose exposure to jazz of all shapes and sizes.