[rating=3.50]
John Hiatt’s last two albums (The Open Road 2010, Dirty Jeans Mudslide Hymns 2011) are among the most memorable of his career, in large part because of the assertive yet sympathetic accompaniment of The Combo, a streamlined three-piece band consisting of guitarist Doug Lancio, bassist Patrick O’Hearn and drummer Kenneth Blevins. No doubt inspired by their intuitive savvy, Hiatt writes with the confidence of a craftsman who knows his band can handle anything he composes and the mutual surety of the four men permeates Mystic Pinball.
Less contemplative than on Dirty Jeans, which captured the mood of our times since the 9/11 tragedy, Hiatt and The Combo set out to rock from the chunky opening chords of "We’re All Right." "Bite Marks" is less of a clear-cut paean to positivism than the opener, but it’s not much less good-humored, just a little less transparent in its lyrical message. It is, however, the first chance Lancio gets to step forward and he lets rip with a scathing solo that suits the title of the. The Rolling Stones would be envious of the way Hiatt & company stomp along during this track: O’Hearn and Blevins do more than just ply a heartbeat.
As on one of Hiatt’s more philosophical tunes, “It All Comes Back," this rhythm section slams out the beat with unabashed glee. Lancio again nails a solo, but this time the guitarist displays a pithy approach in which his restraint only focuses his intensity, that approach in itself an accurate reflection of John Hiatt’s method of songwriting. As on "Wood Chipper," the author uses common objects as both filters and metaphors, in doing so renders provocative insights, observations that radiate clarity.
Rippling with sardonic and self-deprecating humor, "My Business" may be one of the less substantial songs here, yet its reason for being is clear: it’s a vehicle for Hiatt and the Combo to let it rock. The tune also provides pacing for the dozen tracks as it effectively sets up the moderate tone of "I Just Don’t Know What to Say," an acoustic-flavored arrangement featuring piano, the inclusion of which at this point is emblematic of the artistry with which Hiatt’s learned to record. At the same time, the track sequencing, among other virtues including restraint of the arrangements confirms his partnership with Kevin Shirley who also acted as producer on the previous work (and has worked with the likes of Aerosmith, the Black Crowes, Dream Theater, and Journey).
Mystic Pinball is definitely not soft at the center, just quieter. With the likes of "I Know How to Lose You," John Hiatt demonstrates the lessons he learned working in Nashville early in his career still stand him in good stead. Accessible (perhaps to a fault), this easygoing folk-rock tune becomes more than what it seems when the author utters the lines referencing "an earlier version of himself." Such self-knowledge is all too rare in contemporary songwriting, but John Hiatt’s material is rife with such introspective revelation.
Yet it doesn’t come at the expanse of the joyful devil-may-care swing within the musicianship of "You’re All the Reason I Need." The juxtaposition of these two latter tracks illustrate the balance John Hiatt and The Combo maintain throughout Mystic Pinball and while it might appear precarious, their collective panache makes it sound easy.
