This album is both addicting and mesmerizing. From the first strains of Spider fingers to the last notes of Cruise control, Bruce Hornsby proves that he is the consumate musician and story teller. He's racked up a bunch of superior musicians and vocalists to work with here. Incuded are Jazz guitarist Pat Metheney, country Banjoist Bela Fleck and the always funky and fabulous diva Chaka Khan. All of them give stellar performances, but none outweigh the arresting presence of Bruce himself. The cd just gets better and better with each track, my favorites are "White wheeled limosine" the story of a jilted bride and "Country doctor" the story of a doctor who's wife dies under mysterious circumstances. The music is jazzy and jammin not the pop piano songs that you might expect. It's hard to believe that this is the same guy who wrote "The way it is". Patty Hayes

After a musical stumble in "Harbor Lights," Bruce Hornsby gets back on his feet and delivers a masterpiece. While lacking a haunting ballad like "Mandolin Rain" or "The Valley Road," "Hot House" is probably Bruce's most consistent and satisfying recording. As with "Harbor Lights," "Hot House" adds jazz influences to Bruce's Appalachian-rock. But, while "Harbor Lights" is mired in adult-contemporary noodling, "Hot House" kicks the intensity up several notches, and the jazz influences create a hearty, funky musical stew. "Hot House" is, in my opinion, the true musical heir of Lowell George's classic Little Feat recordings - and I can think of few higher compliments for a roots-rock album.

Bruce Hornsby has now had a long and varied career as a musician somewhere in between pop, Dead/jamband, and jazz with little detours into bluegrass and rock along the way. All his albums have something to recommend them, but I find this one to be the most consistant and enjoyable. The sound, especially from the rhythm section, is huge and doesn't suffer from the separation in the mix that is evident in Harbor Lights or Spirit Trail. The songs are all engaging, and while the melodies might not be as immediate as on his first three albums, the band jamming factor more than makes up for it. When the group gets really revved up, such as in Spider Fingers or in the intense swinging section of Hot House Ball, it's a sort of musical ecstacy. Fans of Hornsby as a balladeer will probably prefer other records, but this one is really energetic and seems to be the one I come back to the most. Guest appearances by Pat Metheny and Bela Fleck are great while fitting seamlessly with the regular band. I wish Bruce would work with this drummer again.

One of the best CD's I've ever heard. The songs are smooth and jazzy, sometimes streaming along at time signatures that deviate heavily from the 4/4 that is so standard. Each song is a jewel. Listen to the INSANE drums on "Swing Street". Try not to bop your head on "Spider Fingers". Hear how sad "White Sheeled Limousine" is. It might take a couple listens to see exactly how much is going on in this album. I'm still discovering new things after years! I can't recommend it enough.

...and to get the bad out of the way first, "Big Rumble" is the only matter that needs composting. Otherwise, these tuneful flowers are beauties: standouts are "Swing Street," "Walk In The Sun," "The Changes" (contra the previous reviewer who wrote about whiny musicians, this is the only song that deals with disaffected musos, and does it well) which rock and swing with the best of 'em. "Spider Fingers" (Hornsby's nod to his Dead fans) and "White Wheeled Limousine" are good here, but even better in a live setting, as are "Hot House Ball," a tongue-in-irradiated cheek ode to living near a nuclear power plant ("where everyone glows in the dark") and "Country Doctor," a sinister funk rocker about a very wicked character.

One of Hornsby's best, and another criminally-underrated 90's release.