As well, it nearly took him that long to find his own style. Hiatt began his solo career in 1974, and over the next decade he ran through a number of different styles from rock & roll to new wave-esque pop before he finally settled on a rootsy fusion of rock, country, blues, and folk with his 1987 album 'Bring the Family'. Though the album didn't set the charts on fire, it became his first album to gain some major commercial success, and several of the songs on the record became hits for other artists, including the aforementioned Raitt and Milsap. Following its success, Hiatt became a reliable hit songwriter for other artists, and he developed a strong cult following that continued to gain strength into the mid-90s.
While he was growing up in his hometown of Indianapolis, Indiana, Hiatt played in a number of garage bands. Initially, he was inspired by the Rolling Stones and Bob Dylan, and the music of those two artists would echo strongly throughout his work. Out of all the bar bands he played with in the late 60s, a group called The White Ducks was the one that received the most attention. Following his high-school graduation, he moved to Nashville, Tennessee at the age of 18, where he landed a job as a songwriter for Tree Publishing.
For the next several years, he wrote and performed at local clubs and hotels. Within a few years, his songs were being recorded by several different artists, including Conway Twitty, Tracy Nelson, and Three Dog Night, who took Hiatt's "Sure as I'm Sittin' Here" to number 16 in the summer of 1974. Eventually, his manager secured him an audition at Epic Records, and the label signed him in 1974, releasing his debut album, Hangin' Around the Observatory, later that year. Despite their critical acclaim, neither Hangin' Around the Observatory nor its 1975 follow-up Overcoats sold many copies, and he was dropped by the label. By the end of the year, Tree Publishing had let him go as well.
Following his failure in Nashville, Hiatt moved out to California. By the summer of 1978 he had settled in Los Angeles, where began playing in clubs, opening for folk musicians including Leo Kottke. With Kottke's assistance, Hiatt hired a new manager, Denny Bruce, who helped him secure a record contract with MCA Records. Slug Line, his first record for MCA, was released in the summer of 1979. Where his first two records were straight-ahead rock & roll and folk-rock, Slug Line was in the new wave vein of angry English singer/songwriters like Elvis Costello, Graham Parker, and Joe Jackson, as if Hiatt was vying for the role of the American angry young man. The new approach earned some strong reviews, yet it failed to generate any sales. Two Bit Monsters, his second MCA album, faced the same situation. Although it was well-received critically upon its 1980 release, it made no impression on the charts, and the label dropped him.
Apart from working on Two Bit Monsters, Hiatt spent most of 1980 as a member of Ry Cooder's backing band, playing rhythm guitar on the Borderline album and touring with the guitarist. Hiatt stayed with Cooder throughout 1981, signing a new contract with Geffen Records by the end of the year. Produced by Tony Visconti (David Bowie, T. Rex), his Geffen debut All of A Sudden was released in 1982, followed by the Nick Lowe/Scott Matthews & Ron Nagel-produced Riding With the King in 1983. As with his previous records for Epic and MCA, neither of his first two Geffen releases sold well. By this time, Hiatt's personal life was beginning to spin out of control as he was sinking deep into alcoholism. Around the time he completed 1985's Warming Up to the Ice Age, his second wife committed suicide. Following the release of Warming Up to the Ice Age, Hiatt was dropped by Geffen. By the end of 1985, he had entered a rehabilitation program. During 1986, he remarried and signed a new deal with A&M Records.
For his A&M debut, Hiatt assembled a small band comprising his former associates Ry Cooder (guitar), Nick Lowe (bass), and Jim Keltner (drums). Recorded over the course of a handful of days, the resulting album, Bring the Family, had a direct, stripped-down rootsy sound that differed greatly from his earlier albums. Upon its summer 1987 release, Bring the Family received the best reviews of his career and, for once, the reviews began to pay off, as the album turned into a cult hit, peaking at 107 on the U.S. charts; it was his first charting album. Hiatt attempted to record a follow-up with Cooder, Lowe, and Keltner, but the musicians failed to agree on the financial terms for the sessions. Undaunted, he recorded an album with John Doe, David Lindley, and Dave Mattacks, but he scrapped the completed project, deciding that the result was too forced. Hiatt's final attempt at recording the follow-up to Bring the Family was orchestrated by veteran producer Glyn Johns, who had him record with his touring band, the Goners. Despite all of the behind-the-scenes troubles behind its recording, the follow-up album, Slow Turning, actually appeared rather quickly, appearing in the summer of 1988.
Slow Turning, like Bring the Family before it, received nearly unanimous positive reviews and it was fairly well-received commercially, spending 31 weeks on the U.S. charts and peaking at 98. Within the next year, Hiatt successfully toured throughout America and Europe, strengthening his fan base along the way. Inspired by the success of Hiatt's two A&M albums, Geffen released the compilation Y' All Caught? The Ones That Got Away 1979-85 in 1989. That same year, other artists began digging through Hiatt's catalog of songs, most notably Bonnie Raitt, who covered "Thing Called Love" for her multi-platinum comeback album, Nick of Time.
In 1990, Hiatt returned with Stolen Moments, which was nearly as successful as Slow Turning, both critically and commercially. "Bring Back Your Love to Me," an album track from Stolen Moments that was also recorded by Earl Thomas Conley, won BMI's 1991 Country Music Award. By the time "Bring Back Your Love to Me" won that award, it had become a standard practice for artists to cover Hiatt's songs, as artists as diverse as Bob Dylan, Ronnie Milsap, Suzy Bogguss, and Iggy Pop all covered his songs in the early '90s. In 1993, Rhino Records released Love Gets Strange: The Songs of John Hiatt, which collected many of the cover versions that were recorded during the '80s and '90s.
During 1991, the group that recorded Bring the Family — Hiatt, Cooder, Lowe, and Keltner — re-formed as a band called Little Village, releasing their eponymous debut in early 1992. Based on the success of Bring the Family and Hiatt's A&M albums, expectations for Little Village were quite high, yet the record and its supporting tour were considered a major disappointment. Later, the individual members would agree that the band was a failure, mainly due to conflicting egos.
Hiatt decided to back away from the superstar nature of Little Village for his next album, 1993's Perfectly Good Guitar. Recorded in just two weeks with a backing band comprised of members of alternative rock bands School of Fish and Wire Train, the album was looser than any record since Bring the Family, but it didn't quite have the staying power of its two predecessors, spending only 11 weeks on the charts and peaking at number 47. The following year, he released his first live album, Hiatt Comes Alive at Budokan? Hiatt left A&M Records after the release of the record, signing with Capitol Records the following year.
Walk On, Hiatt's first Capitol album, was recorded during his supporting tour for Perfectly Good Guitar and featured guest appearances by the Jayhawks and Bonnie Raitt. Walk On entered the charts at 48, but slipped off the charts in nine weeks, indicating that his audience had settled into a dedicated cult following. Fittingly, after 1997's Little Head quickly came and went in the marketplace, Hiatt parted ways with Capitol, and his next album, 2000's Crossing Muddy Waters was released on the established independent imprint Vanguard Records. After a second album with Vanguard, The Tiki Bar Is Open, Hiatt alligned himself with another independent label, New West, for the release of his 2003 set Beneath This Gruff Exterior. Master of Disaster, along with CD and DVD versions of Live from Austin, TX followed in 2005.
Same Old Man followed in 2008; then The Open Road in 2010.
Cross My Fingers
John Hiatt Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I slip into another gear
And I travel in another syncopation
When all I want to be is here with you
And
I'll be true to you cross my fingers
I'll be good to you cross my fingers
Sure as a snake along the river
Sure as a ghost is in the trees
There is a promise love delivers
Even though you never promised me
I'll be true to you cross my fingers
I'll be good to you cross my fingers
I'll be true to you cross my fingers
I want to stay, 'til my thoughts are okay
'Til my motive is clear, 'cause I'm driftin away
From the weight of your arms, from your soft feather bed
To a cold white line down the highway in my head
All our little tears are icicles
Hangin' on the telephone lines
And I call you up through all the cracklin' static
I swear I only hear you half the time
No matter how I try to hold you baby
You only seem to slip away from me
And then we're walkin out along the ocean
Or swimmin like the dolphins out to sea
I'll be true to you cross my fingers
I'll be good to you cross my fingers
I'll be true to you cross my fingers
I'll be good to you cross my fingers
Cross my fingers
In this song, John Hiatt expresses his desire to be devoted to his lover. However, he seems to struggle with focus and staying in the present moment with her. He admits that he has a tendency to slip into another state of mind, losing touch with reality and his partner. Despite this turmoil in his head, he swears to be true and good to his lover, even if he has to cross his fingers as a symbol of sincerity.
The first verse implies that Hiatt experiences some form of dissociation or escapism, which is why he can't fully commit to his partner. He slips into a trance-like state, a "syncopation", that keeps him away from her. However, he still yearns to be with her, hence the statement "when all I want to be is here with you". The second verse alludes to various natural phenomena, like snakes, ghosts, and promises. These things are unpredictable, just like love, but Hiatt is willing to take a chance on it. He recognizes that he hasn't received any promises from his partner, yet he's willing to pledge himself to her.
The last verse portrays Hiatt's confusion and restlessness. He's not sure of his priorities, but he wants to sort out his feelings before he commits to anything. He wants to stay with his partner until his "thoughts are okay" and his "motive is clear". He compares her love to a soft feather bed that he's drifting away from, to a "cold white line down the highway in my head" - a metaphor that suggests his mind is torn between staying with her and leaving.
Overall, "Cross My Fingers" is a song that explores the complexities of love and commitment, and the human tendency to lose touch with reality when things get complicated.
Line by Line Meaning
Baby when I put my mind to it
When I focus on something, I get in the zone and function differently
I slip into another gear
My thoughts and actions change pace, as if I'm functioning in a different way
And I travel in another syncopation
My rhythm and timing are different, almost like a different song is playing
When all I want to be is here with you
Despite the changes, all I really want is to be with you
Sure as a snake along the river
As certain as a snake slithering along the river
Sure as a ghost is in the trees
As certain as a ghost haunting the trees
There is a promise love delivers
Love brings a promise
Even though you never promised me
Even though you haven't made a promise to me
I want to stay, 'til my thoughts are okay
I want to stay until I'm feeling better and more clear headed
'Til my motive is clear, 'cause I'm driftin away
Until my intentions become more obvious because I feel like I'm losing my way
From the weight of your arms, from your soft feather bed
From the comfort and warmth of being close to you, wrapped in your arms and embraced by your soft bed
To a cold white line down the highway in my head
To thinking about a cold, white line on the highway, which often represents cocaine use, in my mind
All our little tears are icicles
Our tears have frozen, turned into icicles
Hangin' on the telephone lines
Dangling from the telephone wires
And I call you up through all the cracklin' static
Despite the static on the phone line, I still call you
I swear I only hear you half the time
I can only hear you partially on the phone, due to poor reception
No matter how I try to hold you baby
Regardless of how hard I try to keep you close to me
You only seem to slip away from me
You always seem to distance yourself from me
And then we're walkin out along the ocean
And then we're walking along the ocean
Or swimmin like the dolphins out to sea
Or swimming like dolphins out into the open sea
I'll be true to you cross my fingers
I promise to be loyal to you, but am secretly uncertain of my ability to keep that promise
I'll be good to you cross my fingers
I promise to treat you well, but am secretly unsure of my ability to do so
Cross my fingers
A phrase often used to indicate a hope or wish for good luck
I'll be true to you cross my fingers
I promise to be loyal to you, but am secretly uncertain of my ability to keep that promise
I'll be good to you cross my fingers
I promise to treat you well, but am secretly unsure of my ability to do so
Cross my fingers
A phrase often used to indicate a hope or wish for good luck
Lyrics © Universal Music Publishing Group
Written by: JOHN HIATT
Lyrics Licensed & Provided by LyricFind