A craftsman, a songwriter’s songwriter, an everyman for the ages. John Hiatt is all that and more.
One of my greatest concert memories is Hiatt at the Club Flamingo in Halifax test driving these songs. He wound up playing pretty much every track from this masterpiece as I sat front row two feet from him. Switching effortlessly from guitar to piano he fed off the energy of the engaged audience and created one of the most memorable evenings in my music life. Recorded over four intense days in Los Angeles in the winter of 1987, Hiatt assembled a tight trio behind him of Ry Cooder on guitar, Nick Lowe on bass, and legendary Jim Keltner (should have been a credited Traveling Wilbury) on drums.
The tone is set from opening track, “Memphis in the Meantime”, a chugging, electric hillbilly blues celebrating breaking out of a one-horse town and experiencing life. “Sure I like country music, I like mandolins, but right now I need a telecaster through a vibro-lux turned up to ten”. Economical guitar lines and crisp drumming perfectly frame the positive groove, “I wanna trade in these ol’ cowboy boots for some fine Italian shoes”.
The drums kick into a dirty slide lick for the intro to “Alone in the Dark”, “it’s a lonely picture of an empty glass”, “it’s extreme self-pity and frozen fear, ‘cause I want you with me but you’re not here”. The narrator comes from a long line of men who’ve caused their own solitude and the edgy bluesy groove echoes that barroom malaise. Third track, “Thing Called Love” was a big hit for Bonnie Raitt but this is the real deal version. Rough, ragged but still managing a light pop feel, the drums skitter along and allow for Cooder and Hiatt to play electric/acoustic ricochet bingo. You can’t sit still for the bridge and outro interplay.
The opening three tunes have spun you through rock mission statement of the album but Hiatt is also well known as a balladeer. Fourth song “Lipstick Sunset” quiets the pace somewhat. Not quite bitter, not quite sweet it’s again a tale of loss, “well, a radio was playing and that ol’ summer heat was on the rise, I just had to get away before some sad old song brought more tears to my eyes”. Cooder’s piercing slide aims right for the heart and the bass underpins a touch of texmex weeper.
The long slow outro could have been from a 1950’s tear filled country radio hit. Side one of the vinyl ends with perhaps Hiatt’s most well-known writing credit, “Have a Little Faith in Me”. Very basic piano chording and Hiatt’s fragile voice is all that’s needed. “and when your back’s against the wall, just turn around and you will see, I will catch, I will catch your fall, just have a little faith in me”. Singing a song like this is a challenge that most singers can’t manage, they over-emote and reach for the perfect notes. The secret to Hiatt’s success here is the unguarded, warts and all approach. Sincere and moving this is a love song for the ages. Flip the record over and we have another country-rock-blues hybrid in the style of “Thing Called Love” with “Thank You Girl”, a simple love letter to a supportive partner. Again the electric slide and acoustic strumming play off each other to great effect. “It’s a matter of opinion but I think you’re fine, as a matter of fact they couldn’t hold a candle to your kind”.
The breakdown near the end is so full of joy with Keltner letting go a bit it’s infectious. “Tip of My Tongue” is a wistful ballad with a sunset over a big desert sky feel, “some words flew out and made a crash landing, no love survived, not a trace could be found”. Cooder plucks and picks the electric guitar dancing around the lyrics as everything else fades into the background. “Well, I’d take it back but time won’t let me, No, time just takes you further away”.
The only misstep is Hiatt committing the sin of over-singing this a little bit and the length dragging proceedings a bit. It’s lovely but could have been retried. The most playful cut is “Your Dad Did”, with solid drumming and a cool descending guitar riff as we get a hilarious look at the middle class turmoil of a working stiff. “As your daughter dumps her oatmeal on your son, and you keep it hid, just like your dad did”. The eternal wheel of trying to get ahead, raising kids and just surviving day to day is sung with sweet fondness and tongue planted firmly in cheek, “all hands fold as the two year old says grace, she says help the starving children to get well, but let my brother’s hamster burn in hell, you love your wife and kids, just like your dad did”.
“Stood Up” is a country ballad with a nice arrangement by the super tight band but the lyrics are the weakest on the record and again it doesn’t hold for the over five minute length. Album closer “Learning How to Love You” is another solo piece, this time on gentle acoustic guitar with just some sympathetic harmonies. It’s a lovely positive end to a remarkable album, “And I don’t pretend to know how you ever saw it through, ‘cause I only got to where I am right now learning how to love you”.
As I sat with feet up on the stage making eye contact and grinning at Hiatt I recognized the songs from this album were going to be a part of my life forever.
Charlotte County resident Stephen MacKnight works for Anglophone South & Working NB after a decade spent as a music teacher in the school system and twenty-five years in the music retail industry cycling through Sam the Record Man, Records on Wheels and CDPlus. There have been nominations from ECMA’s & Music NB as a band-member and songwriter. Passionate and opinionated about music Stephen loves when anyone wants to have a debate.
