Poor old Johnny Cougar.
You see that's what they used to call him way back in the day when he was first managed by Mainman's Tony DeFries, whose other big name client at the time was a guy named David Bowie. Cougar's problem at the time was respect, or more specifically the lack thereof.
The way around the problem? Dump the manager. Change your name. Change it several times actually, first shortening the Johnny to John, than adding your birthname of Mellencamp, then finally dumping the Cougar moniker altogether.
Whatever works.
Yet even with the numerous name changes, respect would be a long, hard fought battle for John Mellencamp. The biggest problem dogging him was the constant comparisons to Bruce Springsteen, and the perception (at the time) that Mellencamp was little more than the poor man's Boss. I'll even confess that for the longest time, I was one of those who snickeringly referred to John Mellencamp as "the Employee."
That all changed with the release of Scarecrow in 1985, an album even I begrudgingly had to confess at the time painted a more accurate portrait of the problems facing working class America -- or more specifically in this case, the American farmer -- than anything on Springsteen's then-current Born In The U.S.A.. The songs weren't half bad either.
Now before I'm engulfed by the howls of protest I already hear coming from my fellow Boss fans, I'll also admit that Springsteen's message was widely misunderstood (and misappropriated by certain opportunistic politicians) at the time. But what do you expect when you wrap your album sleeve in an American flag smack dab in the middle of the Reagan era? The thing that makes Scarecrow the better record for my money is it's honesty and straight forwardness. There's no mistaking what the title track there was all about. None whatsoever.
So with Scarecrow, Mellencamp was finally taken seriously as an artist. And for awhile there, he took the ball and ran with it. Scarecrow's followup, the mountain-folk (okay, hillbilly) inspired The Lonesome Jubilee added an Appalachian flavor to the mix, brimming with fiddles and accordians a full twenty years before Springsteen explored similar instrumentation on The Seeger Sessions.
Article comments
— go to most recent comments1 - Vern Halen
And since this can o' worms is just waiting to be opened, the next question is this: is Mellencamp relevant these days? I lost interest in his music through the lean years, just as I did in varying degrees with Springsteen, Seger & Petty. Of these four, Petty is the one who seemed to keep the steadiest course; interestingly, he also seems to me the least political, or the least easily politicized at any rate.
Suddenly (or so it seemed) middle age descended upon these artists, and in the public's mind their lifes' work was re-evaluated as if to glean a clue as to the next career move for each of them. Some people were happy with whatever direction they chose, others disappointed. In any case, I think each kept their own advice and followed their instincts.
However, to reiterate the original question, does it matter anymore for any of them? For that matter, for any of us?
2 - Dave Lifton
If the populist messages on BitUSA ring hollow, it's more due to the radio-friendly production, which stripped the power of many of the songs (check out the demo version of the title track) than anything Bruce did.
But yeah, Mellencamp will always be seen as a lesser Springsteen, and I don't think that's unfair. His weakness is that he'd rather tell you the message (Pink Houses, Check It Out) than allow you to figure it out for yourself. His best records hold up to Springsteen's second tier. You can favorably compare Lonesome Jubilee or Scarecrow with Nebraska and The River, but there's nothing in Mellencamp's catalog like The Wild, The Innocent & The E Street Shuffle.
That's not a knock on Mellencamp, but rather that Bruce was in his own world then.
3 - Glen Boyd
Agreed on most counts Dave. But I never said that BIUSA's songs ring hollow, just that they were mainly misunderstood due in part to their ambiguity (compared to Scarecrow) and to the way the album was marketed in all it's flag waving glory. Springsteen is definitely the more important artist of the two (and yes, he is still relevant--as is Mellencamp). Vern, I agree that keeping up with Mellencamp was even more challenging than keeping up with Springsteen was in the nineties (Get Naked? Please.). But this new album is every bit the return to form for the "little bastard" that The Rising was for "The Boss".
Thanx for the comments guys.
-Glen
4 - Temple Stark
You may have just convinced mwe to give Mellencamp another look. I've treated him pretty much as a lightweight but I respect your musical sensibilities.
Jack and Diane, though, is in my in-my-head-only Top 100 songs ever.
5 - Vern Halen
Interesting. Glen, I would suggest that these artists are relevant only to a small slice of the listening audience, generally (but not limited to) aging rock historians, approaching or into their 50's. Not a slam against the artists, the audience, or aging rock historians, but these are some of the few people who looks at Springsteen's career in perspective, or retrospective if you will. Everyone else is looking for the current top 40 singles so they can download them onto their mp3 player.
6 - Deborah
I bought Mellencamp's album the day it was released. The first thing I noticed was the price! All the top 40's artist's albums were selling upwards of $21.oo per album. Mellencamp's was $11.99! That told me he was more interested in getting his music to his fans rather than making a profit. Of course he already seen a tidy profit before the album was released from the wonderful people at he Chevy Corp! None the less he is still the same guy he was back in the 80's making music and giving it all he had to give. I did however find myself comparing his songs to "The Boss" who I love! By the way "When did Bruce ever sell out to advertising?" I don't remember that ever happening. Here's the thing, you are or you are not a fan of these two renouned artists so enjoy what they give us and don't analyze so closely what they sing and play in thier music. Have a good day.
Respectfully,
Deborah
7 - Glen Boyd
So who are you calling an aging rock historian here pal?
lol...
-Glen
8 - Glen Boyd
Deborah,
I enjoy both artists immensely. I dont believe that Bruce ever "sold out" to anybody, but was merely commenting on the way BITUSA was marketed, which led to it's misinterpetation by the masses.
As to "analyzing" the music? Well shucks, thats just what I do.
You have yourself a nice day as well.
-Glen
9 - Vern Halen
Ummm.... that comment wasn't directed to you or anyone personally. As far as I know, you're a sprightly young lad..... ought to go far with this writing thing......
!
10 - Glen Boyd
Right back atcha' Verno.
-Glen
11 - Vern Halen
Seriously, though, Glen, don't you think than overtly taking on social issues as an album's theme can be heavyhanded? Make no mistake, I'm a big Bruce fan - I'm pretty sure I have 98% of everything he's legitmately released, and I think he addressed the issues appropriately. But the best song on the Rising to me is the most subtle: You're Missing. He could've just left the title and recorded 3 minutes of dead air and it would've been fine. On the other hand, there's World's Apart - too obvious. I thought Page & Plant playing that UnLedded version of Kasmir with all the symphony players and foreign orchestras was a much better attempt at reconciling the East and the West.
Mellencamp's Scarecrow & Jubilee were the beginning of the end for me - Uh huh was his last great rockin' album without an overall "message" - at least the last I paid attention to all the way through. And though he occasionally puts out a catchy single or a couple of choice cuts here & there.... well, Seger does the same thing.
Personally, I'm of the opinion that Tom Petty has risen above all this politcal coloring - his songs are pretty straigtforward rock songs - with the exception of the cranky old man who made The Last DJ, his songs are well constructed and not dated.
12 - Glen Boyd
I don't know Vern. Personally I like a little political and social commentary in my music. I think it's part of a rich tradition that stretches from Woody Guthrie and Pete Seeger down through guys like Dylan, Fogerty, and yes Springsteen. I do like this kind of writing a lot more when it's done subtly--leaving the deeper meaning to the listeners own interpetation, (which Bruce I think usually does), moreso than when someone tries to hit you over the head with it.
The Rising track you mention, "Worlds Apart" is probably my least favorite on the album for that very reason. The middle-eastern flavor just sounds really forced to me.
But yeah, I actually do like a little politics, or maybe i should say a little "social consciousness" in my music.
At the same time, I also like a lot of music devoid of any meaning whatsoever.
-Glen
13 - Connie Phillips
Congrats! This article has been forwarded to the Advance.net websites.
14 - T. Michael Testi
"I do like this kind of writing a lot more when it's done subtly--leaving the deeper meaning to the listeners own interpetation, (which Bruce I think usually does), moreso than when someone tries to hit you over the head with it."
You have hit the nail on the head. This is what makes an artist great and long lasting. It is the ability to enjoy the music when you may not like the message.
It is also the type of message that can change peoples minds over time where as beating you over the head will just make you dig in deeper to your own views.
15 - Glen Boyd
Thats great Connie. Thanks so much.
-Glen
16 - Vern Halen
You know, Glen, I would have totally agreed with you up until a few years ago when I read Greil Marcus's Invisible Republic. It was an eye opener for me - I realized that not every song told a story, but the best ones told a story and kept it hidden at the same time. The older I get, the more mystery I'm comfortable with - and I don't know if that's necessarily a good thing. But it is what it is.
17 - Mark Saleski
i dunno. i mean, i respect greil marcus but don't think that anybody gets to put an artificial (in this case, personal) constraint on what is 'good' or not in storytelling.
to me it all depends on the issue involved. sometimes, pure subtlety works but at other times, a sledgehammer is appropriate.
18 - El Bicho
I thought Mellencamp's cover album Troule No More from a few years back was a damn fine album.
"the best ones told a story and kept it hidden at the same time."
That's rather flipping pretentious, and I enjoy subtlety. For every so-called "best one" I can find an obvious song that is just as good. There's nothing subtle going on in "Johnny B. Goode" or "(Oh) Pretty Woman.
19 - Vern Halen
My apologies - I should've mentioned that comment about exposing & hiding a story as it refers to the folk music tradition as it was described in that book. But I believe there's a certain carry over - you may see Johnny B. Goode as obvious, but I think there's more going on there than a kid playing guitar by the railroad tracks.
20 - El Bicho
VH, please elaborate in regards to JBG. I would like to hear/see what you have to say/write because you may very well be right. I'm now going to go back and rereads the lyrics.
I will be asking if the hidden story is something that you infer as the listener, where as with most great art, our own experiences shape the experience, or if there are clues that Berry inserted.
Such as the difference in the story of Christ being retold in Cool Hand Luke as opposed to people who understandably see Superman as a Christ figure but it doesn't appear to be suggested in Action Comics #1.