In the album's opening track, Mellencamp yearns for a "Someday, I don't know when..." and then never really even answers the inherent question. But the contrasts are clear. On the one hand this is "the road of madness and trouble, paved with intolerance, ignorance and fear," yet Mellencamp is still able to "look at your face, you look just like me" and conclude "hey brother, I'm not your enemy."
If there is an overall theme to this album, it is in fact that tolerance is an American family value. In fact, Mellencamp could just have well titled the album "Tolerance." He puts it simply and succinctly on the track "The Americans" with it's refrain of "I'm An American, I respect you and your point of view. I'm An American. I wish you luck with whatever you do."
Not to put too fine a point on it, but on "Jim Crow," he enlists America's favorite folkie liberal Joan Baez to drive it home.
If Bruce Springsteen represents the conscience of America to many, John Mellencamp is a prime candidate as it's illegitimate little bastard son. So great as this record is (and it is a very early candidate for best of the year in my view), I just cant stop thinking of that damned car ad.
Yes, poor old Johnny Cougar.
His best record since Scarecrow could well end up being his least politically understood since that of another certain patriotic rock star.
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.
21 - Glen Boyd
Well guys, suffice it to say I'm gonna leave this one to you to debate amongst yourselves. There are at least as many ways to "get" music as there are musicians and styles. All I know is I get as much out of something as dumb on it's surface as The Ramones doing "Rock & Roll High School" as I do trying to decipher something like Blood on The Tracks (lyrically), Pet Sounds (musically), or Born To Run (both musically and lyrically). Music is something which can be taken on at least a million different levels and at the end of the day it's all subjective anyway.
Sure is fun as hell to talk about though isn't it?
Thanx to Vern for opening up that "can O worms" and to Saleski, El Bicho, and everybody else for taking the ball and running with it.
-Glen
22 - El Bicho
"trying to decipher something like...Born To Run (both musically and lyrically)"
You can't still be doing that, are you? Just the other day I was reading Bruce was relavant anymore so you are wasting your time.
23 - El Bicho
should have been "wasn't".
Damn, I hate screwing up a punchline.
24 - Pete
Seems to be a lot of Boss fans here. I am a die-hard Mellenhead. That said, I can admit that something just wasn't "rocking" in the past few Mellencamp releases. Freedom's Road is without a doubt one of the best releases from JM in his career. I still love Whenever We Wanted the most because it is pounding drums and electric guitars throughout. If you have not at least given this new release a shot, you are the one missing out. I do not own any Boss CD's. If I were to pick one up, which one KICKS BUTT? I want to see what all of the hype is. I only ask that Freedom's Road is given a shot by you as well. -Pete
25 - Vern Halen
In referecne to JBGoode - well.... I'd have to say it all goes back to the late great literary critic Northrop Frye, whose work is pretty much over my head, but basically says a lot of the archetypes & clues that we pick up are inherent in our culture, and because we're immersed in it, we understand it even if we don't consciously think about it. That goes for the writer, too. For instance, the most recent popular example might be the movie O BRother WHere Art Thou, which as it turns out is a retelling of Ulysses. ANd how about Obi Wan Kenobi letting Darth Vader take him down so his friends could live? And he came back in spirit more powerful? Very Christlike, whether George Lucas says so or not.
So what of JBGoode? On one hand, it's a rock 'n'roll song that could have very well been written in ten minutes; as well, it was written by a 30 year old plus man trying to make a buck in the rock biz by selling vinyl 45's to teenagers. Purely a money venture. On the other hand, perhaps there's significance in the fact that it's a adult who knows where his audience is. And he happens to be of Afro American descent and he's selling to white teenagers. And he's a guitar player himself and he's successful. Has he written about himself? Or perhaps the Afro American experience in general?
Maybe that's irrelevant - but what's in the song itself? Well, his name is Goode - implying his personal goodness and/or his guitar ability. Or is his mother saying "Johnny, be good," (performance well wishing) or "Johnny, be GOOD!" (behave yourself)? I'd say this could easily be a case of identifying the dual nature of rock 'n' roll, the power to save or the power to destroy. And that would mean the audience or the artist himself.
Sorry I don't have time to do more than jot some stray thoughts - I will think about it more and if I find something bright to say I'll mention it. But as much as I like looking for this stuff, I'll admit even Freud said sometimes a banana is just a piece of fruit - or was it Warhol? I ijsut think there are a lot of connections people forget to make, and with rock history geting longer and longer by the decade, I just like to see the connections when I can.