I began listening to John Mellencamp in April 2022. Note that The Kid Inside was recorded right after his debut but went unreleased for several years after MCA dropped him.
Chestnut Street Incident (1976): B-
A Biography (1978): C-
John Cougar (1979): B
Nothin' Matters and What If It Did (1980): C+
American Fool (1982): B
The Kid Inside (1983): C
Uh-Huh (1983): A-
Scarecrow (1985): A
The Lonesome Jubilee (1987): A-
Big Daddy (1989): B
Whatever We Wanted (1991): B
Human Wheels (1993): B+
Dance Naked (1994): B-
Mr. Happy Go Lucky (1996): B-
John Mellencamp (1998): B
Rough Harvest (1999): A-
Cuttin' Heads (2001): B-
Trouble No More (2003): B+
Freedom's Road (2007): B
Life, Death, Love and Freedom (2008): A-
Life, Death, Live and Freedom (2009): B
No Better than This (2010): B-
Plain Spoken (2014): B-
Performs Trouble No More Live at Town Hall (2014): B+
Sad Clowns & Hillbillies (2017): B-
Other People's Stuff (2018): B
Strictly a One-Eyed Jack (2022): B+
Orpheus Descending (2023): B+
Chestnut Street Incident (1976):
A myriad of recording artists come onto the scene this green but very few end up making a memorable debut album. Mellencamp separates himself from the pack by covering Elvis Presley, Roy Orbison, the Doors, and the Stooges all on an album released as punk rock begins to take hold. Intentionally tongue-in-cheek or not (it's not), that's about as funny as one of Dylan's talking blues. But that's not all young Cougar has going for him--he has a distinct voice, songwriting headed in the right direction, and a guitarist much too qualified to be playing on this album. B-
A Biography (1978):
With new guitarist Larry Crane, Mellencamp's rock'n'roll is occasionally so fuzzed out it veers close to heavy metal. In isolation, the guitar work is pretty good but John has yet to find his voice and here he's pushing it so much to the max, I'd rather listen to Black Sabbath. Meanwhile, his phony vocals are layered onto phony lyrics on sentimental, quieter songs like "Goodnight" and "Taxi Driver." Only saving grace is "I Need a Lover," which goes on for too long. C-
John Cougar (1979):
After only slightly experimenting with what would become "heartland rock" on his debut, here he fully embraces it, writing his first few decent to good lyrics. To accompany this switch, he and guitarist Larry Crane, who is also finding footing, move towards a catchy rock'n'roll style with clearer emphasis on traditional American music. While it's often very original and satisfying--the fluttering guitar on "Do You Think That's Fair" is magnificent--there are a few misses, mostly because he hasn't completely shed the kid who released A Biography. B
Nothin' Matters and What If It Did (1980):
Mellencamp delivers for a second time in a row a relatively satisfying album for a musical point of view. Lyrically, however, he's losing ground. For every decent lyric like "Hot Night in a Cold Town," there's a highly sexual one. "Tonight" is so offensively bad on its own that I'm dropping the entire record a grade. C+
American Fool (1982):
Though his band has now developed a tight and rehearsed American brand of some Stonesy rock'n'roll--musically, half the songs are delightful cuts in a decade where the genre was too often butchered--Mellencamp continues to struggle with writing an entire album. "Hand to Hold on To" and "Weakest Moments" are sappy and "Close Enough [for rock and roll]" is another lame ode to the genre, not to mention it's the weakest rocker on the LP. But when Mellencamp and the band line up, the intensity and chemistry is immediate--the two hits (and "Danger List" and "China Girl" to lesser extents) still sound significant. If only the lyrical style of "Jack & Diane" was further exploited. B
The Kid Inside (1983):
The Kid Inside? Based on the cover, Mellencamp is still clearly a kid on the outside too. C
Uh-Huh (1983):
Even on American Fool as he was finding his footing with his Stonesy bandmates, I couldn't shake my knowledge of his past debacles. With the name change from John Cougar to John Cougar Mellencamp, which has liberated him in a very real way, he's increasingly becoming an authentic, everyday man's rocker. His lyrics see the most improvement. With biblical allusions throughout the album and an honest empathy for America's hardest working folks, he's making steps towards becoming one of the premier lyricists of his generation. Better yet, his tributes to rock'n'roll are getting better. A-
Scarecrow (1985):
Because it's thoroughly focused on the lives on rural folks and their contemporary struggles, Scarecrow does not share the widespread appeal of another certain album about the American Dream Born in the U.S.A., which was released just a year prior, though it does have three hit singles as good or better than "Hurts So Good" and two more ("Rain on the Scarecrow" and "Minutes to Memories") that probably could have swept the nation too. After fumbling his early career and clawing back ever since, this a huge artistic success. Mellencamp's bandmates have become a beautiful, cohesive unit with traditional American music creeping in with startling success. Mellencamp meanwhile has become a full-package songwriter--delightful melodies, ruminative lyrics--with a forceful and passionate voice. Even the stumbles on this album (what the hell does "his tears fell down like missiles from the sky" mean?) have their charm and humor. One of the most underrated albums to ever come out of America--still can't believe I found a near mint vinyl of it for only five bucks. A
The Lonesome Jubilee (1987):
Because his band had only recently found their stride as one of the greatest rock bands in America during the 80s, Mellencamp takes a big risk, decreasing his stellar guitarists' prominence and moving traditional folk instruments--accordion, slide guitar, fiddle, banjo, and mandolin--to the front of every song. That risk pays off. The record was highly successful commercially and with Mellencamp's lyrics remaining focused on the everyday lives of Americans, The Lonesome Jubilee is a beautiful and moving celebration of early American music. Though it’s not perfect--"Hot Dogs and Hamburgers" attempts to offset its ambitious verses with a lighthearted chorus but face plants spectacularly--its great to see such a rootsy rock album climbing the charts in the 80s. A-
Big Daddy (1989):
Although it continues the traditional American instrumentation that worked so well on his previous LP, Big Daddy's lyrics are not solely focused on everyday Americans, which can often make the music feel a little out of place. On the track-list, I count about four songs that are written from Mellencamp's point-of-view; of them, only "Big Daddy of Them All" is compelling, the rest sees him singing about not wanting to be a pop singer or about the "Void in My Heart," which comes off fairly endearingly but isn't exactly relatable. His few character songs also fall short. While "Jackie Brown" comes to life, "Country Gentlemen" is a much too one-dimensional portrayal of rich businessmen to be a forceful damnation. In the midst of this array of quality, my favorite song is "Theo and Weird Henry" for its great guitar and silly (and admittedly not very good) lyrics about about two knuckleheads. B
Whatever We Wanted (1991):
At first, I was pretty worried when I heard Mellencamp was moving back to standard rock lyrics because the last time he was in such a mood, he gave us "Tonight." Mellencamp's love songs are still too graphic for my taste--at least coming from someone whom I wouldn't count as a sex symbol--but it's nice to hear him loosen up a bit and the songs here don't sound like they were sung by a twelve year old, which helps a great deal. Musically, this is a pretty standard 90s rock record, which is okay, but Mellencamp's band (especially the one that features Larry Crane) is much too talented to simply imitate the current trend. B
Human Wheels (1993):
This undoubtedly represents the best collection of lyrics and melodies Mellencamp has released since The Lonesome Jubilee. Though he is no longer trying to fit into the modern day music trends, it'd be nice if he brought along the relaxed poise of his last album. Any other songwriter I can think of would have sung "when Jesus left Birmingham/All the disciples went crazy/When Jesus left Birmingham/All the people went completely nuts" with at least a smile on his face. Mellencamp ends the song praying in a garden. B+
Dance Naked (1994):
Like many great rockers, Mellencamp got pissed off at his record company when they asked for a commercial album after Human Wheels. To prove how easy that is, he recorded this album in fourteen days filled with what he believed were pop-friendly tunes. In spite of the little effort he supposedly put into the record and its hideous cover art, it's not bad, mostly because rock'n'roll doesn't need to be meticulously crafted. Nevertheless, I'd count this as his worst album in a long time, mostly because there's nothing I foresee returning to beside "Another Sunny Day 12/25," some of the hooks get irritating, and the simple lyrics bore me. B-
Mr. Happy Go Lucky (1996):
Just as many will suspect, this is too ambitious. But even when he has weird concepts for albums, Mellencamp is always able to turn out some pretty catchy songs. This is no different and there's more than a handful of worthwhile ideas but the loops and dance club influence don't blend very well with Mellencamp's usual repertoire of traditional instrumentation, making much of the album a mixed bag. It is, however, the runaway winner of most disturbing cover art I've ever seen. B-
John Mellencamp (1998):
Because it's his first roots rock album since his peak period, many see Mellencamp's first album with Columbia as a return to form. Though on the surface that seems true, I prefer Human Wheels for its compelling songwriting and its unique corner in his discography. Here, the music is quite strong but Mellencamp's writing is very serious. Because he's always been a bit unintentionally goofy, such seriousness has never been his strength. B
Rough Harvest (1999):
Screw his self-titled, this is far more rootsy and satisfying. Though the re-recordings of his classic songs don't always lineup nicely with the covers, each song is individually compelling and a powerful reimagination of the original. That's because Mellencamp is always pulling from the right sources and his takes on "Farewell Angelina" and Jackie Brown" might be the cherries on top--they sound very Rod Stewart-esque. A-
Cuttin' Heads (2001):
I wish I found Mellencamp's hip-hop crossovers as funny as Neil Young's Trans but unfortunately I just cringe at the title track. After that, however, the album's not bad. Many others might write off this one because Mellencamp just can't help being cheesy but that's what makes middle-aged Mellencamp so endearing... and funny. B-
Trouble No More (2003):
I love Mellencamp's dedication to American folk and blues music and I've always found that his covers of roots music result in spirited recordings and refreshing reworkings. Although Dylan was also pulling from the period of music at this time, Mellencamp's work is never repetitive--it's completely distinct and shines light on other forgotten but essential artists. Plus, his focus on old music keeps the modern production flairs out of the picture. B+
Freedom's Road (2007):
His band's heyday is long gone but his songwriting has almost never faltered, which makes this another fairly worthwhile record from the irascible Cougar. On this one, his political statements are of particular note, like "Jim Crow." B
Life, Death, Love and Freedom (2008):
Mellencamp's taste for production will probably be a problem for the rest of his career but Burnett's production is okay--the guitars could sound better but that's all I can complain about. As I say ever damn time, he's an impeccable songwriter. Going back through the track-list, I fondly recalled every single melody. Not only does it have some of the best female accompaniment of his career, it also has some of his best solo acoustic work. A-
No Better than This (2010):
Mellencamp's increasingly scratchy voice does service his serious songs much better but a dry record is a dry record. Though I like the chugging 50s sound in concept, there's not exciting melodies to accompany it (save the title track). B-
Plain Spoken (2014):
Mellencamp's lyrics aren't as biting as they usually are and overall the music could use some more pace and energy. Though this and his last record are the worst shape he's been in something like 20 years, it's a hell of a decent album with a familiar but fresh mix of Americana, heartland, and roots rock. B-
Performs Trouble No More Live at Town Hall (2014):
For whatever reason, Mellencamp's Trouble No More is unavailable on streaming platforms but this live LP of the material makes an appearance. Because of easy access, I may very well listen to this in place of the studio recordings. Not only is the whole thing nicely recorded, but Mellencamp brings the same enthusiastic energy to these old blues as a young Jagger might have in a dusty bar in the early 60s. B+
Sad Clowns & Hillbillies (2017):
Carlene Carter is one of the most underwhelming female vocalists to share the mike with Mellencamp and Mellencamp's songwriting lacks its usual conviction. About half the songs are catchy enough and it's nice to hear that old timey pedal steel on "Sad Clowns" but several songs do nothing, making this album just like his last two: mostly unexciting. Plus, as much as I've enjoyed his unapologetic songwriting when it comes to social issues, "Easy Target" is too sloppy lyrically and too raw vocally. B-
Other People's Stuff (2018):
About half of this compilation has been seen on previous albums dating back to Human Wheels. I haven't heard the rest, most of which came about when Mellencamp participated in a random tribute album. It isn't the most cohesive or fine-tuned album by the man but need I tell you again that Mellencamp is a great interpreter? B
Strictly a One-Eyed Jack (2022):
I'm not enthusiastic about the sudden strength of Mellencamp's rasp but as his voice loses brawn, his songwriting snaps back into health. His taste for Americana blossoms again, his ability to write great singles comes back (although he hasn't much of the commercial force in some twenty years), and his duets with Springsteen are some of his most heartwarming tracks in the 21st century. After all these years, he should be most happy to still have Wanchic by his side. B+
Orpheus Descending (2023):
Mellencamp's increasing rasp--will he ever quit cigarettes?--sounds better with a full band than it did in the more instrumentally sparse and slower Strictly a One-Eyed Jack. There is some political commentary and though he's certainly pissed off, it's not the poorly written leftist laments of Neil Young. Instead, it evades a narrative that would nicely place him on either side of the spectrum. (When I saw him on tour to promote this album, he said something to the effect of "it doesn't matter what side you're on, they're lying to you.") As I've come to expect, the music is also excellent, with no sign of Mellencamp’s songwriting chops slowing down. He introduces several new melodies that stick and his always original take on Americana is accentuated by the return of violinist Lisa Germano, one of Mellencamp's most vital contributors in the 1980s. B+
