John Mellencamp
Mr. Happy Go Lucky
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John Mellencamp
Mr. Happy Go Lucky
Mercury, 1996
RiYL: Sheryl Crow, Bruce Springsteen, Bob Dylan, Tom Petty |
His track record in the '90s, however, was less than stellar. With mediocre albums such as Dance Naked and Whenever We Wanted, the Coug has turned many supporters into vocal detractors. Fortunately, the Hoosier dropped his lame pop-song-and-dance routine for one brief moment on 1996's Mr. Happy Go Lucky, where the aging rocker took a few key chances with incredible success. Outside of the obvious production techniques Mellencamp toys with here, which work with varying degrees of success, the singer builds on his reputation as a party performer, as well as a spokesperson for the disenfranchised lower-class of the Midwest.
At moments on Happy, the singer returns to his acoustic roots. Vestiges of "Jack And Diane" can be heard on the John Prine-sounding "Jackamo Road." The CD's opening track, "Overture," harks back to the violins of Jubilee, introducing a more serious side to an apparently light album.
On tracks "This May Not Be The End Of The World," and "Mr. Bellows," Mellencamp's lyrics appear to be offspring of his Scarecrow years. The rather dark subject matter might catch listeners off guard as he sings:
I guess you heard about old pee-wee / they had to tear his gray house down down down / then put him in the electric chair. Oh we'll have some fun now.
At times, the songs' lyrical quality matches the stark content of Bruce Springsteen's Ghost Of Tom Joad, released one year earlier. Mellencamp's identification with the lower class is an obvious parallel. During "Mr. Bellows," he states flatly, "Sometimes it gives me a little relief when I'm down here on my knees / but there is no redemption on judgement day for people like you and me."
The album's sophisticated production is often distracting. But even at its lowest moments, the singer is able to bring a fresh feel to the formulaic songwriting of his typical '90s drudge. On more party-oriented tunes -- such as "Jerry" and the album's first single "Key West Intermezzo" -- the final product benefits tremendously from the added bells and whistles.
The mighty crescendo at the closing of "Jerry" is a perfect example. The simple acoustic guitar and cool voice slip into a musical maelstrom of sorts. A repeating violin lick is layered atop the ever driving drums and simplistic bass line. The effect is brilliant.
The intertwining guitar lines on "Just Another Day" and raw solos on "End Of The World" prove to listeners this rocker still has innovation in him. Though the overproduction often leaves the listener feeling like a guinea pig, the drive of this oft-overlooked artist makes the album a true gift to listeners inside and outside the Hoosier borders.
BEN FRENCH | Ben founded NATN in the winter of 1998-1999 with fellow IU alums Troy Carpenter and Jonathan Cohen. During the day time, he's working for Nielsen Business Media, publisher of Billboard. Ben's favorite acts include Bruce Springsteen, The Clash, Sonic Youth, Elvis Costello, Talking Heads, Rolling Stones, and the Beach Boys.