Cuttin' Heads, Mellencamp's new Columbia Records release, continues this fine legacy with the artist's critical
examination of the America he loves and writes about (a tradition that dates back to at least "Pink Houses" and the classic Scarecrow album) still wrapped up in wonderful archetypal
rock 'n' roll melodies and riffs--one eye on the present, and one eye always on a glorious past.
"I listened to very few records while I was making this album," says this
longtime classic rock historian and aficionado. "I listened to Hank Williams, Robert Johnson, Woody Guthrie, the Kinks, and the Rolling Stones. And I listened to Dylan."
Those influences, which Mellencamp has perfected throughout his career, are certainly all reflected musically on the new album--"Crazy Island," in fact, is a tremendous compendium
of classic American instrumentation (from Appalachian fiddle and accordion to hard electric guitar). But Cuttin' Heads delivers it all with a decidedly contemporary edge, a fact that's
immediately noticeable on the funk-driven opening title track, featuring a wonderful rap by Chuck D, one of three special guests on Cuttin' Heads. The Public Enemy leader's words jump from
James Brown to Led Zeppelin's appropriation of the blues in the first two lines alone, highlighting a song that addresses a recurring theme in Mellencamp's art and one appropriate for a
guy who started out singing in a James Brown cover band in Indiana: namely, the problem of racism in America.
"The way that song came about was through a conversation I had with
[longtime backing vocalist] Pat Peterson. When we were in Florida recording the first version of this album (those versions were eventually scrapped and mostly re-recorded at his Bloomington
hometown studio, the Belmont Mall), we were listening to a rap hip-hop band that was having a lot of success at the time. And Pat turned up her nose at it. I was just listening to the
rhythm, and I asked her, 'What is so offensive about this?' She pointed out the lyrical content, and then she went into a long conversation about how this is hurting their race and all
the people who've died and suffered. And now these kids are selling it out, whether they think it's a term of endearment or not. And then white kids in the suburbs listen and think it's OK. A
perfect example, she pointed out, was the most recent Woodstock, when the guy came out asking, 'How's my niggas?' Well, there wasn't hardly a black person at that place! And even if
As for Chuck D's involvement? "We were looking around for someone who hadn't sold-out. He was the only guy who hadn't done that, refused to do it, and thought
that it was wrong. So after talking on the phone, [things just clicked]. Chuck has a vision, and he stays connected to it. He won't do--I hate to say this--a 'Stepin Fetchit' (a character
created, first for vaudeville, later for films in the late 1920s-1930s, by African American comedic actor Lincoln Perry) routine for the money."
Yet, Cuttin' Heads isn't as
overtly political as the opening track. Nashville legend Trisha Yearwood (who performs Mellencamp's classic "Small Town" in her live shows) adds her vocals to the beautiful
"Deep Blue Heart," one of several new love songs on the album, adding, explains Mellencamp, the same feel that Emmylou Harris brought to Dylan's legendary Desire album. "Women
Seem" is a comical look at the eternal war between the sexes; "Worn Out Nervous Condition" was one of the songs inspired by the artist's recent heavy infatuation with Ray
Davies and the early Kinks; "Shy" is about, um, premature ejaculation and was written "...following a conversation me and a few macho guys had after watching 'Oprah Winfrey' on
the subject." Mellencamp laughs. "I can write about anything? which is why I never get writer's block and everything I write isn't necessarily autobiographical."
Mellencamp says he recorded Cuttin' Heads several times before it finally met his exacting approval, and even though he once again took on the producer role, he ultimately called in old
friend Don Gehman to help mix the final version, marking the first time the dynamic duo have worked together since 1987's The Lonesome Jubilee. "For the first time in 15 years, I could
actually walk out of the studio and take a break and not worry what was going on," Mellencamp chuckles. He also credits longtime guitarist Andy York as one of the major forces
behind Cuttin' Heads. "The two of us really made this record," John explains. "Andy played instruments he didn't even know he could play--steel pedal, bass on half the tracks.
It was out of necessity--because it was either me or him. Once we were done with drums and basic tracks"--which included Mellencamp's phenomenal touring band as well as session
superstars like drummer Steve Jordan and bassist Willie Weeks--"it was me on acoustic guitar and Andy would follow along. That's how we came up with the arrangements."
Although the new album's 10 tracks were written and recorded over the last two years, Cuttin' Heads arrives at a pivotal moment in American (and world) history--and certainly "Peaceful
World," the album's beautiful first single, takes on a more poignant and timely tone in light of the events of September 11, 2001. In fact, Mellencamp discovered that Boston radio
stations were playing the song as a "theme of healing," which is why the artist decided to bus back to the U.S. from Canada for a scheduled show in Boston two days after the
tragedy. There is a comforting feel to the song's gorgeous melody, peace-loving theme (which, again, addresses the scourge of racism--an even more pressing topic following a recent rash of
"hate" crimes in the U.S.), and the soothing duet vocals of the album's third guest artist, the Motown vocalist India.Arie.
"I wanted a young soulful person on
it," he says. "I didn't care at first if it was male or female, to tell you the truth. But you start looking at some of these younger women, and there's too much booty call
going on. When I heard her and saw her perform, though, she seemed perfect. If handled properly, I think she could be a huge voice in young popular culture right now. There are so many
variables, of course, but I knew that her soul sounded right." "Peaceful World" or a Mellencamp line like "How can things go so wrong in such a beautiful world?" on
"Just Like You" take on new meaning in light of the tragedy--but Mellencamp says it was another song that spoke to him following the bombings. "The song that actually made the
most sense to me after that was 'Crazy Island.'" He quotes the lyric: "'You hold no responsibility in the land of easy millions.' These songs were written a long time [before the
tragedy], so I'm not doing anything here I haven't done a thousand times before, which is to ask people to look at themselves. I care deeply for America, but I'm not a spokesman for
America. 'Pink Houses' was the exact same thing? questioning the values we have, although people have misinterpreted it throughout the years. And that's OK, too, if it works on that
level. But I've always just been saying, 'Let's take a look at ourselves and examine things a little bit.'
"I've always preferred to take a questioning view of a situation
, but then wrap it up the way America likes thing wrapped up with a nice little bow," says Mellencamp. "Frank Zappa said 'Everything is displayed nicely in America.' I read that
when I was, like, 17, and it always stuck with me. But, of course, when you open it up, what's inside is not always so great." Of course, Mellencamp's patriotic spirit has
been evident in his humanitarian efforts--his drives to aid the America farmer via co-organizing Farm Aid, his work with handicapped and autistic children, the way his music soothed troubled
souls over the years (witness his free "Good Samaritan Tour" of the summer of 2000 during which Mellencamp delivered free acoustic performances in major downtown public
spaces, attracting audiences of more than 20,000 when the shows were announced an hour before they started). Cuttin' Heads is yet another strong chapter in this brilliant legacy.
"You know, rock music can change a person," he says. "It can change an outlook. That's how music works. But the bigger notion that music can change countries and
change the world, I don't believe that. That's too tall an order. It can change a moment in a person's life--and that seems important enough."
John Mellencamp Fact Sheet
Since the release of John Cougar in August 1979, Mellencamp has scored more than 11 Top 10 and 29 Top 40
singles. He has been awarded 36 gold, platinum, and multi-platinum record awards in addition to eleven Grammy nominations (1982, '84, '85, '86, '87, '88, '91, '94, '96, and '97) and
received the Grammy for Best Rock Vocal Performance in 1982.
John Mellencamp has been named the recipient of the 2001 Billboard Century Award, Billboard magazine's highest
accolade for distinguished creative achievement. Mellencamp joins fellow Century Award honorees George Harrison (1992), Buddy Guy (1993), Billy Joel (1994), Joni Mitchell (1995),
Carlos Santana (1996), Chet Atkins (1997), James Taylor (1998), Emmylou Harris (1999), and Randy Newman (2000). Mellencamp is scheduled to receive this honor in December 2001 during
the Billboard Music Awards in Las Vegas.
"I like what this particular award stands for," says Mellencamp of the honor. "When they called me say I was
receiving it, I was told it's for artists who really did not get the credit they deserved. And I liked that because I've always felt like an underdog, which is why I've probably remained
competitive. Early on, I was always dismissed as, 'Well, he's a Midwestern rocker.' That would always piss me off, so this award means a lot."
John Mellencamp was featured in
both the murder-mystery film "After Image," which premiered at Cannes and the Sundance Film Festival, and in the indie production "Madison"--which is narrated by
Mellencamp, stars Jim Caviezel, and also premiered at Sundance. Additionally, John has completed his role in the feature "Lone Star State of Mind," starring with Joshua
Jackson and James King, scheduled for a 2002 release. John Mellencamp made his screen and directorial debut in "Falling From Grace" in 1992. In "Falling From
Grace," written by Larry McMurtry, Mellencamp portrays a country music star who returns to his native Indiana to try to reestablish a normal life.
John Mellencamp is
currently collaborating on a project with long-time friend Stephen King, based on an original concept by Mellencamp about an American family. Stephen King is writing the book, while
Mellencamp will compose the music for the upcoming theatrical musical production, scheduled for 2002.
In August 2000, John kicked off his "Good Samaritan Tour."
Equipped only with battery-powered amplifiers and an acoustic guitar, fiddle and accordion, John and two fellow musicians performed free concerts in downtown public spaces. Starting in
Philadelphia, they traveled to Boston, Pittsburgh, Cleveland, Detroit, Chicago, Atlanta, Nashville, and Bloomington, Indiana. Each performance was announced just hours before start time
and attracted audiences of more than 20,000 people.
In November 1999, HarperCollins published Mellencamp: Paintings and Reflections, a book showcasing 75 of John Mellencamp's
artworks. He continues to pursue his avocation as a painter.
John Mellencamp, along with Willie Nelson and Neil Young, was instrumental in organizing the first Farm Aid concert in
Champaign, Illinois. Since September 22, 1985, there have been fifteen annual Farm Aid concerts with all artists appearing and performing at their own expense. John Mellencamp was
awarded the NARAS President's Merit Award for his work on Farm Aid.
John Mellencamp has received the prestigious Nordoff-Robbins Silver Clef Award for his involvement with musical
therapy for handicapped and autistic children.
John J. Mellencamp was born in Seymour, Indiana, and has been in rock bands since the fifth grade. Mellencamp got his first
recording deal after graduating from Vincennes University.
JOHN MELLENCAMP ALBUMSYEAR
Cuttin' Heads 2001
Rough Harvest 1999
John Mellencamp 1998
The Best That I Could Do: 1978-1988 1997
Mr. Happy Go Lucky 1996
Dance Naked 1994
Human Wheels 1993
Whenever We Wanted 1991
Big Daddy 1989
The Lonesome Jubilee 1987
American Fool 1982
Nothing Matters And What If It Did 1980
John Cougar 1979
The Kid Inside 1978
A Biography (released in the UK and Australia) 1978
Chestnut Street Incident 1976
SELECTED JOHN MELLENCAMP SINGLESYEAR
"I Need A Lover" 1979
"Ain't Even Done With The Night" 1980
"This Time" 1980
"Jack & Diane" 1982
"Hurt So Good" 1982
"Hand To Hold On To" 1982
"Crumblin' Down" 1983
"Pink Houses" 1984
"Authority Song" 1984
"Lonely Ol' Night" 1985
"Small Town" 1985
"R.O.C.K. In The USA" 1986
"Rain On The Scarecrow" 1986
"Paper In Fire" 1987
"Cherry Bomb" 1987
"Check It Out" 1988
"Pop Singer" 1989
"Get A Leg Up" 1991
"Again Tonight" 1992
"Wild Night" 1994
"Key West Intermezzo (I Saw You First)" 1996