When John Mellencamp recorded his new album Cuttin’ Heads, he most likely had no idea how different (and important) the album’s lyrics and themes would sound following Sept. 11. His current single “Peaceful World” is technically a comment on racism in the United States, but it’s doubtful that anyone can listen to the lyric “Everything is cool as can be in a peaceful world” and not think of the recent world-changing events.
One of the three or four best “Americana” rockers to emerge in the past two decades (along with Steve Earle, Los Lobos and Dave Alvin), Mellencamp has repeatedly proven a steadying influence, someone whose words and presence seem to exist primarily to provide service when needed, whether it be Farm Aid or last week’s Concert For New York. Although he suffers in comparison to his fellow “heartland rock” giant Bruce Springsteen, there is no denying Mellencamp’s place in the rock lexicon — from his admirable politics to his continued experimentation with hip-hop and world music. On Cuttin’ Heads, his best work in years, Mellencamp once again becomes relevant, the kind of songwriter whose opinion seems important.
It’s been a long time since any album has started out with so many winners in a row. “Cuttin’ Heads” leads off, startlingly unique and instantly memorable, with its Rolling Stones-esque chunky guitar, gospel-style call and response, chanted chorus and a brilliant rap halfway through from Chuck D (yep, I said it, Chuck D). Rarely has an album from an established artist opened so surprisingly. Like “Peaceful World,” racism is the song’s subject matter, but it’s handled in a much subtler, more effective way. The song is brilliant, though,with Mellencamp’s vocal partner, India.Arie, deserving much of the credit. It’s worth noting that Arie’s deep soul mixes better with Mellencamp’s rugged throatiness than the smooth neo-country of Trisha Yearwood (who is featured on the just-OK ballad “Deep Blue Heart”). The song’s fist-pumping optimism is comforting in this time of seemingly unending uncertainty. In short, it’s the best second-best single of the year (behind City High’s “What Would You Do?”).
“Crazy Island,” even though it falls prey to the trite lyrics that characterize much of Mellencamp’s work, is still a prescient ode to an oft-imperfect yet somehow-beautiful nation. “Just Like You” is a rushing pop gem, with more astoundingly relevant lyrics: “How can things go wrong, in such a beautiful world?/Why are so many people crying? Where’s humanity gone?” As so often happens in the work of great populist poets from Springsteen to Mayfield, love is what saves Mellencamp time after time on this album.
The album starts off so strongly, it shouldn’t be a surprise that the second half seems spottier. “Women Seem” is a tuneful smirk, hooky and unimportant. After that, though, things go downhill. “The Same Way I Do” is another in a long line of mediocre John Mellencamp love songs, as is “Worn Out Nervous Condition.” “Shy” is a slight upturn, if only due to the insistent reggae rhythm that drives it along. The album’s closer, “In Our Lives,” isn’t terrible, but there isn’t anything that distinguishes it from the myriad other “life goes on” songs that Mellencamp has been composing since “Jack and Diane.”
The album ends on a stagnant note, but there is no denying the incredible quality of the album’s first half, a series of songs that ask, sometimes desperately, that in our lives we ought to hold on to the things that make the whole damn thing worth it. John Mellencamp is clearly a songwriter whose ear has been lying close to the ground, and it’s unlikely, judging by Cuttin’ Heads, that will change.
