Song Musings

Happy humpday and welcome to another installment of Song Musings where I take a closer look at tunes I’ve only mentioned in passing or not covered at all. If you’ve been a frequent visitor to my blog or are aware of my music taste otherwise, you probably know John Mellencamp has been one of my favorite artists for many years. As such, it was only a matter of time before I would cover him as part of this weekly recurring feature.

I guess the heartland-straight-rock-turned-roots-artist from Seymour, Indiana doesn’t need much of an introduction. Mellencamp, who at the time still was John Cougar, first entered my radar screen in 1982 with a little ditty about Jack & Diane, his second big hit single in the U.S. and Canada. Strangely, according to Wikipedia, the tune, off his fifth studio album American Fool, didn’t chart in Germany, even though I seem to remember hearing it on my then-favorite mainstream radio station all the time. The first Mellencamp album I bought was Scarecrow released in August 1985.

By the time Big Daddy appeared in 1989, Mellencamp had started his transition from straight heartland to more roots and Americana-oriented rock. He had begun to take that direction on his 1987 album The Lonesome Jubilee, which remains among my favorite Mellencamp albums to this day. While I continue to dig his earlier straight rock sound, I’ve come to prefer his roots-focused music. I also like how his vocals have become much rougher over the decades.

This brings me to my song pick for this week: Big Daddy of Them All, from the aforementioned Big Daddy, Mellencamp’s 10th studio album – the last released as John Cougar Mellencamp. He hated the Cougar name, which had been given to him by his former manager Tony DeFries who insisted “Mellencamp” was too hard to market and pretty much imposed the awkward stage name Johnny Cougar on him.

Big Daddy of Them All did not become one of the album’s four singles. Like all except one track, it was penned by Mellencamp. While overall Big Daddy didn’t match the chart and sales success of its predecessor The Lonesome Jubilee, it still did pretty well, becoming Mellencamp’s first album to top the Australian charts, climbing to no. 3 and no. 7 in Canada and the U.S., respectively, and charting in various European countries. Eventually, Big Daddy reached 2X Platinum status in Canada and Platinum certification in the U.S. and Australia.

Here’s a live version of the tune from 2005, captured during Mellencamp’s Words and Music Tour.

Following are some additional tidbits on Big Daddy of Them All from Songfacts:

“Big Daddy Of Them All” was inspired by Burl Ives’ portrayal of Big Daddy in the 1958 movie version of Tennessee Williams’ Cat On A Hot Tin Roof. Mellencamp said in the liner notes for the On The Rural Route 7609 box set: “This song was more or less a postcard to myself, saying, ‘You think Burl Ives wasn’t so nice? Guess what, John.'”

This song is one of the more personal in Mellencamp’s canon. By his own admission, he could be bossy and dismissive, and outright hostile to the media. Still, he was one of the most successful recording artists of the ’80s, earning money, fame, and adulation. Just one problem: None of those things were important to him.

In this song, he draws a parallel to the Big Daddy character in Cat On A Hot Tin Roof. Big Daddy was rich, philandering, and cantankerous, which did him no good when he reached the end of his life. Mellencamp was still in his 30s, but he could see where his life was headed. At the time, his second marriage was crumbling down.

This is the lead track on Mellencamp’s Big Daddy album, and the song that provided the title. It has a very rootsy feel, with a prominent violin (by Lisa Germano) and accordion (by John Cascella). This kind of instrumentation is prominent throughout the Big Daddy album.

It’s worth noting that Paul Newman stars in the 1958 adaptation of Cat On A Hot Tin Roof, which inspired this song. He plays Brick, Big Daddy’s son. Paul Newman movies also made their way into Mellencamp’s songs “Paper In Fire,” which cribs a line from Hud, and “Rain On The Scarecrow,” which borrows from dialogue in Cool Hand Luke.

This song was a milestone for Mellencamp, who had a bit of a revelation. “At one time I thought I had all this stuff figured out, then I realized I didn’t,” he explained. “And I realized, like I said in ‘Big Daddy,’ when you live for yourself it’s hard on everybody. I didn’t realize I was hard to live with. It never dawned on me.”

“You gotta grow up and deal with what’s real,” he added. “Happiness, finding out who you are, and learning how to be a human being is what’s real.” (This interview appears in his VH1 “Coming Of Age” documentary.)

Sources: Wikipedia; Songfacts; YouTube

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The Sunday Six

Welcome to another Sunday Six, a celebration of music in different flavors of the past and the present, six tunes at a time. To those celebrating, Happy Easter! If you don’t observe the holiday, I still hope you’re enjoying the weekend. And just in case you’re looking for some great music, I have some humble suggestions. Hope on our magical time machine and let’s go!

Ahmad Jamal/For All We Know

Today’s journey starts in 1960 with relaxing jazz music by Ahmad Jamal. According to his website, he was born in July 1930 in Pittsburgh, Pa. and already began playing the piano at the age of 3. By the age of 10, Jamal was composing, orchestrating and performing works by Franz Liszt, exploring the music of Duke Ellington, Art Tatum, Nat Cole, Erroll Garner and a host of music notables...At 17, he left home at the request of the George Hudson Orchestra and began touring the country...He formed his own group in 1951 and with the help of John Hammond started his recording career with Okeh Records. Today, more than 70 years later, the now-91-year-old Jamal still appears to be active. His most recent album Ballads appeared in September 2019 – what an amazing career! For All We Know, which initially had been published in 1934 with music by J. Fred Coots and lyrics by Sam M. Lewis, was included on Happy Moods, a 1960 album Jamal recorded with Israel Crosby on bass and Vernel Fournier on drums – my type of music to start a Sunday morning!

Big Star/September Gurls

Next, we turn to the ’70s and power-pop band Big Star, to which Max from PowerPop blog introduced me and safe to assume other readers a while ago. Formed in Memphis, Tenn. in 1971 by Alex Chilton (guitars, piano, vocals), Chris Bell (guitars, vocals), Andy Hummel (bass, vocals) and Jody Stephens (drums), the group was initially active until 1975, during which they recorded two albums. While each received excellent reviews, both records were “commercial failures” due to ineffective marketing and other record label issues. For more on the band’s unfortunate history, I’d encourage you to visit Max’s blog, who has written about them various times, most recently here. One of Big Star’s best-known tunes is September Gurls, written by Chilton, off their sophomore album Radio City that appeared in February 1974. It’s hard to believe this catchy power-pop gem didn’t become a hit at the time. Twelve years later, the Bangles included a great cover on their hugely successful second album Different Light, the version I had known and loved for many years. When I listened to the original first, I immediately dug it just as much!

Bonnie Raitt/Made Up Mind

I’m very excited about this next pick, which is the most recent single by one of my all-time favorite artists: Bonnie Raitt. If you’re a more frequent visitor of the blog, you’ve probably seen me rave about Raitt and her great musicianship as a slide guitarist before. I think she’s an exceptional artist who has battled and overcome significant challenges during her 50-year-plus career. Made Up Mind, released on February 25, is from Raitt’s upcoming new album Just Like That…, slated for April 22. The tune was co-written by David Landreth, Joseph Sydney Landreth and Jonathan Singleton. Damn, now I want to see Bonnie again even more than I did before! If you like her music and haven’t been to one of her shows, I’d encourage you to catch her if you can. Her current national tour kicked off last evening in Hampton, N.H. Here’s the schedule. This lady is just amazing!

John Mellencamp/Paper in Fire

As fellow blogger Dave from A Sound Day posted a few days ago, April 12, 2022, marked the 40th anniversary of American Fool, the fifth studio album by John Mellencamp who at the time was still known as John Cougar. The thought the little ditty about Jack and Diane was on the radio four decades ago is mind-boggling to me! In a comment, I noted that my favorite album by the heartland rocker from Indiana is The Lonesome Jubilee, which appeared in August 1997. Don’t get me wrong, I also still dig Mellencamp’s straight rock albums he put out during the first half of the ’80s. But I love his transition into roots rock even more. It started on The Lonesome Jubilee with the introduction of instruments like accordion, fiddle and banjo. Here’s Paper in Fire, which was also released separately as a lead single a week ahead of the album. Like all other tracks except one, the song was written by Mellencamp.

Red Hot Chili Peppers/Under the Bridge

Including two songs by Red Hot Chili Peppers off their latest album Unlimited Love in recent Best of What’s New posts here and here reminded me of a band I had known primarily by name for many years. One of the few songs I could name was Under the Bridge, a tune I’ve always liked. Credited to all four members of the band – Anthony Kiedis (lead vocals); Michael Peter Balzary, known as Flea (bass, trumpet, piano, backing vocals); John Frusciante (guitars, keyboards, backing vocals); and Chad Smith (drums, percussion) – Under the Bridge is from their fifth studio album Blood Sugar Sex Magik, released in September 1991. Today, 21 years and seven albums later, the group from the city of angels is rocking on with the same line-up. One of the things I dig about Under the Bridge is Frusciante’s guitar part. That sound is just awesome!

Green Day/Wake Me Up When September Ends

Okey-doke, time to wrap up another Sunday Six. My final pick for this installment takes us back to the ’90s and one of the best-known tunes by Green Day: Wake Me Up When September Ends, off their seventh studio album American Idiot, released in September 2004. I’ve always liked how this band, which has been around since 1987, oftentimes combines grunge, punk and alternative rock with pop, especially on this album. Wake Me Up When September Ends was written by Green Day lead vocalist and guitarist Billie Joe Armstrong about the death of his father when he was 10 years old. Bandmates Mike Dirnt (bass, backing vocals) and Tré Cool (drums, percussion, backing vocals) received co-writing credits for the music. The three of them still form Green Day’s current core line-up. Beware, this is a bloody catchy tune that might get stuck in your head! 🙂

Last but not least, here’s a Spotify playlist of the above tracks. Hope there’s something you like!

Sources: Wikipedia; Ahmad Jamal website; Bonnie Raitt website; YouTube; Spotify

My Longtime Favorite Albums

Earlier this week, I got nominated on Facebook to name 10 music albums that have made an impact on me and that I continue to enjoy today. The task was to post one album cover daily, and each time when doing so to nominate somebody else to do the same. Usually, I don’t participate in these types of chain activities, so initially, I ignored it. But since it was a close relative, who had nominated me, and music is my passion after all, I decided to go along. The exercise of identifying the 10 records inspired this post.

Because I found it impossible to limit myself to just 10 albums, I decided to narrow the field to only those records I started listening to as a teenager and in my early 20s. This explains why some of my favorite artists like The Allman Brothers Band, Buddy Guy and even The Rolling Stones are “missing.” It was only later that I started exploring them and many other artists I like today in greater detail. Without further ado, here is the list in no particular order, together with one song from each album.

As frequent readers of the blog know, I’m a huge fan of The Beatles. Sgt. Pepper’s Lonely Hearts Club Band, their 8th studio album from May 1967, is my favorite among their records.

Here’s the great closer A Day In The Life, which except for the middle section was mainly written by John Lennon, though as usually was credited to him and Paul McCartney.

Tapestry by Carole King was one of the earliest albums I listened to when I was 10 years old or so. Back then, I didn’t understand the lyrics but liked the music. Today, I dig the record for both the music and the lyrics. There is a timeless beauty in King’s tunes, and to me Tapestry is perhaps the ultimate singer-songwriter record.

There are so many great songs on this gem from February 1971, so it’s hard to chose one. Here’s Way Over Yonder. King’s soulful singing and the saxophone solo are two of the tune’s features I’ve always liked.

The Eagles’ Hotel California is an album I’ve owned on vinyl since I guess the early ’80s. It was released in December 1976 as the band’s fifth studio record.

Here’s a live version of the epic title song, which is included in the album’s 40th anniversary deluxe edition that appeared in November last year. The tune was co-written by Don Felder, Don Henley and Glenn Frey. The distinct extended guitar interplay at the end featured Felder and Joe Walsh. This tune just never gets boring!

It was the Born In The U.S.A. album from June 1984, which put Bruce Springsteen on my radar screen.

Here’s Bobby Jean, one of the album’s few tunes that wasn’t also released separately as a single. On this one, I particularly love the saxophone solo by Clarence Clemons, who was such an ace player.

Deep Purple to this day remains my first choice when it comes to hard rock, and Machine Head from March 1972 is the crown jewel in their catalog. The band’s sixth studio album featured their best line-up that included Ian Gillan (vocals), Ritchie Blackmore (guitar), Jon Lord (keyboards), Roger Glover (bass) and Ian Paice (drums, percussion).

Here’s Pictures Of Home, which like all tracks on the album were credited to all members of the band. In addition to Lord’s great keyboard work, one of the tune’s characteristic features is a cool bass solo by Glover (starting at 3:40 minutes).

My introduction to John Mellencamp was Scaregrow, his eighth studio album from August 1995, but it was the follow-up record The Lonesome Jubilee, released in August 1987, that turned me into a fan.

Here is the great opener Paper In Fire, which also became the album’s lead single. Like all tunes except one, it was written by Mellencamp.

While it was pretty clear to me that a Pink Floyd album needed to be among my longtime top 10 records, the decision which one to pick wasn’t easy. I decided to go with The Dark Side Of The Moon but also could have gone with Wish You Were Here. I started listening to both albums at around the same time during the second half of the ’70s.

I’ve chosen to highlight The Great Gig In The Sky. I’ve always liked the incredible part by vocalist Clare Torry.

I believe the first Steely Dan song I ever heard was Do It Again on the radio. By the time I got to Aja, I already knew the band’s debut record Can’t Buy A Thrill and, because of Rikki Don’t Lose That Number, their third album Pretzel Logic. While I liked both of these records, the Aja album from September 1977 became my favorite, after a good friend had brought it to my attention.

Here is Deacon Blues, which also was released separately as the album’s second single. Like all tunes on the record, it was co-written by Walter Becker and Donald Fagen.

I was hooked to Live Rust the very first time I listened to it. Neil Young’s album from November 1979 pretty much is a live compilation of his greatest ’70s hits.

My, My, Hey, Hey (Out Of The Blue) is among the record’s highlights. The song was co-written by Young and Jeff Blackburn.

Led Zeppelin wasn’t exactly love at first sight. My first exposure was Led Zeppelin IV, the band’s fourth studio album from November 1971. I bought the record because of Stairway To Heaven.

I had listened to Stairway on the radio where they always faded it out before the heavy rock section at the end of the tune. I still remember the shock when I listened to the song in its entirety for the first time. I had just started taking classic guitar lessons and was very much into acoustic guitar. I simply couldn’t understand how Zep could have “ruined” this beautiful song by giving it a heavy metal ending. Well, today it is exactly because of its build why this track has become one of my favorite tunes. But instead of Stairway, I’d like to finish this post with Going To California, a beautiful acoustic ballad co-written by Jimmy Page and Robert Plant.

Sources: Wikipedia, YouTube