On disc Mellencamp songs lack genuine touch

Press, 21 July 1989, Page 22

On disc Mellencamp songs lack genuine touch

JOHN COUGAR MELLENCAMP “Big Daddy.” (Mercury, 838220-1). Ever since the release of “The Lonesome Jubilee,” John Cougar Mellencamp’s last album, some of my friends have been swearing by him, even though the record did not get that favourable a reception.

On “Big Daddy,” side one is country folk rock revisited, while side two is another side of rock, but still retaining country influences. In amongst the songs are some weird tales from close to the Appalachians, including “Martha Say," about a liberated lady, and “Theo And Weird Henry,” a couple of good or boys. The tracks tend to rely on the instruments for dramatic effect, almost in formula, and Mellencamp does not overextend his vocals, coming out kind of gruff in a story telling fashion. On side two, Mellencamp stakes his claim. He ain’t no pop singer — John Cougar, you can forget that name. There is also a tribute to the bluecollar worker, “Void In My Heart,” and to the drifter “Mansions In Heaven.” “Big Daddy” does not reach great heights, mainly because it is seemingly so predictable. Also Bruce Springsteen has staked out the claim in the working man’s scene. Mellencamp’s songs seem devoid of a genuine touch; they are almost tales by rote. * * NEVIN TOPP

SANDIE SHAW “Hello Angel” (Rough Trade, 1 30072). The year was 1964 and a former Ford motor company punch card operator, Sandra Goodrich, had a hit on her hands. Her interpretation of Burt Bacharach’s “There’s Always Something Left To Remind Me,” introduced to the world a gangly, thin 17-year-old singer with bare feet called Sandie Shaw. There followed other 60s hits “Message Undestood,” “Long Live Love,” and “Puppet On a String,” among them. That was pop and this is now; for Sandie Shaw has released the appropriately titled “Hello Angel,” an album made by a goddess. Thanks should go to Morrissey. He talked Shaw out of domesticity, and with that has come a superb voice and a superb collection of thoughtful songs. “Nothing Less Than Brilliant,” is the only pop song, with its accessible beat featuring the Pretender, Chrissie Hynde, onblues harp and in the chorus. What makes this LP so good is the true-to-life

tales it contains. “Take Him,” is a good example. A modern version of “Save The Last Dance For Me,” it oozes both sexuality and confidence; an older woman knows she can beat a younger rival for a boy’s affections. It is all done to a backing music that would almost suit a Spanish cafe. “Please Help the Cause Against Loneliness," courtesy of Morrissey, is another of these realistic songs. The list of good songs goes on and on ... “Hello Angel,” the title track, is a dignified ballad, with Shaw’s marvellous voice, while “Strange Bedfellows” involves the crosscurrents of a relationship. “Hello Angel” has to be the best comeback album since Graham Parker’s Mona Lisa’s Sister.” In fact, it has to be the best return of an artist for at least 20 years. Great lyrics, interesting music, and a beautiful voice provide something both seemingly simple yet inspiring, a kind of aural sex. ★★★ ★ ★ NEVIN TOPP

LYLE LOVETT “Lyle Lovett” (Curb, MCA-5748). The success of “Pontiac” and “Lyle Lovett and His Large Band" has prompted a limited edition release of the American country singer’s 1986 self-titled album. “Lyle Lovett” gives some indication of what depth the singer/ songwriter has to his music. For example, Lovett used Clifford Brown’s “The Blues Walk,” more a jazz track on his large band album, but this jazz influence can be heard also on “An Acceptable Level of Ecstasy (The Wedding Song),” from “Lyle Lovett.” This is an extremely powerful song about racial discrimination. The whole of “Lyle Lovett” is strong. Lovett is great at telling tales, “This Old Porch” stands out. He has a rather sardonic, almost mean streak, which shows on “God Will,” about how the deity might preach forgiveness but the singer won’t over a relationship turned sour. Lovett ranks among the L’s. It does not stand for learner, but rates alongside K. D. Lang. This is what country music should be about. The best recommendation is to ride Lovett yourself, and you will ... * * *- NEVIN TOPP Ratings Five stars: excellent. Four stars: very good. Three stars: good. Two stars: fair. One star: poor. Fallen stars Two stars were omitted from the review of Van Morrison’s new album, “Avalon Sunset,” carried in last week’s “What’s On” section. The review was given five stars, the top rating, but two were dropped during production.