Review: John Mellencamp, The Politically Charged ‘Orpheus Descending,’ His Best LP Since…

“If there’s a will, there’s always a fucking way…” – John Mellencamp, “Orpheus Descending”

I was stunned a few weeks ago to see that John Mellencamp had released two new songs, “Hey God” and “The Eyes Of Portland,” and had an album coming out this month. Both new songs are really superb protest songs but that’s not what surprised me. It’s only been a year since Mellencamp’s last album Strictly A One-Eyed Jack. Like most artists these days, Mellencamp typically takes more time between albums. Prior to last year’s album it had been five years since his previous album, 2017’s Sad Clowns And Hillbillies. I liked both those albums, especially Strictly A One-Eyed Jack, which featured a great duet with Bruce Springsteen, “Wasted Days.” One year between albums is a pretty quick turnaround these days. And I have to admit, right out of the chute, nothing prepared me for the stunning beauty and emotional power of the songs that make up Orpheus Descending.

To put it simply, Orpheus Descending is the best album Mellencamp has put out since… pick your last favorite Mellencamp LP… 1998’s mid-career, eponymous titled album (John Mellencamp, not to be confused with 1979’s John Cougar)? John Mellencamp, like all mid-career eponymous titled LPs, was huge creative statement. Although I might argue that Orpheus Descending is Mellencamp’s strongest album since 2007’s Freedom’s Road. Named after a play written by Tennesee Williams, this album finds Mellencamp in the same cranky mood he’s been in since… well, Scarecrow? He’s always had a political streak, well since the aforementioned Scarecrow, but I’m not sure he’s ever been this “plain spoken.” Beyond the political, there are some of Mellencamp’s most poignant, personal songs here as well. Of course, all of these songs feel personal. That’s the key with really strong songwriting, making the universal struggle feel personal. In these fucked up, crazy times I was wondering if anybody was going to step up and drop some great protest music… it turns out it’s not Harry Styles… its John Mellencamp. Over the last 40 years 1.3 TRILLION dollars have shifted from the lower 80% (middle and working class folks) to the upper 1%. We’re back to the Gilded Age where a handful of billionaires playing at astronaut are hording money while the rest of us are left to all live in the same tenement… Sorry, I digress…this isn’t a political blog…

I’ll also readily admit that Mellencamp’s voice has faced the ravages of cigarettes and time… or perhaps better said, the ravages of too many cigarettes over too long a time. When I played “Hey God” for the Rock Chick she said, “Great song but his voice sounds like shit.” I laugh now that I said his voice sounded craggy on Sad Clowns And Hillbillies. It’s only gotten “craggier” (if that’s a word?). Me, I like a good weathered voice. I just raved about Dylan’s singing on his new album Shadow Kingdom. That should tell you where I stand on vocals. I just want to feel some emotion from the singer… not everybody has to sound like Steve Perry singing “Faithfully.” I will say this, “Hey God” may be the best protest song since Stephen Stills wrote “For What It’s Worth,” recently covered by Stevie Nicks. There is definitely a man with a gun over there… run for cover.

Mellencamp has been pretty clear that he’s not out here trying to write hits anymore and this album, due to it’s overt politics – he sings about guns, homelessness and poverty – probably isn’t aimed at the charts, but damn if the music isn’t fantastic. This is not a slog to listen to by any stretch of the imagination. It’s back to that rootsy Lonesome Juiblee sound that he’s favored on most his albums since Freedom’s Road. One might think of this album as the “Lonesomer Jubilee.” The key to this album musically is the return of a former band member. If asked, I’d have guessed drummer Kenny Aronoff had returned. I always loved his drumming with Mellencamp. But no, it’s Lisa Germano on violin that unlocks the real beauty of this music. Her violin is all over this album and it is to Mellencamp’s music what Clarence Clemons’ sax was to Springsteen’s… the physical embodiment of whatever emotion the singer is trying to convey. She brings a soulfulness to these songs. 

The album starts with a trio of great political broadsides. I’ve written about “Hey God,” and “The Eyes of Portland” (about mass shootings and homelessness respectively) already. I won’t say more here. The third of the opening tracks, “The So Called Free,” a mid-tempo affair filled with a bunch of slide guitar. I like the last line, “I recognize the danger Of all these false prophecies, Just leaning on a cane on the corner In the land of the so-called free…” It’s political but there’s a personal undercurrent about a relationship gone bad?

The most personal track on here follows, “The Kindness Of Lovers.” While he sings about two kinds of lovers, there is certainly very little kindness in this song. Perhaps the relationship that had gone bad hinted at in “The So Called Free” is the topic here. This song is dripping in regret. It has the most desolate lyric I’ve read in a long time, “I wish I had more time, aw, I’d just waste it…” “Amen” is a stylistic left turn and I love it. It’s got a jaunty piano and propulsive drums, it’s almost jazz. The narrator outlines our current terrible situation in the world and all he can compel himself to say is… “Amen.”

My favorite track here is the title track. It’s probably no coincidence it’s the most raucous track here. It starts with strong drums and guitar. It’s an absolute call to action. It’s a rocking ray of hope in the despair. ” Darkness has found us, with blood up to our knees, I don’t care what they say, If there’s a will, there’s got to be a way.” Germano’s violin makes the song sound almost exotic. It’s a striking tune.

The next two tracks are more personal to my ear. “Understated Reverence” is another beautiful piano ballad. He name checks Bukka White, blues master, in the track. A prayer for deliverance. Lisa Germano’s violin floats around the piano notes like a butterfly. The next track also feels personal to me, “One More Trick.” It could be used to describe my career… perhaps that’s what Mellencamp is talking about when he sings, “So they finally got that noose around my neck…I got one more trick up my sleeve.” I like the acoustic slide guitar on that one. “Lightning and Luck” is another “Lord, help us track.” “Perfect World” is a great “broken-up” song. “I’d never let you slip through my fingers in a perfect world.” I think we’ve all been there. “Backbone” is another song where our narrator is hoping for the strength – the backbone – to get through this difficult world we’ve created.

This is just great, rootsy rock n roll with some of the most meaningful lyrics I’ve heard Mellencamp commit to tape. Often when I hear lyrics with serious intent I say, you wouldn’t play this at a party… frankly I might play this album turned up loud with a tumbler of sour mash in my hand while I say things like Barry Fitzgerald in A Quiet Man, “I’m headed to the tavern to talk a little treason.” This is the kind of great, late period album that B&V was founded to extol. I can’t recommend this album highly enough.

Remember, when things look dark, “if there’s a will, there’s got to be a fucking way…” The change you seek starts with you. 

Cheers!