Paste Magazine: John Mellencamp: Other People's Stuff Review
Although the title’s something of a misnomer, it does accurately sum up the
vintage sentiments that give this album its common bond. Still, it’s a viable
concept, especially given Mellencamp’s reputable stance as a heartland hero and
blue collar troubadour. That is, of course, the tack he’s taken for the better
part of his career, ever since he shed the posturing of his initial incarnation
as Johnny Cougar, rock star and raconteur.
Nevertheless, the obvious question is why Mellencamp would choose to revisit
songs he originally recorded. While these songs suggest varied sources, many
revisit earlier offerings Mellencamp sang himself on previous albums. The easy
answer seems to lie in his desire to express the outrage that he, like most
similarly-minded musicians, feel in today’s maelstrom of polarized politics and
increasing division. Fancying himself as a folk singer in the populist
tradition—think Dylan, Springsteen, Pete Seeger and Woody Guthrie—he tackles
these tunes with a gritty, rough hewn sensibility that reflects both his passion
and purpose. The tattered yet timeless narrative “Wreck of the Old 97”,” the
craggy folk blues of the oft-covered standard “In My Time of Dying” and the
erstwhile narrative entitled “Mobile Blue” maintain that sense of resolve, yet
still offer due reverence to the originals.
Consequently, Other People’s Stuff seems more than a mere recap of
Mellencamp’s rootsier efforts. It’s an anthology of sorts enveloped within the
protest motif. That’s a fair assessment, especially since some of the songs here
are drawn from outside sources. The lively roadway narrative “Dark as a Dungeon”
was culled from a National Geographic special. The rugged blues and bluster of
“Eyes on the Prize” was Mellencamp’s contribution to a White House gathering
during the Obama era celebrating the Civil Rights movement. “Gambling Bar Room
Blues” and “I Don’t Know Why I Love You” were culled from tributes to Jimmie
Rodgers and Stevie Wonder, respectively.
Clearly Mellencamp is working in a realm in which he seems well suited.
Hearing him strut and swagger through opening track “To the River” offers all
the evidence needed that he still has the drive and determination to
convincingly make other people’s stuff feel like his own.