Check it out (John Mellencamp) (LP 3201 - 3206)

John Cougar  American Fool (Vinyl, Mercury Records, 1982) ***  

John Cougar Mellencamp  Uh-Huh (Vinyl, WEA Records, 1983) ***

John Cougar Mellencamp  Scarecrow (Vinyl, Mercury Records, 1985) **** 

John Cougar Mellencamp  The Lonesome Jubilee (CD, Mercury Records, 1987) ***** 

John Cougar Mellencamp  Big Daddy (CD, Mercury Records, 1989) **

John Mellencamp  Mr. Happy Go Lucky (Vinyl, Mercury Records, 1996) **** 

Genre: Pop, rock, Americana

Places I remember: Marbecks Records, The Warehouse, JB Hi Fi

Fab, and all the other pimply hyperboles: Hotdogs and Hamburgers (Lonesome Jubilee); Key West Intermezzo (I Saw You First) (Mr. Happy Go Lucky)

Gear costume: The Real Life (Lonesome Jubilee) 

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: In 1982 there wasn't too much competition for John Cougar and his American Fool album. Guitar rock albums without synths and without Linn drums were rare (if there is a drum machine on American Fool I can't hear it). BTW - don't bother with his previous four albums (yes, four). He was yet to find his true calling on those pre American Fool records.

In American Fool, John shows he is the real deal, even if he is influenced by Stones/ Springsteen and embarrassed by his stage name. It would eventually morph from John Cougar to John Cougar Mellencamp to John Mellencamp as we'll see in these releases, to reflect his growing confidence. Best moments: Hurts So Good, Jack And Diane, Hand To Hold On To.

His seventh studio album was Uh-Huh and another jump forward. It's a tougher, even more stripped back sound, again with little hint of eighties production values. Credit both Mellencamp and Don Gehman for that. Top songs this time were again the first few songs on side one - Crumblin' Down, Pink Houses, and Authority Song.

Scarecrow was the first time I cottoned on to the fact that he had more to him than being a Springsteen clone. The title track and Small Town continue the strong starts he has to these albums. But the rest of the album is of a consistently catchy standard.

The band are well honed by this stage - Larry Crane (guitar) and Kenny Aronoff (drums) were on American Fool (1982) and Big Daddy. Lisa Germano provides some lovely violin along the way. That's a seven year stretch between those two albums - you can't beat that kind of experience.

For me the peak of his powers were shown on Lonesome Jubilee. The writing, the playing and the singing make it a five-star classic all the way. The star of the show in many ways is Lisa Germano's violin. A key element to the new folky Americana textures on Lonesome Jubilee.

Big Daddy continued the stripped back approach but was a letdown for me after Lonesome Jubilee. The songs for the most part are mid-paced and not as catchy overall. On the whole I find it a bit dour. An exception: Pop Singer.

The final album on my list is Mr. Happy Go Lucky. I'd persisted with albums in between Big Daddy and this one but had flicked them off as they didn't move me enough. I kept Mr. Happy Go Lucky though because it started well with Overture and maintained my interest for the most part. In fact, this would be third favourite after Lonesome Jubilee and Scarecrow.

Where do they all belong? I feel like I have the best of Mellencamp right there. I also have a Greatest Hits compilation, but I wouldn't recommend it - the range from early to later periods Mellencamp is too drastic to be enjoyable.

Two out of three ain't bad (Meat Loaf) (LP 3197 - 3200)

Meat Loaf  Bat Out Of Hell (CD and Vinyl, Epic Records, 1977) *****  

Meat Loaf  Dead Ringer (Vinyl, Epic Records, 1981) *****  

Meat Loaf  Bat Out Of Hell II (CD, Virgin Records, 1993) *****  

Meat Loaf  Welcome To The Neighbourhood (CD, Virgin Records, 1995) *** 

Genre: Pop 

Places I remember: Marbecks Records (Vinyl), The Warehouse for the CDs

Fab, and all the other pimply hyperboles: Dead Ringer For Love

Gear costume: I'll Kill You If You Don't Come Back (Dead Ringer), I'd Lie For You And That's The Truth (Welcome...), I'd Do Anything For Love (But I Won't Do That) (BOOH II). 

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: My introduction to Meaf Loaf came in 1976 and Ted Nugent's Free For All album. Meat Loaf was the vocalist on the majority of songs and I made note of his abilities, plus his name was hard to forget. Then he does Bat Out Of Hell and the world went nuts! Now I became aware of another name - Jim Steinman. 1977 maan! Star Wars AND Bat Out Of Hell. What a year!!

Jim Steinman is a genius at creating big mythic rock songs with bizarre, self-deprecating lyrics. These guys are having fun with words and music and it's infectious as all get out.

Not much to say about Bat Out Of Hell except it went off in 1977 and just grew and grew. His next album took a few more years to come out because of health issues but it was still dwarfed by Bat. Dead Ringer is a second album with Jim Steinman providing the songs, and an underappreciated classic. I love it!

Bat Out Of Hell II emerged after a few albums didn't have the x factor of the Steinman/Meat Loaf factor and, whaddyaknow - huge success again. That's because it stays true to the original bombastic approach.

Welcome To The Neighbourhood (interesting non-American spelling) has its moments (a few Steinman songs) but has some misses as well. Why does he attempt Tom Wait's Martha?? It just doesn't fit IMHO.

Where do they all belong? Beware the Meat Loaf catalogue - he can be out of this world great (those three albums above), okay in parts (Welcome To The Neighbourhood) or else it can be not so good. 

Jim Steinman's Bad For Good, and Ted's Free For All to come. 

Givin' it back (Christine McVie) (LP 3194 - 3196)

Christine Perfect  Christine Perfect (Vinyl, Blue Horizon Records, 1970) ***  

Christine McVie  Christine McVie (Vinyl, Warner Bros Records, 1984) ***  

Christine McVie In The Meantime (CD, Rhino Records, originally 2004, 2023 reissue) ***

Genre: Pop, blues rock 

Places I remember: JB Hi Fi, Real Groovy Records

Fab, and all the other pimply hyperboles: Love Will Show Us The Way (Christine McVie)

Gear costume: No Road Is The Right Road (Christine Perfect)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors:  Christine has appeared in posts before - because she was an integral member of Chicken Shack (here and here), and Fleetwood Mac (here and here). I've also already covered her 2017 collaboration with Lindsey Buckingham.

Yes, it's true - I have a thing for Christine. She sings in a unique way that constantly astounds me, she writes brilliant songs, and she plays blues licks like no other. She's a goddess!

So, my opinion may be a bit suss when I consider her solo albums. Just sayin'.

She wasn't prolific as a solo artist. I guess she had creative outlets enough elsewhere, most notably with Fleetwood Mac.

Her bluesy voice was her big asset initially, although she did contribute a couple of key songs to the first two Chicken Shack albums. Her first solo album was under her maiden name, even though she'd married John McVie in 1968. The standout song is the one she'd done while in Chicken Shack - I'd Rather Go Blind. She wrote roughly half of the songs on the debut, and No Road Is The Right Road is a second standout performance.

Fourteen years later came her second album, this time using her married name, even though they'd divorced in 1976! Strange brew. It's again an album of its time - 1984 - so with bright shiny eighties pop songs replacing the bluesy feel of her debut. Although fresh from an ill-fated relationship with Dennis Wilson, she is in a bouncy mood throughout.

Another jump - this time 20 years! In the early 200os she made In The Meantime with her nephew, Dan Perfect. It's a tougher sound than the eighties album (she'd had another failed relationship to write about) and shows off her melodic strengths well. The only problem is that the album skips by without that many songs lingering long in the memory. Favourite song: Friend.

Where do they all belong? Sadly, there is no more Christine to collect. BTW, Songbird - the biography that's just been published, is a good read. My Playlist for her is here if you're keen to listen to an overview of her immense talent.

Everybody loves me, baby (Don McLean) (LP 3193)

Don McLean  American Pie (CD, Capitol Records, 1971) ****  

Genre: Folk-rock, pop 

Places I remember: Marbecks Records

Fab, and all the other pimply hyperboles: American Pie

Gear costume: Winterwood, Vincent

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: I bought the album in 1971 but sold it off at some point (I found side 2 depressing at the time), then I had a hankering to listen to it again (before the Spotify era) and fell in love with it. Let's put it down to maturity.

I've always loved the two hits, but whereas previously I found the other songs not to my palette, now I admire them with fresh ears.

Where do they all belong? While I was learning to be a teacher in 1982 I went with a friend to see him live in Auckland. Good gig but not a great gig. Strangely, I don't feel the urge to buy his other albums, but I may be missing out on some brilliant music.

Building a mystery (Sarah McLachlan) (LP 3192)

Sarah McLachlan  Surfacing (CD, Arista Records, 1997) ****  

Genre: Pop 

Places I remember: Virgin Megastore (Dubai)

Fab, and all the other pimply hyperboles: Building A Mystery

Gear costume: Adia 

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: This is the fourth album by the Canadian singer-songwriter. While living in The Middle East, I was reading one of those 1001 albums to listen to before you start pushing up the daisies type books, and the author raved about it. So, the next time we went into Dubai to the mall I grabbed a copy from the Virgin Megastore.

It's pleasant, a bit slow in the old tempo stakes (I like some variety and generally some oomph in my music) but she sounds great - she certainly has a beautiful voice. 

So, I've now heard it.

Where do they all belong? The album was very successful but I can't compare it to any of her other albums as this is the only one I own.

Road to somewhere (McKendree Spring) (LP 3191)

McKendree Spring  Tracks  (Vinyl, MCA Records, 1972) ***  

Genre: Prog folk-rock, country rock

Places I remember: Little Red Bookshop

Fab, and all the other pimply hyperboles: The Man In Me (Not available on Spotify or YouTube)

Gear costume: Don't Keep Me Waiting (YouTube) 

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: I have flirted with buying albums by this band over the years and so, couldn't resist when I found one in the vinyl bins at the Little Red Bookshop.

Fran McKendree plays guitar, sings and writes some of the songs. The band is fleshed out with bass, drums, electric guitar and keyboards/violin.

They sound like an American version of Matthews' Southern Comfort (pedal steel is played by guest musician Hank DeVito). Whereas MSC did a great version of a Joni Mitchell song (Woodstock), McKendree Spring have a go at Dylan's The Man In Me and make it theirs. You'll have to take my word for it.

Where do they all belong? I'm keen to track down their earlier albums (Tracks was their fourth).

Sliding (Ellen McIlwaine) (LP 3190)

Ellen McIlwaine  We The People (Vinyl, Polydor Records, 1973) ****  

Genre: Rock 

Places I remember: Margie's brother

Fab, and all the other pimply hyperboles: I Don't Want To Play

Gear costume: We The People

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5

Active compensatory factors: Wow! This is unbelievably, outrageously good. I can't believe it's taken me till 2024 to discover her talents.

Ellen plays guitar and piano, sings and writes like a dream. Her slide guitar work is extraordinary for starters.

She met Hendrix in New York in 1966, briefly played with him and wrote Underground River about him. She was also a big fan of Jack Bruce and recorded a version of a song by him on each of her first four solo albums - on We The People it's Never Tell Your Mother She's Out Of Tune.

Where do they all belong? She passed away in June 2021. I understand she toured NZ in the early 2000s - I would have loved to see her in concert! Will certainly look for her other albums.