You, Too, Can Play Guitar Like John Cougar Mellencamp

All I got is a red guitar, 3 chords and the truth.

- Bono, “All Along the Watchtower”

When I first started learning to play guitar, I was discouraged that I only knew three chords - C, D and G.

Until I realized that I could play most of John Cougar Mellencamp’s repertoire.

John Cougar Mellencamp is the ultimate Americana singer. With his T-shirt, denim clothing, cowboy boots and acoustic guitar, he bridged the gap between country and rock and roll during the 1980s. His songs are instantly recognizable, from the epic ballad “Jack and Diane” to the somewhat-patriotic “Small Town” and “R.O.C.K. in the U.S.A.” - an amazing feat, considering that most of his songs use the same three chords.

First, a quick music theory lesson. All chords have names based on where they exist relative to the scale in which one is playing. If you’re playing in the key of C, for example, the C chord is a I chord, because it’s the first note of the C scale. An F chord is a IV chord, because it’s the fourth note of the C scale (C-D-E-F).

Okay, that’s all you need to know to play most John Cougar Mellencamp songs. Let’s play, shall we?

Authority song

I                         IV     V        I      IV  V
They like to get you in a compromising position

A classic I-IV-V chord progression. On the next two songs, he mixes it up, playing a I-V-IV structure:

Jack & Diane

I        V          IV       V
A little ditty bout Jack and Diane

Small Town

I      V          IV          V
I was  born in a  small town

In “Pink Houses,” most of the verses are played on the I chord; in the chorus, he adds a IV chord, and then a V chord:

I                IV                  I
But ain't that A-merica, for you and me
I            IV                   I
Ain't that A-merica, somethin' to see
I            IV                  V
Ain't that A-merica, home of the free

On “Check It Out” he starts with the IV chord, then moves to the I chord. No V chord around:

IV               I
A million poets, screamin' out their words
IV                             I
To a world full of people just livin' to be heard

Another big hit, “Hurts So Good,” adds a minor chord before resolving to the IV:

I             V           vi (minor chord)      IV
 When I was a young boy,    said put away those young boy ways

Save for a few variations, the I-IV-V (or I-V-IV) structure seems to account for a majority of Mellencamp’s hit songs. He rarely uses a minor key as the base for his songs (most of the song in a minor key); that’s what makes “Rain on the Scarecrow” such a unique song (and one of his better ones, IMHO). I noticed that his later hits - after he ditched the “Cougar” in his name - the chords became a little more complicated (”Paper in Fire,” “Get a Leg Up”). But most of the hits - see above.

I do not aim to demean his songwriting; what is remarkable is how much he can do with three simple chords. In spite of this repetitive chord structure, John Mellencamp’s songs have a good melody, and the I-IV-V structure is familiar to all, having been in many early rock ‘n’ roll standards. Which makes it easy to impress people when you’re playing guitar.

Small Town - John Cougar Mellencamp

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Tags: 80s, acoustic

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‘We Are the World’ - Or at Least, Were…

Yesterday, we were listening to a new CD that my wife had bought for the kids. The CD featured songs about peace, and the opening track was “We Are the World,” as sung by kids.

My wife was amused - nay, disturbed at my “Rainman”-like ability to predict not only the words, but who sang them in the original version. And as I started recalling all of them, I was amazed at how many have fallen off the planet, and how many of them were just plain lucky to have been included.

Who is still relevant today? Who was the least of the best?

  • Lionel Richie - included because he co-wrote the song with Michael Jackson. He was at the top of his career at the time; sadly, he only had four more Top 10 hits, and he’s better known nowadays as Nicole Richie’s dad.
  • Stevie Wonder - a true superstar, but he was reaching the sunset of his career. Only three more Top 10 singles after this. (Hmmm - am I sensing a “We Are the World” curse?)
  • Paul Simon - Included as sort of a “Lifetime Achievement Award”; his last Top 10 hit was in 1980. He re-emerged a year later with Graceland, a monster album, but not much since.
  • Kenny Rogers - He continued making waves in the country charts for the next few years, but as a pop star, he was washed up. Can now be found singing at your local Concert in the Park series.
  • James Ingram - Who? (Interestingly, only 1 Top 10 hit before, two afterwards. He’s bucking the trend!)
  • Tina Turner - Classy. Superstar. She’s still relevant today, even though the hits aren’t coming anymore.
  • Billy Joel - Another legend that continued making hit songs into the 90s.
  • Michael Jackson - Well, what can you say about him that hasn’t been said already? How about taking up three and a half verses while giving Springsteen only one?
  • Diana Ross - Not really relevant, given her spotty 80s success. She hasn’t aged gracefully, but a legend nonetheless.
  • Dionne Warwick - Another Lifetime Achievement Awardee. She would hit big that same year with “That’s What Friends Are For,” then nothin’. Can be seen with Kenny Rogers at your local Concert in the Park Series.
  • Willie Nelson - Country legend, yes. Pop star? Uh-uh. And his harmonies on this are sooo off-key.
  • Al Jarreau - See Ingram, Warwick.
  • Bruce Springsteen - Thank you Bruce, for continuing to play at your A-game all these years.
  • Kenny Loggins - His 15 minutes were ticking. After 1986′ Top Gun, it was all over, at least on the pop charts. (Remember Pooh Corner?)
  • Steve Perry - Another sad story. AOR was on its way out, and although Journey continued to make records throughout the 80s, by the end of the 90s Perry would find himself replaced by his bandmates.
  • Daryl Hall - Where’s Oates? If Hall & Oates were a stock at this time, I would have sold immediately.
  • Huey Lewis - Another monster sports-titled album would follow, then nothing. He will forever be trapped in the 80s.
  • Cyndi Lauper - Another 80s icon, but she’s at least tried throughout the 90s. You might find her at the Concert in the Park Series.
  • Kim Carnes - Huh? I scratched my head at the time the song was released, and it seems even more bizarre today. Two Top 10 hits. That’s it. Less than Melissa Manchester, DeBarge or John Cafferty & the Beaver Brown Band.
  • Bob Dylan - Yeah, he’s a legend, but he hadn’t done anything during the 80s, and - well, he can’t sing.
  • Ray Charles - Lifetime Achievement Awardee, but well-deserved. He was a good choice to finish the song.

Who was conspicuously missing? Prince, Madonna, Tom Petty, and John Cougar Mellencamp (who did Farm Aid) are all still relevant today. Pat Benatar? Belinda Carlisle? Ric Ocasek? (Okay, he can’t sing.)

Note: Performers deemed not important enough for a solo but were relegated to the chorus were: Dan Aykroyd (um, didn’t know he sang), Harry Belafonte, Lindsey Buckingham (I’d rather have Stevie Nicks), Sheila E., Jackie, LaToya, Marlon, Randy and Tito Jackson (where are Janet and Jermaine? Rebbie?); Waylon Jennings, John Oates (there he is!), the Pointer Sisters and Smokey Robinson.

Note 2: This is the second time I’ve mentioned “We Are The World” on this blog. Hopefully, I won’t do it again.

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Tags: 80s

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Desert Island Disc #1: Whatever - Aimee Mann

I’m starting a new feature called “Desert Island Discs.” Each week, I’ll highlight an essential (and usually overlooked) album that should be a part of any music lover’s collection. The first week I’ll start off with my all-time favorite CD: Aimee Mann’s Whatever.

Year Released: 1993
Top chart position: #127

Poor Aimee Mann. She’s best known for being the lead singer of the one-hit wonder ’til tuesday. The group’s 1985 single, “Voices Carry,”was a haunting new-wave classic that is still being played on all ’80s radio stations.

But after that - nothing. ’til tuesday released a few more albums that went nowhere. And their record label dropped them before the 80s ended.

So Aimee pursued a solo career. Her first release, Whatever, also flopped on the charts, but it’s a shame. She proved that “Voices Carry” was no fluke, reestablishing herself as a pop music singer-songwriter in the same vein as Elvis Costello and writing sharp, witty songs with a catchy melody.

The Perfect Album
Very rarely, an album comes along that is perfect. On a perfect album, every song is as good as the next - not a bad apple in the barrel.

Many amazing albums don’t meet this standard. Abbey Road has the noisy heavy-metal “I Want You (She’s So Heavy)”. Skip it. The Joshua Tree’s “Trip Through Your Wire” is off-key filler for an otherwise solid album.

Where’s the bad cut on Aimee Mann’s Whatever? There ain’t one.

Go ahead. Try to find a bad song on this CD. “I Should Have Known,” the opening number, is an in-your-face rocker that still manages to feature some “Ooooh - bop bop bop” vocals that somehow disarms the heavy feel of a rock anthem.

How about “Fifty Years After the Fair”? Are you kidding? With background vocals by Ex-Byrds singer Roger McGuinn, Aimee channels the Byrds with a jangly folk-rock tune that leaves you smiling at the end.

I still have ‘em coming. Aimee slows things down with “Fourth of July”, a poignant ballad that turns a happy holiday into recollections of a lost love: “So that’s today’s memory lane / With all the pathos and pain / Another chapter in a book where the chapters are endless and they’re always the same.”

Aimee’s muse was apparently Jules Shear, an ex-boyfriend who must have done some damage. “Could’ve Been Anyone” has Aimee exclaiming, “It’s so hard not to blame you / It’s hard not to put all the blame on you.” She then tries to downplay his influence, saying, “You lost your place in the sun, but never mind / It could’ve been anyone.”

But Aimee is at her best with the ballads. Peeling away her defenses, she comes across as earnest and somewhat vulnerable. The acoustic songs are intimate, but each tells a different story. “I’ve Had It” tells the story of her and her band trying to find that elusive formula that will take them to superstardom. She knows that fame is fleeting, and sometimes the spark between bandmates is as well:

So we all just started playing
and then something strange occurred -
not a person stirred, oh, it started out one way
but it turned out to be okay
and I felt that someone should say -
Oh, experience is cheap
if that’s the company you keep
and before you know that it’s free
you’ve had it

She tries her best to describe an indescribable feeling (Love? Anger? Frustration?) in “I Know There’s a Word for This.” Again, simple acoustic guitar, laced with a string accompaniment, shows an intimacy that you believe is a rare glimpse into Aimee’s soul.

Finally, there’s Mr. Harris - a beautiful ballad about a relationship with an older man. This time, it’s a piano, woodwinds and strings setting the mood for a song that in another era could have become a standard from the Great American Songbook.

Whatever sounds like a woman scorned, but Aimee Mann has at last found true love. She married singer-songwriter Michael Penn (Sean Penn’s brother), and they continue to release music under her independent label. How perfect.

Whatever (1993)

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Tags: 80s, desert island discs

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