Mellencamp returns to 'roots'

John Mellencamp has made a career of singing about slices of American life. Now with his latest, Trouble No More, he is at it again, but this time around he's letting others speak for him with an album full of covers and traditional songs ranging from Robert Johnson to Woody Guthrie to Lucinda Williams. \nThose expecting to hear echoes of his classic albums, such as The Lonesome Jubilee and Uh-Huh, may find disappointment with this latest effort, but those going into it with open ears will find a world that, while it doesn't hold the same personal sentiments of "Cherry Bomb" and "Little Pink Houses," still triumphs. Gone are his tunes that smell of sweet summer nights and the need to find yourself on a dark, Indiana road. Now, his efforts are more adult oriented, dealing with darker aspects of life -- prison, death and politics just to name a few.\nThere are some tracks that still lean toward Mellencamp's past efforts. "Teardrops Will Fall" is reminiscent of earlier works, with female back-up singers and a fiddle, and yet, fits in perfectly with the rest of the album. Kansas Joe McCoy's "Joliet Bound" is a brooding song with nothing more than an electric guitar and vocals. \nWith Trouble No More, Mellencamp finds his voice nicely, managing to make every song his own. He also gives the music a new millennium update without sacrificing what made each track great in the first place. There is a noticeable lack of hooks and pop songs here, but each track has an undeniable sense of honesty. Every cut is obviously important to Mellencamp. He cares and nurtures for each one until they can stand on their own as a single song or in the context of the entire album. \nThe only real detraction of the album is that all the songs can run into each other and are hard to distinguish at times. Each one is identifiable as they play, but after the album is over listeners may have trouble making out which rough Mellencamp voice is which.\nThis album takes on both ends of the lyrical spectrum with songs such as Skeeter Davis' "The End of the World," which sweeps you away with sweet strings and a passion for lost love. While "To Washington," a traditional song with new lyrics by Mellencamp, tackles his political views on the vote in Florida a couple of years ago to his complete distaste of the war in the Middle East. Even if you don't agree with what he says here you have to give him credit just for stating it and putting his ass on the line. \nThis is where the strength of the album really lies. Mellencamp is quite a few years down the line from his start as Johnny Cougar and Trouble No More reflects the aging process. He handles the problems of growing up and watching this country and its leaders change. He no longer needs to fill an album with the pain of losing love or the joy of finding it. Instead, he has problems to face as a public figure -- having his voice heard while the curiosity of mortality hangs high. He expresses these concerns in an entertaining manner, giving a sign of maturity to his core audience that's aging right alongside him.