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"When I made this record, the record label didn't like it. They wanted a follow-up to Lonesome Jubilee, they wanted a chart-topping single. But Big Daddy wasn't built that way".
These sincere and enlightening words from John Mellencamp clearly explain his state of mind at the time of the release, in 1989, of this controversial album. A record, "Big Daddy", with intimate, detached, introspective and at times somber tones which, while maintaining a roots-rock musical framework, courageously shift its coordinates towards new folk territories that would be brilliantly developed in future works. Like the previous brilliant "The Lonesome Jubilee," John is accompanied by the same talented musicians, but the emphasis and energy of that splendid creation give way to more restrained and reflective tones.
It is indeed with "Big Daddy" that John Mellencamp develops and brings to maturity his strong civil and social sense, already previously appreciated in the beautiful "Scarecrow", towards the weaker social classes. The almost whispered start of "Big Daddy Of Them All" is already an explicit declaration of intent thanks to its deep and reflective lyrics. Despite not being easily assimilated, the track hides a particularly unique ancient rural charm. Declarations and controversies continue explicitly throughout the progression of the album. The single "Pop Singer" tries to echo the spectacle of "Paper In Fire" without, to be fair, succeeding, but with its direct lyrics, spits venom towards all the stupid and useless music that monopolizes radio and television stations. Undoubtedly a heavy accusation made by an artist naturally reserved and always very sharp towards the music business and easy mass promotion.
Accusations that persist insistently in "Country Gentleman" and in the concluding and at times hopeful "J.M.'S Question". In more than one episode anyway, "Big Daddy" favors quieter and more delicate tones like in the meditative "To Live", "Void In My Heart" and "Mansions In Heaven", while in other moments, Cougar lets his band set the pace as it happens in the classic "Martha Say", the enjoyable "Theo And Weird Henry" and "Sometimes A Great Notion". Among all the episodes, successful or not, the splendid folk ballad "Jackie Brown" remains indelibly etched in memory, the true masterpiece of a record not beloved by a segment of his audience, too often hastily evaluated and in need of repeated listens before being fully appreciated.
To consider it the limping and humble sibling of "The Lonesome Jubilee" would be an unforgivable error of judgment since "Big Daddy" has its own heart that beats independently of the glorious records that preceded it.
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