Cuttin' Heads (2001) 


 


  1. Cuttin' Heads
  2. Peaceful World
  3. Deep Blue Heart
  4. Crazy Island
  5. Just Like You
  6. The Same Way I Do
  7. Women Seem
  8. Worn Out Nervous Condition
  9. Shy
  10.In Our Lives

 

By the early 2000s, John Mellencamp’s days as a chart-topping, radio-dominating force were largely behind him. Still, he remained a favorite among critics, largely thanks to his continued efforts to evolve artistically—even if the results weren’t always consistent. Cuttin’ Heads, released in 2001, is another one of those records where the ambition outpaces the execution. It’s bold, erratic, often interesting—but rarely cohesive.

You can tell right from the start that Mellencamp is trying to shake things up. The title track opens with a prominent guest spot from Chuck D of Public Enemy, while Peaceful World features India.Arie lending a smooth R&B touch. Both tracks grapple with racial tensions and cultural divides, which is admirable in theory, but the delivery feels a little too calculated to fully resonate. Mellencamp had previously found success folding modern textures into his sound (Mr. Happy Go Lucky comes to mind), but here the seams are more noticeable. These songs aren’t bad—they’re just not particularly memorable.

Things pivot quickly by track three, with Deep Blue Heart, a country-leaning duet with Trisha Yearwood that could’ve come straight off a Nashville songwriter’s demo reel. It’s a fine track, and Yearwood sounds great, but the stylistic whiplash is hard to ignore. And that’s the underlying issue with Cuttin’ Heads: it’s all over the place. From social commentary to twangy ballads to kitschy pop-rock (Women Seem, in particular, feels like Mellencamp trying to write a novelty song), the album lacks a unifying thread.

That said, there are flashes of the old Mellencamp—honest, gutsy, and pointed. Crazy Island stands out as a highlight, a biting look at America’s contradictions that feels more grounded and authentic than most of what surrounds it. It’s one of the few moments where Mellencamp sounds fully in his element. The closing track, In Our Lives, also leaves a good impression—quiet, reflective, and a nice reminder of his ability to land a heartfelt closer.

You can’t fault Mellencamp for trying new things. He’s never been content to simply recreate his past success, and Cuttin’ Heads continues his trend of musical exploration. The problem is that the record doesn’t feel fully formed. Too many of the songs come across as sketches—ideas without clear destinations. It makes for an uneven listen, and despite a few bright spots, the album ends up feeling more like a collection of experiments than a cohesive whole.

Sadly, this one is hardly essential.

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