One thing is for certain about John Mellencamp. He is not a quitter.

In fact his recent heart attack has in some ways given him a new perspective toward his lifestyle and musical career.

Mellencamp’s latest release, Mr. Happy Go Lucky, is certainly a reflection of the time spent after his recent medical bout.

The album consists of introspective lyrics, showing a different side of Mellencamp than the regular “Jack and Diane” stories of small town life that brought him large success in the 80s.

With songs like “The Full Catastrophe” and “Life Is Hard,” you find Mellencamp, with a distinct element of optimism, searching back on his life and looking forward to his future.

The first single, “Key West Intermezzo,” is an easy going Jimmy Buffet like tune, adding a Caribbean twist on his regular rural American style.

Unfortunately Mr. Happy Go Lucky’s most unique feature is also its greatest shortcoming.

With techno-pop music guru Junior Vasquez added to the lineup, an overpowering dance club back beat accompanies most of the songs. This does, however, detract from the melodies by coming on too strong.

But with little interludes of traditional southern and Dixieland dittys, along with terrific poetry of Mellencamp song writing, Mr. Happy Go Lucky is worthy of many music collections.

—Brendan Greiner

Headcrash

Overdose On Tradition

Headcrash pound techno into a Rage Against The Machine format on their awesome debut L.P., Overdose On Tradition. The German born seven-piece began as the techno band Negro Sex and achieved notoriety when they were sued by the Catholic Church for manipulating a photo of the Pope on their record cover.

Overdose is not too much of any one thing, but rather a clever combination of industrialized angst and hip-hop. American vocalists Shane Cooper and Allen Wright bring 311ish influences into the band, while the remainder of the line-up endure everything from Skinny Puppy to Consolidated into their sound.

Headcrash’s lyrical dimensions circle around their hatred of corporate brainwashing on what they describe as “cookie-cutter corporate thinking.” “King of the Chrome” ventures into some funky Beastie-esque rap, calling out lines like “I believe it’s Miller Time.”

“Seamripper” tears into hard-core industrial, reflecting little of what separates Headcrash from the European underground scene. The electronically spiced guitar supplements on the disc add an American touch to tracks like “Loyal Customers” and “Plugged In.”

File Overdose as another successful Rage band, having more to say about politics than most of their listeners care to hear.

—Corey Moss

Linda Perry

In Flight

The 4 Non Blondes brought us that ever popular international mega hit, “What’s Up?” (you know the words “Hey ,yeah, yeah. I said hey! What’s goin’ on?”) in 1993.

Their short multi-platinum life ended in 1995 and out of their demise, front woman Linda Perry has dived into the world of solo stardom.

Unfortunately, she seems to be doing a clumsy black flip into shallow water.

Perry’s new release, In Flight, is far from the sing-a-long days of “What’s Up” and “Spaceman.”

Twelve psychedelic and loopy tracks, mixed with cliche and mediocre lyrics, make up the majority of her sleepy new effort. Even the most active listener could drink a strong pot of coffee and manage to fall asleep to this album.

Songs like “In My Dreams” and “Life In A Bottle” make you wonder, half-way through, if the song was supposed to end two minutes ago.

Perry leads you along well on the cut “Too Deep” but she becomes so terribly out of focus that you lose sight of what she’s trying to accomplish.

However there are a couple of interesting tracks that almost make In Flight a worthwhile listen.

The song “Fruitloop Daydream” sounds almost zany enough for Lennon and McCartney to have put on Sgt. Pepper.

Even the Pink Floyd sounding tune, “Knock Me Out,” brings Perry’s husky soulful vocals into the limelight.

But these few interesting moments come long after you’ve gone off into dreamland.

In Flight shows that Linda Perry no longer knows what’s up.

* 1/2

—Brendan Greiner

Type O Negative

October Rust

October Rust is Type O Negative’s fourth release and by far their best to date.

Comparable to Black Sabbath, Danzig or Soundgarden, they mix dark, moody melodies with heavy metal riffs. Type O Negative take this sound to horrific heights, often conjuring up visions of supernaturalism, witchcraft and sexuality.

Lead singer, bassist and lyricist Peter Steele combines with the background chanting of the Bensonhoist Lesbian Choir to create songs which are likely to take the listener to the brink of the abyss and back, leaving Black Sabbath looking like Girl Scouts.

Their fascination with the supernatural is evident on songs like “Be My Druidess,” “In Praise of Bacchus” and “Wolf Moon (Zoanthropic Paranoia).”

A number of songs detail the extremes of love. “Love You To Death” is a ballad to the damned and “My Girlfriend’s Girlfriend” explains what it is like to date a girl who has a female lover.,

“Red Water (Christmas Mourning),” is driven by the haunting sounds of Christmas bells mixed under ferocious guitar melodies and “Cinnamon Girl,” a blistering remake of the classic Neil Young tune, win best songs on the disc.

Anyone feeling dark, depressed or lonely should pick up this disc. Those of you who are faint of heart or scared of the dark, don’t bother.

**** 1/2

—Ben Jones