John Mellencamp’s “Small Town” is a song that evokes strong reactions. For some, it’s a quintessential anthem of heartland America, a celebration of roots and community. For others, it’s a simplistic and somewhat hollow tune, lacking the depth and complexity of Mellencamp’s best work. It’s easy to see why, for years, some mistook it for Bruce Springsteen, a testament to the shared sonic territory of heartland rock in the 1980s. However, a closer look reveals “Small Town” as a somewhat controversial piece within Mellencamp’s otherwise impressive catalog.
Released in 1985, during the peak of both “Bossmania” and the Reagan era, “Small Town” became an instant hit. Its popularity rode the wave of heartland rock’s mainstream appeal and resonated with a vision of America often associated with Chevrolet commercials and conservative ideals. While Mellencamp himself was far from a conservative icon, the song inadvertently became an anthem embraced by a certain segment of America, much like Springsteen’s “Born in the U.S.A.” was misinterpreted.
Musically, “Small Town” is undeniably catchy. Kenny Aronoff’s signature drumming provides a driving force, while Larry Crane’s guitar riff is both memorable and effective. These musical elements are what hold the song together, especially when Mellencamp’s vocal delivery feels somewhat forced and gruff, almost reverting to his earlier “Johnny Cougar” persona. The lyrics, however, are where the song’s simplicity becomes most apparent. The core message – born in a small town, will die in a small town, friends and family from small towns – is repeated ad nauseam. What’s missing is nuance, context, and emotional depth.
Does Mellencamp express pride, resignation, or perhaps even regret about his small-town origins? The song offers no clear answers. It lacks the irony or sincerity that could elevate it beyond a simple statement of fact. Instead, “Small Town” comes across as a somewhat facile offering, a crowd-pleasing anthem that sacrifices depth for broad appeal. In a sense, it became the Reagan commercial that “Born in the U.S.A.” was not, a seemingly straightforward celebration of American values that could be easily co-opted for political purposes.
While “Small Town” achieved massive success, it stands in stark contrast to the artistic depth of Mellencamp’s Scarecrow album, from which it originated. Scarecrow is arguably Mellencamp’s mature masterpiece – a tough, spare, and honest record that tackles complex themes with unflinching directness. Tracks like “Rain on the Scarecrow,” with its raw intensity and social commentary, showcase Mellencamp’s artistic potential far more effectively than the simplistic pronouncements of “Small Town.” Even lesser-known singles from the same era, such as “Rumbleseat” and “Minutes to Memories,” possess a lyrical and musical richness absent in his more famous hit.
Mellencamp’s career continued to evolve after “Small Town,” with albums like The Lonesome Jubilee showcasing further experimentation and a more nuanced approach to songwriting. While he would continue to score hits and even embrace commercial opportunities later in his career, “Small Town” remains a curious artifact – a massively popular song that, upon closer examination, reveals itself to be one of the more lightweight entries in John Mellencamp’s otherwise substantial body of work. It’s a testament to the power of a catchy tune and a relatable theme, even when lacking in significant artistic weight.
