The Best That I Could Do is an appropriately self-deprecating title for John Mellencamp's greatest-hits collection, considering that the heartland rocker never seemed too convinced of his own worth. Of course, he had to struggle to get any respect after he was saddled with the stage name Johnny Cougar early in his career, but this 14-track collection proves that he was one of the best, unabashed straight-ahead rockers of the '80s. The 14 tracks here actually turn out to be a little too short to contain all of his great singles – songs like "Rain on the Scarecrow," "Rumbleseat," "Pop Singer," "Again Tonight," and "What If I Came Knocking"…
Dance Naked is the 13th album by American singer-songwriter and musician John Mellencamp released in 1994. The most notable accomplishment was the largely successful single "Wild Night," a cover of the 1971 song by Van Morrison. The song featured Me'shell Ndegeocello on a duet with Mellencamp as well as the prominent bass lead. The single reached #3 on the Billboard Hot 100 and charted at #1 on the Adult Contemporary List for 8 weeks. The album itself reached #13 on the Billboard 200. Spin Magazine named Dance Naked the 20th best album of 1994.
Human Wheels is the 12th album by American singer-songwriter and musician John Mellencamp. Released on Mercury Records in 1993, it peaked at No. 7 on the Billboard 200. The single "What If I Came Knocking" was Mellencamp's last No. 1 single on the Album Rock Tracks chart, staying atop for two weeks in the summer of 1993.
Whenever We Wanted is American singer-songwriter and musician John Mellencamp's 11th album, and the first to be credited simply to Mellencamp's given name (i.e., without the "Cougar" name). The album includes the hits "Get A Leg Up" (#1 for three weeks on the Album Rock Tracks chart), "Now More Than Ever" (#3 on the Album Rock Tracks chart), "Last Chance" (#12 on the Album Rock Tracks chart), and "Again Tonight" (#1 for two weeks on the Album Rock Tracks chart). "Get A Leg Up" (#14) and "Again Tonight' (#36) also cracked the Top 40 on the Billboard Hot 100.
Though this fitfully inspired yet always intelligently musical record is an electric album, McLaughlin is more often heard on acousticintet, along with bass and drums, contained two keyboard players, Francois Couturier and the noted classical pianist Katia Labeque (who was McLaughlin's companion). Labeque, seated at a Synclavier and a grand piano, has acres of technique and almost no feeling for jazz, though she is adept at providing moody backdrops, and her rapid-fire synth runs and Jarrett-like etudes on the Steinway aren't too far away stylistically from McLaughlin's helter-skelter flurries. In a continued homage to McLaughlin's once and future employer Miles Davis, "Blues for L.W." brazenly quotes "Blues for Pablo," and sometimes the music texturally resembles the heavily synthesized things that Miles would soon be putting out.