John Mellencamp – Hurts So Good

The first song I remember from “John Cougar” was Ain’t Even Done With The Night and then John kicked the door down with this song.

This was on American Fool and after that album he was known as John Cougar Mellencamp. The main thing is he was known all over after this album.  He had four singles off of that album but two singles were huge. Hurt So Good and Jack and Diane. This song peaked at #2 on the Billboard 100, #3 in Canada, and #39 in New Zealand in 1982. MTV probably helped out a little but they were really good pop/rock songs. John kept his productions more timeless than some other artists. When you listen to many of them now…you don’t say…hey that’s so 80s. It could have been recorded in any era.

Mellencamp would start changing a little with his next album Uh Huh. He would become more of a “Heartland Rocker” and I started to think of him more like Springsteen and Petty. His peak to me came with the album Scarecrow. That is not saying he didn’t have more great albums because he did…but it’s hard to beat Scarecrow. His next six albums after that all went platinum.

Mellencamp’s friend was George Green, who received a composer credit on this song and went on to co-write many of Mellencamp’s hits, including Human Wheels, Crumblin’ Down, and Rain On The Scarecrow.

One thing I never knew…John Mellencamp at one time owned a tattoo parlor. This led to many family members getting tattoos that normally would not have them….like the “Hurts So Good” tattoo on his aunt.

Mellencamp won his first Grammy with this song: Best Male Rock Vocal Performance of 1982. In his acceptance speech he said, “I don’t know what to say, I’m just an idiot.”

John Mellencamp:  “My friend George said, why didn’t I write a song with the title ‘Hurt So Good’? We thought of it as like a Shel Silverstein thing. I wrote it in three minutes, scrawled the first line in soap on the glass door in the shower. It was really just a joke. I think all good things probably started as jokes. Wasn’t God having a laugh when he made this whole place?”

John Mellencamp: “When I first started playing in rock bands, I didn’t realize how crude and mean other fellas could be. How crude they were with women and how crude women were. That led me to write a song called ‘Hurts So Good’ because I was playing in these bars and I just could not believe the lows people would go to with each other. The thing that surprised me is that it fit my personality perfectly. I fit right in with all that.”

Hurts So Good

When I was a young boy
Said put away those young boy ways
Now that I’m gettin’ older, so much older
I long for those young boy days
With a girl like you
With a girl like you
Lord knows there are things we can do, baby
Just me and you
Come on and make it a

Hurt so good
Come on baby, make it hurt so good
Sometimes love don’t feel like it should
You make it hurt so good

Don’t have to be so exciting
Just trying to give myself a little bit of fun, yeah
You always look so inviting
You ain’t as green as you are young
Hey baby, it’s you
Come on girl, now it’s you
Sink your teeth right through my bones, baby
Let’s see what we can do
Come on and make it a

Hurt so good
Come on baby, make it hurt so good
Sometimes love don’t feel like it should
You make it hurt so good

I ain’t talking no big deals
I ain’t made no plans myself
I ain’t talking no high heels
Maybe we could walk around, all day long
Walk around, all day long

Hurt so good
Come on baby, make it hurt so good
Sometimes love don’t feel like it should
You make it hurt so good
Hurt so good
Come on baby, now
Come on baby, make it hurt so good
Sometimes love don’t feel like it should
You make it hurt so good

Hey, hey

The “Compleat” Beatles 1982

This is what Beatle fans had until the Anthology came out in 1995 and turned a new generation onto the Beatles. I wore out the recorded VHS copy my cousin gave me. It is a two hour documentary of the Beatles. It was narrated by actor Malcolm McDowell (Clockwork Orange) and was well done. I remember watching this and “The Kids Are Alright” in the 80s. It was nice seeing the footage that was not as available as today.

I do remember some small frustrating parts of it. I think it was  “Hey Jude” about to begin (David Frost Show) and whoever cut the film placed a George Martin voice over during some of the performance. Remember this was a time when you couldn’t just go on youtube and see performances. Overall it was very well made. I still have a copy of it somewhere. Paul McCartney bought out the negative rights to the film in the 1990s to clear the way for Anthology and below is that story from Wikipedia.

The Compleat Beatles was initially released as a PBS documentary in the United States, and then on VHS, Betamax, CED and Laserdisc that same year on the MGM/UA Home Video label. The 1982 Laserdisc was released in both Analogue and Stereo versions, as well as being released in Japan and England (in PAL format) in 1983.[3]

The film did very well, and in 1984 Delilah Films and Metro-Goldwyn-Mayer arranged for it to be released theatrically in the U.S. by a small distributor named Teleculture. This contributed to its continuing to be a best seller on VHS. Some years later, when Paul McCartney was preparing The Beatles Anthology, he bought the negative and all the rights to the film from Delilah to get it off of the market and clear the way for his production. That, according to the film’s director Patrick Montgomery, is why it is not available on DVD or any newer formats and “probably never will be.”

If you find a copy somewhere buy it…it is worth it. Even if you already have Anthology. The Beatles Anthology is far superior but it does make a good companion piece.

This is from Rolling Stone magazine. It went over the other documentaries of the band. They make a good case for The Compleat Beatles. The link to the page is:

Again nothing has compared to the Anthology but The Compleat Beatles was very well done.

https://www.rollingstone.com/music/music-features/the-compleat-beatles-10-takeaways-from-great-overlooked-fab-four-doc-121193/

But one Beatles doc you might not know – and its cause has not been helped by not having an authorized DVD release yet – is 1982’s The Compleat Beatles, written by David Silver, directed by Patrick Montgomery, and narrated by Malcolm McDowell, chief droog from Stanley Kubrick’s A Clockwork Orange. Clocking in at two hours – and titled in the spirit of The Compleat Angler, England’s definitive book on fishing, from 1653 – The Compleat Beatles tells the band’s entire story, from pre-fame days, with checkpoints at each album, right up through the breakup. It’s brimming with keen musical analysis, and a coterie of voices you normally don’t get with a Beatles documentary.

For a long time, in the VHS era, it was a staple of high-school music teachers, starting 35 years ago in the summer and fall of ’82. If you were lucky enough to have had the TV set wheeled in by a Beatles-mad instructor, you know this is a special film.

Here are 10 reasons to check out this overlooked masterwork of the Beatles’ cinematic canon.

1. Writer David Silver had a pitch-perfect understanding of the Beatles’ career arc – and importance in their time and beyond.
“Poets of a generation, heroes of an era,” The Compleat Beatles begins, with Malcolm McDowell reciting Silver’s lines with Shakespearean gravity. This is to be a proper assessment of a band that was so much more than a rock & roll collective, something we’re made to feel immediately. “Like all poets and heroes, they reflected the spirt of their times.” The early sequences in the film present footage of a bygone Liverpool, which looks pretty grim, as if nothing mercurial could emerge from this seaport. When the opening chords of the Beatles’ cover of Chuck Berry’s “Rock and Roll Music” kick in, the film itself seems to pop with possibility, as if infused with Beatle-esque spirit. There was nothing the band couldn’t do, and now there will be nothing this movie can’t do.

2. Gerry Marsden was an ace witness to what the Beatles were doing.
The leader of Gerry and the Pacemakers, perpetual Liverpudlian also-rans, Gerry Marsden was always broad-spirited when it came to talking about the band that so outpaced his own, but you don’t get to hear him very much on film. Here he explains how the Liverpool acts were able to transform skiffle into something far grittier from what he terms the “ackky dacky” sounds of Lonnie Donegan. First he whips out a guitar to show how Donegan would play “Jambalaya,” before remarking “we’d get the record and we’d rock it up a little bit,” entering forth into a cool little demonstration. It’s a great primer for how the Northern bands were able to develop their own sound from what was a reductive, chipper genre in skiffle.

3. Early manager Allan Williams was quite the character.
Williams liked his tall tales, and the Beatles basically screwed the guy over after he hooked them up with Hamburg and they jumped ship for Brian Epstein, but Williams clearly loved reminiscing about his relationship with the band, which would continue on for a while still. (And resurface later when the legality of the Hamburg Star Club tapes was in dispute.) He describes a letter from Howie Casey of Derry and the Seniors begging him not to send “that bum group the Beatles” over to Hamburg, for fear that this would mess up everyone else’s good thing. Williams then goes on to (accurately) describe the style of then-drummer Pete Best as not very clever. Hardly a feeling-sparer, which is probably why the likes of John Lennon liked him – at least for a while.

4. George Harrison’s mom deserves serious props. The Compleat Beatles does an excellent job of synthesizing how the Beatles came together in their pre-fame years (complete with an image of John Lennon’s report card decrying his “insolence”), with a clear, concise chronology, and valuable insight directed towards the subject of George Harrison and his mother. Most Beatles studies focus, in terms of maternal subjects, on Lennon and his mother, Julia, and Paul McCartney and his late mother, Mary, but Mrs. Harrison knew a thing or two about rocking out. “To his classmates, George Harrison was the boy whose father drove the bus they all rode to school,” McDowell states. “His mother sat up with him night after night as he taught himself how to play Buddy Holly songs,” with his inclusion in the Quarrymen assured because “his mother could tolerate their noisy rehearsals.” Way to go, Mrs. H.

5. Reeperbahn mainstay Horst Fascher was one badass MF.
The Compleat Beatlesmakes commendable use of the underrated Star Club material to soundtrack several scenes, and it’s a delight when self-professed Beatles protector Horst Fascher turns up on camera. He made sure that they didn’t get in too much distress on their first Reeperbahn forays, or, as he puts it in the film, “If you are in trouble with some girls who are prostitutes, and you don’t know the girls are prostitutes, and the pimps find out, you can get in a lot of trouble,” which made Horst the guy to seek out to cure your ills and keep your ass intact, given that he was a former boxer who had been booted from competition for killing a sailor in a street fight. Ah, Hamburg.

6. The Litherland Town Hall show from December 27th, 1960, was the watershed gig of the Beatles’ career.The film also features a number of segments with Bill Harry, a friend of the band who was instrumental in spreading the good word about them in Liverpool – even before they deserved it – with his Mersey Beatmagazine, which documented the comings and goings of life on the local beat scene. Harry gives the backstory for the gig that would change the Beatles’ career. “They came back from Hamburg still as an unknown band,” Harry remembers, but he promoted they hell out of them, “because they were close friends of mine.” This got a promoter to book them at Litherland Town Hall, shortly following Christmas in 1960. Allan Williams was there, too. “The moment the Beatles struck up and did their stomping, every kid froze, and then they ran to the stage and started screaming.” That would be the gist of a lot of what was to follow.

7. According to George Martin, “Yesterday” was the crucial pivot point for the band’s sonic development.
Martin is eloquent throughout The Compleat Beatles: erudite, dapper, utterly sure of himself, being interviewed in a recording studio by his console, with no Beatles intruding with misremembered bits of info, something that dogged the Anthology. It’s just Martin, holding a master class in what it was like from his end to work with these guys. “They always wanted to have new ideas and sounds coming through. I found that they were almost more inquisitive than I was. In fact, in the end, it kind of exhausted me. Sometimes they knew what they wanted to do, but more often than not, they didn’t,” coming across like Yoda both frustrated and blown away by the gifts of Luke Skywalker. Regarding “Yesterday”: “It isn’t really a Beatles song,” Martin remembers saying to McCartney, then goes through how he made his pitch for the Beatles to forsake their standard drum-bass-guitar attack, which would become, through various methods, the mode of the future.

8. The doc features the coolest, trippiest, most cost-effective visual evocation of “Tomorrow Never Knows” ever filmed.
McDowell’s narration intones that “Two of John’s songs ‘She Said She Said’ and ‘Tomorrow Never Knows’ were the results of his recent experiments with drugs” – fair enough – as a quick tour of Revolver begins, but what follows is brilliant: Using only the cover of the album, director Montgomery, through a series of sweeps, pans and fast dissolves, gives us something of a visual acid trip, as “Tomorrow Never Knows” blasts from the soundtrack. Once you see the effect, it’s hard to disgorge it from your mind each time going forward that you hear that mindblower of a track.

9. The band’s final world tour was pure terror, and no film better evokes it.With a collage of on-the-street interviews, footage from Beatles record burnings and people getting hurt at shows as frantic MCs plead for calm, The Compleat Beatlesprovides a strong sense of why touring had to stop for the band. As the footage unfurls, there’s a low droning figure in the soundtrack, sort of like the protracted hum of the final chord on the Sgt. Pepperalbum stretched out for several minutes. We also get a self-righteous cop in Minneapolis who goes on at some length about how much he hates the Beatles: “As far as Beatle music, I could care about it not one bit personally … one of their group, with the British accent, told us they would never come back to Minneapolis, and I told him that would be too soon for me.”

 10. In Martin’s view, the Beatles were fated to become huge. George Martin has a lot of key lines regarding his four upstarts and their career. At one point he states, “Without Brian Epstein, the Beatles wouldn’t have existed,” by which he means that success would not have come to them and they would not be the galvanic entity we all know. But Martin is in downright Socratic mode, though, when he ventures towards a larger explanation for that success. “I think that the great thing about the Beatles was that they were of their time, their timing was right. They didn’t choose it – someone chose it for them. But the timing was right, and they left their mark in history because of it.”