A regular artist here at TME.fm Radio John Prine released a new album this year, here is the best review I could find. It’s followed up by an excellent biography and some tracks to listen to.
On his first album of new songs in over 13 years, John Prine baits you but good.
The opening tunes to “The Tree of Forgiveness” are presented with ragged simplicity and homey cheer. Then the veteran songsmith, from an emotive standpoint, tosses you off the cliff with works full of stark, devastating resolve. Then, just as you think his world (and, perhaps, yours) has fallen into ruin, he winds the record up with a reverie of mortality that makes the hereafter sound like a street parade.
To perhaps no one’s surprise, “The Tree of Forgiveness” enlists the help of Dave Cobb, who became the Americana producer of choice during Prine’s prolonged writing absence.
Wisely, Cobb keeps things simple, even when he invites a few friends and clients – Jason Isbell and Brandi Carlile, among them – to the sessions. Their contributions provide attractive color, but Prine’s best music has never involved fuss. He tells stories succinctly, keeping his songs focused on lyrics of Mark Twain-ish worldliness with melodies dressed by the lightest and most open of folk melodies.
So it’s business as usual to hear a back porch reverie like “Knockin’ On Your Screen Door” with its sleepy summertime candor and references to sweet potato wine and George Jones 8 track tapes masking a sheepish sense of loneliness at the record’s onset. Three songs later, though, the album heads into the abyss with “Summer’s End,” a tune whose delicacy doesn’t even pretend to hide its sense of loss. “You never know how far from home you’re feeling until you watch the shadows cross the ceiling.” The song’s resulting sadness takes hold so immediately that it’s easy to overlook how graceful and gorgeous the melodic structure is.
But there has also been a mischievous slant to some of Prine’s music that regularly runs hand in hand with homespun, but very pointed social commentary. Case in point is “Lonesome Friends of Science.” It’s partly a slow-poke country rebuke of fact-denying politicos, but it’s mostly another worldly washing of hands, much in the way the classic “Fish and Whistle” was four decades ago. “The lonesome friends of science say the world will end most any day. Well, if it does, then that’s okay, ‘cause I don’t live here anyway.”
The mood is gloriously reprised for the album closing “When I Get to Heaven,” a view of the afterlife both affirmative in its abounding sense of forgiveness but ripe with show biz panache. “As God is my witness, I’m getting back into show business, open up a nightclub called The Tree of Forgiveness and forgive everybody who ever done me any harm.” But Prine saves his prime agenda for the pearly gates to the end as a chorus of laughing children and kazoos ring out. “This old man is going to town.” Sounds like heaven to me.
Artist Biography by Jason Ankeny
One of the most celebrated singer/songwriters of his generation, John Prine is a master storyteller whose work is often witty and always heartfelt, frequently offering a sly but sincere reflection of his Midwestern roots. While Prine‘s songs are often rooted in folk and country flavors, he’s no stranger to rock & roll, R&B, and rockabilly, and he readily adapts his rough but expressive voice to his musical surroundings. And though Prine has never scored a major hit of his own, his songs have been recorded by a long list of well-respected artists, including Johnny Cash, Bonnie Raitt, Kris Kristofferson, George Strait, Bette Midler, Paul Westerberg, and Dwight Yoakam.
John Prine was born October 10, 1946, in Maywood, Illinois. Raised by parents firmly rooted in their rural Kentucky background, at age 14 Prine began learning to play the guitar from his older brother while taking inspiration from his grandfather, who had played with Merle Travis. After a two-year tenure in the U.S. Army, Prine became a fixture on the Chicago folk music scene in the late ’60s, befriending another young performer named Steve Goodman.
Prine‘s compositions caught the ear of Kris Kristofferson, who was instrumental in helping him win a recording contract. In 1971, he went to Memphis to record his eponymously titled debut album; though not a commercial success, songs like “Sam Stone,” the harsh tale of a drug-addled Vietnam veteran, won critical approval. Neither 1972’s Diamonds in the Rough nor 1973’s Sweet Revenge fared any better on the charts, but Prine‘s work won great renown among his fellow performers; the Everly Brothers covered his song “Paradise,” while both Bette Midler and Joan Baezoffered renditions of “Hello in There.”
For 1975’s Common Sense, Prine turned to producer Steve Cropper, the highly influential house guitarist for the Stax label; while the album’s sound shocked the folk community with its reliance on husky vocals and booming drums, it served notice that Prine was not an artist whose work could be pigeonholed, and was his only LP to reach the U.S. Top 100. Steve Goodman took over the reins for 1978’s folky Bruised Orange, but on 1979’s Pink Cadillac, Prine took another left turn and recorded an electric rockabilly workout produced at Sun Studios by the label’s legendary founder Sam Phillips, and his son Knox.
Following 1980’s Storm Windows, Prine was dropped by Asylum, and he responded by forming his own label, Oh Boy Records, with the help of longtime manager Al Bunetta. The label’s first release was 1984’s Aimless Love, and under his own imprint, Prine‘s music thrived, as 1986’s country-flavored German Afternoons earned a Grammy nomination in the Contemporary Folk category. After 1988’s John Prine Live, he released 1991’s Grammy-winning The Missing Years; co-produced by Howie Epstein of Tom Petty‘s Heartbreakers, the album featured guest appearances from Bruce Springsteen, Bonnie Raitt, and Tom Petty and proved to be Prine‘s biggest commercial success to date, selling nearly 250,000 copies. After making his film debut in 1992’s John Mellencamp-directed Falling from Grace, Prine returned in 1995 with Lost Dogs and Mixed Blessings, also produced by Epstein, which earned him another Grammy nomination.
In 1998, while Prine was working on an album of male/female country duets, he was diagnosed with squamous cell carcinoma, with the cancer forming on the right side of his neck. Prine underwent surgery and radiation treatment for the cancer, and in 1999 was well enough to complete the album, which was released as In Spite of Ourselves and featured contributions from Emmylou Harris, Lucinda Williams, Trisha Yearwood, Patty Loveless, Connie Smith, and more. In 2000, Prine re-recorded 15 of his best-known songs (partly to give his voice a workout following his treatment, but primarily so Oh Boy would own recordings of his earlier hits) for an album called Souvenirs, originally issued in Germany but later released in the United States. In 2005, he released Fair & Square, a collection of new songs, followed by a concert tour. Two years later, alongside singer and guitarist Mac Wiseman, Prine issued Standard Songs for Average People, a collection of the two musicians’ interpretations of 14 folk and country classics. In Person & on Stage, a collection of performances from various concert tours, appeared in 2010.
In 2016, Prine issued a follow-up to In Spite of Ourselvestitled For Better, or Worse, another set of duet performances of classic country tunes. This time around, Prine‘s vocal partners included Kacey Musgraves, Alison Krauss, Miranda Lambert, Susan Tedeschi, Lee Ann Womack, Kathy Mattea, and Prine‘s frequent collaborator Iris DeMent. Prine teamed up with Nashville producer Dave Cobb to record 2018’s The Tree of Forgiveness, his first set of original songs since 2005; the album included guest appearances from Brandi Carlile, Jason Isbell, and Amanda Shires.