Like many beloved artists from the 60s and 70s, John Prine's roots can be traced back to the folk revival, leading back to the tree of Chicago. Prine quit his job as a mailman to become a club performer, and fellow songwriter Steve Goodman is often credited with giving John his break - it was Goodman who hounded the legendary Kris Kristofferson to see Prine at a club, which directly led to Prine's debut album. Painted in hues of country, Prine's eponymous debut album is a solid introduction to the singer's career, showcasing a certain satirical sense of lyricism coupled with vocals that are often fairly charming. While I think moments are definitely a bit too twangy for my liking, I'm still decently pleased with most of the stuff showcased on Prine's first album.
Despite Prine often having a charming voice, I also think it's one of the biggest criticisms I can pin on this album - sure, it may be nice and suited for certain songs, but there are also moments where I feel it has far too much of an artificial-sounding twang to me. It was one of the first things I noticed when listening to this album, straight out the gate with "Illegal Smile." Now, generally, I think it adds to the quality of certain songs like "Hello in There" or the almost Dylanesque "Pretty Good," but I also feel that sometimes it can directly hinder the mood, like on "Donald and Lydia," which, while good fun, kind of falls flat. It took me a few listens to get adjusted to his voice, because at first I really didn't like it because of the twang - by the time I heard "Hello in There" the third time, it finally began to click. I also think that sometimes Prine's just a little too goofy or sarcastic for his own good, even if it comes from a good place. The biggest culprit in my mind is "Your Flag Decal Won't Get You Into Heaven Anymore," which comes from a meaningful place, but I think it's just a bit too silly.
Nevertheless, Prine's strengths show as a songwriter throughout - he has a comedic streak through him, but these sometimes sarcastic lyrics are under-penned by a genuine sadness. "Sam Stone" is one of the most serious songs on the album, telling the story of a veteran with a Purple Heart who becomes addicted to morphine before dying. It's somewhat intense compared to the rest of the album, but it's a real tune - it helps that Prine's earnest singing only makes the song greater here. One of the shining moments on this album, "Hello In There," is a heartfelt tribute to older people, again made all the better through Prine's vocal performance. Of course, amidst all the serious moments, Prine knows how to have some fun, as seen on the closer "Flashback Blues" where John sings and plays in a much more upbeat style than pretty much the rest of the album.
I'm a pretty picky guy when it comes to country anything, but John Prine is alright. Throughout the debut, Prine gifts us with a handful of tunes; some meaningful, some goofy, but all of them sung with a certain warmth and heartfelt quality that sells every word he says. While sometimes his leanings into country kneecap certain moments, Prine's meshing of country and folk gives us an album that I'd liken to Nashville Skyline-era Dylan, but somehow even more truthfully sung. It's a charming album, no doubt, and one that undoubtedly contributes to his legacy.
RATING: ✯✯✯✯✯✯✯✯✯✯
Listen to John Prine.
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