I started listening to John Prine's discography in early October 2020. Prine is one of the most charming musicians I've ever listened to. I recommend listening to any album with a B+ or higher grade and starting with his debut. My personal favorite album is Sweet Revenge.
John Prine (1971): A-
Diamonds in the Rough (1972): B+
Sweet Revenge (1973): A [Originally: A-]
Common Sense (1975): B+
Bruised Orange (1978): B-
Pink Cadillac (1979): C+
Storm Windows (1980): B
Aimless Love (1984): B-
German Afternoons (1986): B
John Prine Live (1988): B
The Missing Years (1991): B
A John Prine Christmas (1994): B+
Lost Dogs and Mixed Blessings (1995): A-
Live on Tour (1997): B
In Spite of Ourselves (1999): B+
Souvenirs (2000): C+
Fair and Square (2005): B+
Standard Songs for Average People (2007): C+
For Better, Or Worse (2016): B
The Tree of Forgiveness (2018): B+
John Prine (1971):
Prine sings like he's a little unsure of himself--I read that Prine himself has a hard time listening to the album because of it. But he's already a intelligent, thoughtful lyricist: "Your Flag Decal Won't Get You into Heaven Anymore" is a critique of those who support veterans but do nothing to oppose the war and even though I don't love the melody, the honest, empathetic lyrics about drug addiction on "Sam Stone" will not be forgotten by anyone who hears them. He's also a confident guitar strummer with a natural knack for melodicism--"Spanish Pipedream" and "Paradise"--which, along with his powerful lyrics, is good because the young and inexperienced voice that Prine occasionally reveals himself to be can ruin an album. Instead, whenever his voice quivers with uncertainty, we get an engrossing, charming, and rare glimpse into the unnerving world of starting in the music business. It humanizes Prine too, who seems like a Bob Dylan you'd could have a beer with. A-
Diamonds in the Rough (1972):
The songwriting isn't as consistently strong as on his debut with "The Late John Garfield Blues" being his first throwaway both musically and lyrically. Prine is still charmingly humorous, his lyrics are still simple and crushing when he wants them to be, and he is still criticizing the US, but the music is stark and melancholy is now his main subject. Though he sings more confidently--which is good because the trick he pulled on his first album only works once--he doesn't always sing with the emotional punch that, say, Tonight's the Night has and that these gloomy lyrics require. The only exception to the last is "Souvenirs," which broadcasts a powerfully visceral feeling of nostalgia. B+
Sweet Revenge (1974):
As much as I enjoy the inexperience which translates to charm on his debut, I'm glad Prine has released an album that's just as excellent (more in fact) by reflecting the maturity and confidence of his singing. The marriage of this and his gift for songwriting leads to his hardest emotionally hitting song yet: "A Good Time," whose focus on everyday life of everyday people is reflected all across the album like on "Grandpa Was a Carpenter" and "The Accident (Things Could Be Worse)." Although the topics on "Christmas in Prison," "Often Is a Word I Seldom Use," and "Dear Abby" could have been on past albums, their lyrics also show a growth in maturity, which fits well with Prine's first plugged-in album and the bad boy cover. More proof he's changed: he got kicked off Noah's ark. A
Common Sense (1975):
Other than "Common Sense," a commentary on America for immigrants, and "Wedding Day in Funeralville," there aren't many points that match Sweet Revenge but this is a consistently good track list. With considerable additions of vocalists and numerous instruments that are sometimes to the slight detriment of the individual songs, the album feels too unfocused to be considered a masterpiece from Prine, but he continues to have considerable charm and he's no less talent now than he was before. B+
Bruised Orange (1978):
It's too bad Phil Spector co-wrote and produced the cheesy "If You Don't Want My Love," which repeats its title about seventy times in case saying it one more time will change her mind. Generally, the nursery rhymes are hit or miss and the recorders, which pop every few songs, serve as a reminder that Prine isn't taking the music all that seriously either. The title track is the only song worth reading the lyrics to and "That the Way the World Goes Round" and "Crooked Piece of Time" have such silly and benign lyrics that I wouldn't have let them slip on a debut, much less this. B-
Pink Cadillac (1979):
You could never guess what might make an album from Dylan or Young bad, but you weren't surprised when they did release an album of poor quality--their personalities made it a given. Prine is different and although I didn't like Bruised Orange that much, it was a predictable and ultimately fine turn. I suppose toothless lyrics to toothless singing is a logical progression, but this comes as a shock. It's not because of the rock'n'roll, which he's dabbled with before to great success, but because his singing is so devoid of charm, gratification, and even artistic integrity. The songwriting is generally fine but most of the guitar solos are too searing to fit the traditional rock'n'roll style. C+
Storm Windows (1980):
Lyrically, most of the songs are a little rough around the edges but it nevertheless feels like a return to the form. Musically, the prominent guitar work from Pink Cadillac continues onto here although, without the album being inspired by 50s rock and roll, it's not nearly as out of place. Prine is still a little lost--just look at the cover--but he's getting pretty close to home. B
Aimless Love (1984):
This is Prine's most focused album since 1978. He's settled comfortably into a maturing voice, highlighted by "Be My Friend Tonight" and "People Puttin' People Down," the latter being his best vocal performance since Common Sense. There's a few lyrics I wish he'd gotten rid of like "The Oldest Baby in the World," but given he wrote similar songs during his peak, even these are more evidence he's on the brink of a comeback. B-
German Afternoons (1986):
A return to his country roots, which is something to be hopeful about, and a successful return at that, which is something to be happy about. Even when his songwriting isn't at its best--“Let's Talk Dirty in Hawaiian" and "Bad Boy"--the fullness of music and his carefree vocals win me over. Also, "Linda Goes to Mars" is the first time in a while a humorous lyric of his has made me smile. B
John Prine Live (1988):
Sometimes his voice quivers too much and on at least two occasions he rushed the songs when he didn't need to it but pretty much every performance is strong--particularly "Angel from Montgomery" with Bonnie Raitt and "Speed of the Sound of Loneliness"--and it includes a stacked setlist. I'm not going to spoil the best story I've ever heard on a live album--go listen to the whole thing yourself. B
The Missing Years (1991):
While this has the best songwriting--both lyrics and melody--from Prine since Common Sense, I'm not a huge fan of the production, which dampens this achievement somewhat by trivializing Prine's brand as a serious songwriter. But I shouldn't complain too much--there's not a bad song except for "The Missing Years," which I don’t enjoy for some reason. B
A John Prine Christmas (1994):
While I don't dislike Christmas music, I'd rather listen to almost anything else. This is a true delight, however, and not just because most of songs are merely Christmas songs because they mention the winter. Prine also doesn't play most of the songs any differently than he would have any other time of the year--another big plus. Although I'm a Christmas music grinch, I like this more than any of his albums since Common Sense. B+
Lost Dogs and Mixed Blessings (1995):
Admittedly, I was concerned about this album when it kicked off "New Train," which is an unmistakable continuation of the production of The Missing Years that I didn't care for much. However, songs like "New Train" grow richer with subsequent listens because Prine's songwriting is at somewhat of a peak, exemplified by the beautifully written "Lake Marie," which is easily among one of his best songs and certainly his best lyric since his first four albums. A-
Live on Tour (1997):
Another excellent live album from our friend John Prine. He's doesn't tell any stories in between the songs, which is a bummer, but he does sing four previously unreleased songs, which is about as good. Check out "Lake Marie" and "If I Could." B
In Spite of Ourselves (1999):
It's easy to forget that Prine, who just got back from throat surgery and whose voice has changed noticeably, himself nails the vocals here when he's surrounded by some of the best female country vocalists of the past thirty years. Part of me wishes that Prine wrote more than one song for this album because "In Spite of Ourselves" is one of his best songs ever--beautiful lyrics, lovely guitar, and a perfect melody. Part of me also wishes Prine performed every duet with Iris DeMont, whose voice I can't get enough of. B+
Souvenirs (2000):
The title track "Souvenirs" is without a doubt a worthwhile and wonderful rendition of his classic 1972 song. However, outside of this, there isn't a single song that's close to as good as the original songs, especially the songs from Sweet Revenge, which remains my favorite album of his. This is his most unessential album yet. C+
Fair and Square (2005):
Despite being quite long and mostly failing to generate truly excellent material, there are very few weak moments on the album. "Some Humans Ain't Human" has classic John Prine humor as well as probably his most political line ever: "[just when] you're feeling your freedom and the world's off your back/Some cowboy from Texas starts his own war in Iraq." B+
Standard Songs for Average People (2007):
Without Prine's own songwriting, I have little interest in this, although it's not terrible. Check out "Blue Eyed Elaine" and "Pistol Packin' Mama." C+
For Better, Or Worse (2016):
The selection of covers as well as the selection of female vocalists is generally worse than on In Spite of Ourselves. It's certainly quite enjoyable throughout, but most likely I'll return to individual songs--"Who's Gonna Take the Garbage Out," "Cold, Cold Heart," "Mr. & Mrs. Used to Be" for instance--instead of the entire album. B
The Tree of Forgiveness (2018):
If you can believe it, Prine exudes more charm here than on any of his other albums. His voice is pretty scratchy, but it only better serves songs like "When I Get to Heaven," which easily stands amongst his best material. Basically, Fair and Square and this are about equal but Prine keeps this one short and sweet. B+
