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Country - Released July 24, 2015 | Rhino Atlantic

Hi-Res Distinctions The Qobuz Ideal Discography
A revelation upon its release, this album is now a collection of standards: "Illegal Smile," "Hello in There," "Sam Stone," "Donald and Lydia," and, of course, "Angel from Montgomery." Prine's music, a mixture of folk, rock, and country, is deceptively simple, like his pointed lyrics, and his easy vocal style adds a humorous edge that makes otherwise funny jokes downright hilarious. © William Ruhlmann /TiVo
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Country - Released April 13, 2018 | Oh Boy Records

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Seeing as how Townes Van Zandt and Guy Clark aren't with us any more, we'd best make the most of our remaining time with John Prine! A great songwriter who is little-known this side of the Atlantic, but adored by a cult following back home, Prine started as a protégé of Kris Kristofferson, and is anything but a sub-Dylan. Prine has even become known as one of the most underrated portraitists of his generation. And while his wry humour always protects him from any temptation towards soppiness, he also knows how to touch the heart. With Prine, above all, anti-establishment spirit is never far from the surface. It's rare to see caustic wit and pure emotion blended together with such talent… After a superb record full of mixed duets with Kacey Musgraves, Lee Ann Womack, Alison Krauss, Susan Tedeschi, Iris DeMent, Amanda Shires and Miranda Lambert, John Prine has brought out his first record in 13 years made up entirely of new songs. Produced with a certain reserve and sparseness by the now much-sought-after Dave Cobb, The Tree Of Forgiveness brings in few fellow writers (Dan Auerbach of the Black Keys, Roger Cook, Keith Sykes and Phil Spector) and a few fellow performers (Brandi Carlile, Jason Isbell and Amanda Shires). At 71 years of age, the songwriter from Chicago has a voice to match his age. It has been ravaged by sickness and cigarettes, but its sound perfectly matches what he is singing. More a storyteller than an entertainer, Prine has hit the right balance between rather original mad old man and the sage who regards the world with a certain detachment and a good dose of humour. The work also speaks of death (over the last twenty years his cancer has come and gone) and his loves... Even if we have come a long way from his masterpieces of the 1970s (the self-titled John Prine but also Sweet Revenge and Bruised Orange), this 2018 work is still a lot of fun. © Marc Zisman/Qobuz
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Folk/Americana - Released June 4, 1999 | Oh Boy Records

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Progressive Rock - Released July 29, 2008 | Rhino - Elektra

Despite some brilliant songs, Prine's followup albums to his stunning debut were uneven until this, his fifth, produced by his friend Steve Goodman. Here, Prine's always finely-tuned sense of absurdity once again collides with his ability to depict pain sympathetically for a whole album, typified by "That's the Way That the World Goes 'Round," a neat statement of his philosophy, and "Sabu Visits the Twin Cities Alone," perhaps the best depiction ever written of life on the road in the entertainment business. © William Ruhlmann /TiVo
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Rock - Released June 30, 1975 | Atlantic Records

Prine's third album is louder and more jaded than his first efforts, a set of rowdy country-rockers that tear along at a reckless speed. Sympathy takes a back seat to cynicism here, and while that strips the record of some depth, Prine's irreverence is consistently thrilling, making this one of his best. It's not as uniformly brilliant as the debut, but it did steer his music in a new direction -- where that record is often hallmarked for its rich sensitivity, Sweet Revenge established cynicism as Prine's dominant voice once and for all. Although he could still crank out a great ballad when he felt like it, from now on his records largely followed a more conventional rock & roll muse, a choice that eventually gained him more mainstream attention. "Please Don't Bury Me," "Christmas in Prison," "Blue Umbrella," and "A Good Time" are a few of the jewels on this one. © Jim Smith /TiVo
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Country - Released September 3, 1991 | Oh Boy Records

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Country - Released November 29, 1979 | Rhino - Elektra

John Prine went to Sam Phillips' studio in Memphis to make his sixth album, Pink Cadillac, and got some of the Sun Records sound of 1950s rockabilly on a record produced by Phillips' sons Knox and Jerry. (Sam produced two of the tracks himself.) Slapback bass here, a Bo Diddley beat there, and an overall loose feel characterized music that may have been more fun to make than it is to listen to, even though it's quite entertaining. Prine wrote only five of the ten songs, however, and even though the covers were of high caliber -- notably Roly Salley's "Killing the Blues" and Arthur Gunter's "Baby Let's Play House," a song Elvis Presley did at Sun -- Pink Cadillac was a good idea that went slightly awry in the execution. If Prine had had the songs as well as the studio, it would have been among his best. © William Ruhlmann /TiVo
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Rock - Released December 9, 1981 | Atlantic Records

John Prine's second album was a cut below his first, only because the debut was a classic and the followup was merely terrific. "Sour Grapes" showed Prine's cracked sense of humor and "Souvenirs" his sentiment. Even if it was the second rank of his writing, Diamonds in the Rough demonstrated that Prine had an enduring talent that wasn't exhausted by one great album. © William Ruhlmann /TiVo
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Country - Released January 1, 1986 | Oh Boy Records

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Country - Released April 4, 1995 | Oh Boy Records

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Rock - Released December 27, 1977 | Atlantic Records

A revelation upon its release, this album is now a collection of standards: "Illegal Smile," "Hello in There," "Sam Stone," "Donald and Lydia," and, of course, "Angel from Montgomery." Prine's music, a mixture of folk, rock, and country, is deceptively simple, like his pointed lyrics, and his easy vocal style adds a humorous edge that makes otherwise funny jokes downright hilarious. © William Ruhlmann /TiVo
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Rock - Released February 20, 1975 | Atlantic Records

Folksinger John Prine sought to augment his spare accompaniment with his fourth release, COMMON SENSE. He reigned in the formidable Steve Cropper (of Stax-Volt fame) to sit in the producer's chair and the result was a noted departure from the minimal sound of his prior releases. Though the sweetened up sound offended more than a few purists at the time, any keen ear can detect that Prine has lost none of his flair. The title carries all the clever turns of phrase and imaginative wordplay fans have come to expect from Prine. Very few writers could pull off a song about Americans' cynicism and indifference towards their own country without actually sounding cynical themselves. Prine does just that before launching into the freewheeling "Come Back to Us Barbara Lewis Hare Krishna Beauregard," a hilarious tale of a hippie's fruitless search for nirvana. © TiVo
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Country - Released September 30, 2016 | Oh Boy Records

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Rock - Released November 30, 1976 | Atlantic Records

Although later superseded by Rhino's Great Days anthology, Atlantic Records' compilation of John Prine's first four albums was good for its time, and became his only gold record. © William Ruhlmann /TiVo
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Country - Released April 22, 2016 | Oh Boy Records

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Country - Released October 30, 1980 | Rhino - Elektra

Released in 1980 by Asylum, Storm Windows would be John Prine's last attempt to record on a major label. One reviewer referred to the album as Prine's "best-sounding record," but one could argue that the production removes a great deal of the singer/songwriter's rough charm. While earlier albums like Diamonds in the Rough (1972) had seemed almost non-produced, Bruised Orange (1978) found the perfect balance between gruff and professional. Storm Windows isn't a bad album, but the songs and "studio musician" production lack the bite of Bruised Orange. The five-minute title track digs deepest, with Prine offering lovely lines like "And down the beach the sandman sleeps/Time don't fly it bounds and leaps." One has to wonder, however, if lyrics like "The spirits were high, til' the well went dry" are autobiographical. Both "Storm Windows" and "Sleepy Eyed Boy" hint at disillusionment, as though an older Prine is looking back at his younger self. In this way, Storm Windows seems more confessional than early efforts like Sweet Revenge (1973). Other catchy pieces like "Shop Talk" and "Just Wanna Be With You" rock harder, but they're more or less throwaways. While Storm Windows captures Prine on autopilot, fans will enjoy listening to his reflections at this transitional stage. © Ronnie D. Lankford Jr. /TiVo
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Country - Released May 25, 2010 | Oh Boy Records

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Country - Released October 31, 2000 | Oh Boy Records

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Country - Released May 9, 1989 | Oh Boy Records

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Country - Released April 22, 2016 | Oh Boy Records