Prine is described as surrealistic and/or political even though the passion of his literalness is matched only by that of his detachment: inferential leaps and tall songs do not a dreamscape make, and Prine offers neither program nor protest.
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Not as rich as the debut, but more artlessly and confidently sung-the gruff monotone avoids melodrama in favor of Prine's own version of good-old-boy, adding a muscular good humor to throwaway gems like "Frying Pan" and "Yes I Guess They Ought to Name a Drink After You." Plus several decent lyrics about women, the Jesus song of the year, and a Vietnam tribute dedicated to Henry Clay, who helped start the (first) American Civil War.
Anyway, the lyrics are worth accompanying-not the literary corn of the absurdly overpraised "Sam Stone," but the cross-generational empathy of "Hello in There" and "Angel from Montgomery," the heartland hippieism of "Illegal Smile" and "Spanish Pipedream." And Arif Mardin hooks up "Pretty Good" pretty good. But the homespun sarcasm of singing that comes on as tuneless as the tunes themselves soon reveals itself as an authentic, rather catchy extension of Nashville and Appalachia-and then so do the tunes, and the riffs, and the rhythms. You suspect at first that these standard riffs and reliable rhythms are designed to support the lyrics rather than accompany them. Great Days: The John Prine Anthology A.
Prime Prine: The Best of John Prine B.
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