Between 1971 and 1991 legendary Grammy Award winning songwriter John Prine crafted an impressive body of work consisting of 10 exceptional studio albums. His debut, the self-titled John Prine album, has few equals. Not even Bob Dylan himself can lay claim to such an auspicious beginning. Released when he was just 25 years old the John Prine album alone contains at least a half dozen examples of some of the centuries most poignant and bittersweet contributions to the great American songbook (Illegal Smile, Hello In There, Sam Stone, Paradise, Donald And Lydia, Angel From Montgomery). Unbelievably, two decades later, after a 5 year break between albums Prine, the Cole Porter of Americana country roots folk music, equaled the first in every way with his triumphant return The Missing Years in 1991. His output slowed considerably in the years that followed with only two albums of original material to his credit in the ensuing 14 years (Lost Dogs And Mixed Blessings in 1995 and Fair & Square a decade later in 2005). His latest, The Tree Of Forgiveness, is his first album of original material in 13 years. A ragged old soldier of song, the native of Chicago’s suburbs has survived not one but two bouts of cancer in the last 20 years. Sadly, his most recent battle with lung cancer in 2013 has left his singing voice greatly diminished resulting in Prine sounding like a shell of his former self throughout The Tree Of Forgiveness. Much of Prine’s latest dalliance covers old familiar ground populated by the usual oddball characters and range of topics that have come to be closely associated with his work over the years. Only his third album of original material in 26 years, die hard fans hungry for new material will no doubt eagerly lap up every last drop. First time listeners however would be better served focusing their attention where Prine’s lasting legacy ultimately lies, at the peak of his powers from 1971 through to the early years of the new century; prime Prine.
Rating: 6.5/10
Star Rating: 3/5
2018 Song Of The Day Club Album Review 16/52