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though, to paint myself into a corner and then get out.” The musical arrangements were more complex than they had been in the past, with Prine biographer Eddie
Huffman noting that "Common Sense" used the common I-IV-V chord progression, though Prine "mixed it up with extra chords, as usual, stretching the music to fit the lyrics," while "Saddle in the Rain" "kept his sidemen on their toes, seeming to modulate between D and E minor," and "That Close to You" shifted from A to D in the bridge like a middle-period
292:
In the same essay, Prine reveals that "Saddle In The Rain" is "another song about friendships and relationships, and being let down. Ever since I can remember, when I was a small kid, anytime I had a friend who really let me down, it would affect me. The disappointment was always large with me. So I guess that's why that's a theme I go back to every once in a while." "Saddle In The Rain" is one of only two songs from
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327:, "I was coming of age just as rock and roll was invented" and cites Berry as his favorite because "he told a story in less than three minutes. And he had a syllable for every beat...Some people stretch the words like a mask to fit the melody. Whereas guys who are really good lyricists, have a meter so that the melody is almost already there."
303:
Like “Mexican Home” on his previous album, “He Was in Heaven Before He Died” was partially inspired by Prine's father, who died in 1971, and Prine later reflected on the song's opening line about “a rainbow of babies draped over the graveyard”: “Where do you go from there? I consider it a challenge,
291:
anthology, Prine explains the idea behind the title track: "It's a song about the
American dream only existing in the hearts and minds of immigrants until they live here long enough for democracy to make them cold, cynical, and indifferent, like all us native Americans. It don't make much sense."
424:
was more enthusiastic: "Prine customarily strives for coherence, but this time he has purposely (and painfully) abjured it. He seems to regret this at one point--during a more or less cogent lament for a dead friend — but the decision was obviously unavoidable. It results in the most genuinely
410:, critic Jim Smith says of the album: "Unfortunately, the cloying production overpowers the lyrics and relegates them to an almost cursory notion, and it doesn't help that Prine hasn't come up with much new material of note. His wit is still sharp, but it no longer shines; consequently,
432:
it seemed like all there was to write about was what was going on on the road. Which was nothin'. The whole initial rush had left me...I had to take a good look at everything."
29:
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391:
428:
The chilly critical response shook Prine and marked the end of his relationship with
Atlantic Records, with the singer admitting to David Fricke in 1993: "After
1182:
255:, the singer was “perfectly content with the record he cut in Memphis. But Cropper was moving into the rock ‘n’ roll big leagues as a producer, working on
235:
with
Cropper, plays on "Forbidden Jimmy" and "Saddle in the Rain". The album marked the first time Prine recorded an album on Atlantic without producer
259:'s next record around the same time. He decided Prine's album needed fleshing out. Despite the singer's reservations, Cropper took the tapes to
1175:
247:"was a really good record, but I didn't want to keep making the same album over and over, do another 'Dear Abby.' I was really reaching on
1214:
275:, Prine wrote that he began writing "Come Back To Us Barbara Lewis Hare Krishna Beauregard" "in the summer of '73 during a tour of
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315:'s "You Never Can Tell". Although primarily known as a folk singer-songwriter, Prine was just as captivated by
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251:, trying to do some different things musically." According to Eddie Huffman's book
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has the unfortunate distinction of being the worst of Prine's
Atlantic albums."
311:
As with his previous two LPs, Prine ends the album with a cover song, this time
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283:. What I had in mind was this girl who left home, did drugs, did
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and added the kinds of overdubs Prine said he wanted to avoid...”
305:
239:, and critics took note the change in the Prine sound. In the
450:"Come Back to Us Barbara Lewis Hare Krishna Beauregard" – 3:17
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36:
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to appear on the 1976 Atlantic greatest hits compilation
1183:
Broken Hearts & Dirty
Windows: Songs of John Prine
813:
Christgau's Record Guide: Rock Albums of the
Seventies
287:, did husbands, and ended up doing diddley." In the
495:
James H. Brown Jr. (James Hooker) - piano, keyboards
1134:"Your Flag Decal Won't Get You Into Heaven Anymore"
440:All songs written by John Prine, except as shown.
1196:
359:
860:
1176:John Prine – Live from Sessions at West 54th
549:Alan Hand – piano, keyboards, backing vocals
319:in his youth as he was by American folk and
600:– vocals, harmony vocals, gut-string guitar
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853:
27:
802:
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729:
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679:Carl Marsh – strings, string arrangements
211:. The album features contributions from
471:"He Was in Heaven Before He Died" – 2:12
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425:miserable album I've heard in years."
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498:Peter Bunetta – drums, backing vocals
340:
1097:Great Days: The John Prine Anthology
798:
796:
765:
763:
492:John Prine – vocals, acoustic guitar
453:"Wedding Day in Funeralville" – 2:25
406:received mixed reviews. Writing for
241:Great Days: The John Prine Anthology
1089:Prime Prine: The Best of John Prine
649:
361:
300:(the other being "Barbara Lewis").
271:For the sleeve to his 1988 release
154:Prime Prine: The Best of John Prine
16:1975 studio album by John Prine
13:
683:
14:
1231:
1011:Standard Songs for Average People
793:
769:
760:
573:Brooks Hunnicutt – backing vocals
507:Mailto Correa – percussion, conga
1215:Albums produced by Steve Cropper
1153:Speed of the Sound of Loneliness
837:– via robertchristgau.com.
435:
380:
375:
370:
365:
360:
739:John Prine: In Spite of Himself
658:Ron Capone – engineer, remixing
567:– electric guitar, slide guitar
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253:John Prine: In Spite of Himself
874:
1:
979:Lost Dogs and Mixed Blessings
717:
670:Stephen Innocenzi – mastering
661:Richard Rosebrough – engineer
588:Gwen Edwards – backing vocals
570:Greg Jackson – backing vocals
501:Paul Cannon – electric guitar
710:
603:Jim Rothermel – vocals, wind
519:Pat Coulter – backing vocals
486:
330:
187:
7:
522:Dan Cronin – backing vocals
516:Al Bunetta – backing vocals
465:"Saddle in the Rain" – 3:30
459:"My Own Best Friend" – 3:11
243:liner notes, Prine insists
10:
1236:
676:Bob Defrin – art direction
468:"That Close to You" – 2:45
1162:
1107:
1080:
1041:
882:
744:University of Texas Press
348:
345:
129:
121:
109:
97:
77:
71:(Los Angeles, California)
56:
48:
35:
26:
21:
1065:In Person & On Stage
808:"Consumer Guide '70s: P"
655:Steve Cropper – producer
540:– guitar, backing vocals
462:"Forbidden Jimmy" – 2:52
392:Christgau's Record Guide
323:, telling Paul Zollo of
1220:Atlantic Records albums
1031:The Tree of Forgiveness
736:Huffman, Eddie (2015).
207:and Larabee Studios in
173:is the fourth album by
971:A John Prine Christmas
558:J. Russell – keyboards
546:– guitar, steel guitar
180:singer and songwriter
1139:Angel from Montgomery
987:In Spite of Ourselves
899:Diamonds in the Rough
642:James Mitchell – horn
615:Jack Hale, Sr. – horn
447:"Common Sense" – 3:07
281:Ramblin' Jack Elliott
1146:The Great Compromise
1023:For Better, or Worse
818:Ticknor & Fields
673:Paula Scher – design
612:Lewis Collins – horn
336:Professional ratings
233:Booker T and the MGs
199:and was recorded at
184:, released in 1975.
65:(Memphis, Tennessee)
645:Dave Prine – guitar
504:Tommy Cathey – bass
444:"Middle Man" – 2:29
337:
1081:Compilation albums
746:. pp. 94–95.
561:Steve Spear – bass
476:You Never Can Tell
335:
229:Donald "Duck" Dunn
1210:John Prine albums
1192:
1191:
1003:Fair & Square
963:The Missing Years
955:German Afternoons
804:Christgau, Robert
715:
714:
528:– electric guitar
456:"Way Down" – 2:21
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650:Production notes
594:– backing vocals
585:– backing vocals
579:– backing vocals
513:– backing vocals
422:Robert Christgau
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231:, who played in
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1050:John Prine Live
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684:Chart positions
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553:Larry Muhoberac
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279:ski towns with
273:John Prine Live
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1170:Oh Boy Records
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1123:Hello in There
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511:Jackson Browne
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221:Jackson Browne
201:Ardent Studios
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1071:September '78
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939:Storm Windows
936:
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931:Pink Cadillac
928:
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924:
920:
917:
916:
912:
909:
908:
907:Sweet Revenge
904:
901:
900:
896:
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888:
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883:Studio albums
881:
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753:9780292748224
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669:
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665:Barry Rudolph
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644:
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638:
637:Chuck Findley
635:
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619:Wayne Jackson
617:
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583:Herb Pedersen
581:
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560:
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538:Steve Goodman
536:
533:
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526:Steve Cropper
524:
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436:Track listing
433:
431:
426:
423:
419:
418:
417:Village Voice
413:
409:
405:
396:
394:
393:
389:
388:
358:
356:
353:
352:
344:
341:Review scores
339:
328:
326:
322:
321:country music
318:
317:rock and roll
314:
309:
307:
301:
299:
295:
290:
286:
282:
278:
274:
264:
262:
258:
254:
250:
246:
245:Sweet Revenge
242:
238:
234:
230:
226:
225:Steve Goodman
222:
218:
214:
210:
206:
202:
198:
197:Steve Cropper
194:
185:
183:
179:
176:
172:
171:
156:
155:
151:
147:
146:
142:
138:
137:
136:Sweet Revenge
133:
132:
128:
124:
120:
117:
116:Steve Cropper
114:
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105:
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96:
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67:
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61:
60:
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55:
51:
47:
43:
38:
34:
30:
25:
20:
1181:
1174:
1095:
1087:
1070:
1064:
1058:Live on Tour
1056:
1048:
1029:
1021:
1009:
1001:
993:
985:
977:
969:
961:
953:
947:Aimless Love
945:
937:
929:
921:
915:Common Sense
914:
913:
905:
897:
889:
831:. Retrieved
811:
783:. Retrieved
776:> Review"
774:Common Sense
773:
770:Smith, Jim.
738:
705:
625:Jackie Kelso
598:Bonnie Raitt
439:
430:Common Sense
429:
427:
415:
412:Common Sense
411:
404:Common Sense
403:
402:
390:
325:Bluerailroad
324:
310:
302:
297:
294:Common Sense
293:
288:
272:
270:
267:Compositions
252:
249:Common Sense
248:
244:
240:
213:Bonnie Raitt
193:Common Sense
192:
191:
170:Common Sense
169:
168:
167:
152:
145:Common Sense
144:
143:
134:
37:Studio album
22:Common Sense
1205:1975 albums
1042:Live albums
1016:Mac Wiseman
708:Pop Albums
631:Andrew Love
544:Leo LeBlanc
532:Donald Dunn
480:Chuck Berry
313:Chuck Berry
298:Prime Prine
261:Los Angeles
257:Rod Stewart
237:Arif Mardin
227:. Bassist
209:Los Angeles
88:alt-country
1199:Categories
891:John Prine
876:John Prine
827:089919026X
718:References
667:– engineer
592:JD Souther
577:Glenn Frey
289:Great Days
217:Glenn Frey
182:John Prine
125:chronology
123:John Prine
42:John Prine
1116:Sam Stone
995:Souvenirs
833:March 10,
706:Billboard
697:Position
565:Rick Vito
487:Personnel
331:Reception
188:Recording
92:Americana
1129:Paradise
1018:) (2007)
806:(1981).
780:Allmusic
607:Jim Horn
482:) – 3:17
408:Allmusic
355:Allmusic
285:religion
277:Colorado
175:American
111:Producer
104:Atlantic
69:Larrabee
57:Recorded
49:Released
39: by
1163:Related
785:July 9,
555:– piano
420:critic
306:Beatles
205:Memphis
158:(1976)
149:(1975)
140:(1973)
1100:(1993)
1092:(1976)
1073:(2015)
1067:(2010)
1061:(1997)
1053:(1988)
1034:(2018)
1026:(2016)
1014:(with
1006:(2005)
998:(2000)
990:(1999)
982:(1995)
974:(1994)
966:(1991)
958:(1986)
950:(1984)
942:(1980)
934:(1979)
926:(1978)
918:(1975)
910:(1973)
902:(1972)
894:(1971)
824:
750:
694:Chart
639:– horn
633:– horn
627:– horn
621:– horn
609:– horn
534:– bass
349:Rating
346:Source
308:song.
63:Ardent
1108:Songs
702:1975
691:Year
99:Label
79:Genre
835:2019
822:ISBN
787:2011
748:ISBN
223:and
178:folk
84:Folk
52:1975
711:66
478:" (
203:in
1201::
820:.
816:.
810:.
795:^
778:.
762:^
742:.
726:^
397:A−
219:,
215:,
90:,
86:,
1155:"
1151:"
1148:"
1144:"
1141:"
1137:"
1131:"
1127:"
1121:"
1118:"
1114:"
868:e
861:t
854:v
789:.
772:"
756:.
474:"
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