Fair & Square
Fair & Square is the fifteenth studio album by American folk singer-songwriter John Prine, released on April 26, 2005, through his independent label Oh Boy Records.[1] The record, Prine's first full-length release in nearly a decade, features 14 tracks blending original compositions with covers, clocking in at over 62 minutes, and was produced at studios including the Ryman Auditorium in Nashville.[2] It earned widespread acclaim, culminating in a Grammy Award for Best Contemporary Folk Album at the 48th Annual Grammy Awards in 2006.[3] The album showcases Prine's signature wry humor, compassionate storytelling, and sharp social observations, addressing themes of love, mortality, family, and political discontent—such as in the pointed critique "Some Humans Ain't Human," aimed at the George W. Bush administration.[4] Critics praised its late-career vitality, with Pitchfork awarding it an 8.1 out of 10 for balancing ebullient optimism with underdog rage, while AllMusic highlighted its folk-rock accessibility and emotional depth.[4][2] Standout tracks include the upbeat opener "Glory of True Love," the comedic character sketch "Crazy as a Loon," and the poignant cover of Blaze Foley's "Clay Pigeons," which underscores Prine's interpretive prowess.[4] Originally issued on CD, Fair & Square was rereleased as a double LP in 2007 with four bonus tracks—"Carousel of Love," "That's Alright by Me," "That's How Every Empire Falls," and "Dual Custody"—expanding its reach to vinyl enthusiasts.[5] A remastered vinyl edition followed in 2021, produced at Third Man Record Pressing, further cementing its legacy amid renewed interest in Prine's catalog after his death in 2020.[6] The album's enduring appeal lies in its modest production and Prine's unpretentious voice, making it a cornerstone of his discography that revitalized his career in the mid-2000s.[4]Background
John Prine's Career Context
John Prine emerged as a prominent figure in the American folk music scene with the release of his self-titled debut album in 1971 on Atlantic Records, which featured poignant tracks like "Sam Stone," a harrowing narrative about a Vietnam veteran's struggles with addiction and poverty.[7][8] The album, praised for its vivid storytelling and compassionate portrayal of everyday hardships, quickly established Prine as a songwriter's songwriter, drawing early acclaim from critics such as Roger Ebert, who highlighted his talent in a 1970 review.[7] During the 1970s, Prine rose to fame in the Chicago folk circuit, where he performed alongside and garnered support from luminaries like Kris Kristofferson, with whom he toured extensively and who championed his work to broader audiences.[9] Hits such as "Sam Stone" and "Paradise" resonated widely, with the former later covered by artists including Johnny Cash, solidifying Prine's reputation for blending humor, melancholy, and social observation in his songwriting.[7][10] The 1980s and 1990s brought professional challenges for Prine, including fluctuating commercial success after his initial major-label stint, prompting him to seek greater artistic autonomy. In 1981, he co-founded the independent label Oh Boy Records in Nashville with manager Al Bunetta and associate Dan Einstein, becoming one of the earliest artist-run imprints and releasing his subsequent albums to maintain control over his output.[11][12] This period saw continued releases like Aimless Love (1984) and The Missing Years (1991), but Prine's career faced a major setback in early 1998 when he was diagnosed with squamous cell carcinoma in his neck, requiring surgery to remove the tumor and six weeks of radiation therapy.[13][14] Following his recovery, Prine resumed recording with In Spite of Ourselves (1999), a collection of covers featuring duets with female singers that reflected his humorous and relational style. His 2000 album Souvenirs, released on Oh Boy Records, featured fresh studio performances of his classic songs, underscoring his enduring personal and observational approach.[7][15] These projects highlighted Prine's maturation as an artist, revisiting and expanding material from his catalog with a seasoned perspective shaped by decades of life's ups and downs.[16]Album Conception and Themes
The conception of Fair & Square took shape between 2002 and 2004, as John Prine drew from personal reflections on life and relationships following his 1998 battle with squamous cell cancer of the neck, which had profoundly altered his voice through radiation treatment and inspired a renewed focus on mortality and human connections.[4][17] This period marked a contemplative phase for Prine, who had released two albums since his recovery but approached this project with an emphasis on distilling complex emotions into accessible narratives, culminating in the album's 2005 release on his Oh Boy Records label.[18] At its core, Fair & Square explores the glory of true love amid everyday absurdities, sharp critiques of inhumanity—as exemplified by the track "Some Humans Ain't Human," a pointed commentary on greed and political indifference—and nostalgic Americana rooted in personal anecdotes from family life and small-town experiences.[4][17] These themes weave a tapestry of wry compassion and underdog resilience, balancing humor with poignant observations on loss and human quirks, while avoiding overt sentimentality to highlight the resilience found in ordinary moments.[4] Prine's songwriting for the album leaned heavily on collaborations, particularly with longtime friends Roger Cook and Pat McLaughlin, whom he credited for sparking creativity through relaxed, enjoyable sessions that aligned with his growing preference for co-writing in this stage of his career.[17] For instance, Prine and McLaughlin established a routine of weekly writing meetings, producing songs like "Crazy as a Loon" and "Taking a Walk" through organic exchanges that emphasized fun and spontaneity over forced composition.[17][4] The album's title, Fair & Square, encapsulates Prine's commitment to honest, straightforward storytelling, employing plainspoken language to convey life's solemnity and silliness without exaggeration or evasion.[19][4] This approach mirrors the album's overall ethos, where lyrics serve as unvarnished reflections of personal and societal truths, much like a fair deal in the game's terms.[17]Production
Recording Sessions
The recording sessions for John Prine's Fair & Square took place over approximately two years in the early 2000s at multiple Nashville studios including The Butcher Shoppe, Seventeen Grand Recording, and Minutia. This extended timeline reflected a deliberate, unhurried approach to capturing the album's intimate folk sound, with Prine serving as co-producer alongside engineer Gary Paczosa, marking his first time in that role. The sessions emphasized live band performances to achieve an organic feel, allowing musicians to play together in the same room and incorporating natural room ambiance and minor bleed between tracks for authenticity.[20][17] Delays in the recording process were influenced by Prine's ongoing recovery from neck cancer surgery and radiation therapy in 1998, which had left him cancer-free by the early 2000s but required time to regain vocal strength—his voice notably dropped an octave post-treatment, necessitating adjustments in pitch during tracking. Additionally, Prine's active touring schedule contributed to a piecemeal workflow, with tracks recorded in intermittent bursts rather than a continuous block, enabling flexibility but extending the overall production. Paczosa handled engineering and mixing duties, focusing on minimalistic arrangements that prioritized Prine's lyrics and storytelling over elaborate production.[21][17][22] The sonic choices centered on acoustic instruments such as guitars, banjo, and fiddle, with sparse instrumentation and subtle dynamics to create an atmosphere of understated warmth. This approach evoked a sense of "quiet afternoon" intimacy, as described in contemporary reviews, allowing the album's themes of everyday life and reflection to resonate without distraction. One track, "Other Side of Town," was notably captured live at the Ryman Auditorium on October 16, 2004, adding a raw, performance-like energy to the collection.[20]Key Personnel
John Prine served as the lead vocalist, acoustic and electric guitarist, and primary songwriter for Fair & Square, contributing original compositions to all tracks and shaping the album's introspective folk-country sound through his signature wry lyricism and rhythmic fingerpicking.[23] The album was co-produced by Prine and Gary Paczosa, with Paczosa also handling recording and mixing duties at studios including The Butcher Shoppe and Minutia, resulting in a warm, organic production that emphasized Prine's raw vocal delivery and the band's acoustic textures.[23] Additional engineering was provided by Brad Jones, alongside assistants Thomas Johnson and Brandon Bell, ensuring polished yet intimate sonic clarity.[23] The core backing band featured Jason Wilber on electric and acoustic guitars, slide guitar, and harmonica, delivering versatile leads and harmonies that added emotional depth and subtle blues influences across multiple tracks; Dave Jacques on bass, providing steady rhythmic foundation; Paul Griffith on drums and percussion for select songs, contributing to the album's laid-back grooves; Phil Parlapiano on accordion, piano, and organ, infusing folk authenticity and melodic swells; and Pat McLaughlin on mandolin, electric and rhythm guitars, and harmony vocals, enhancing the rustic ensemble feel.[23] Notable guests included Shawn Camp on lead guitars for several tracks, bolstering the country-rock edges; Dan Dugmore on steel guitar, evoking classic Nashville twang; Kenny Malone on percussion for atmospheric touches; and John Wilkes Booth on mandolin solo for the track "Safety Joe," adding a playful folk flourish. Harmony and backing vocals came from Mindy Smith on multiple songs, offering ethereal country harmonies, while Alison Krauss provided fiddle and vocals on tracks like "When I Get to Heaven," and Dan Tyminski contributed baritone harmonies, both elevating the album's choral layers with bluegrass precision; Jerry Douglas added lap steel guitar, further enriching the pedal steel-like resonances.[23]Musical Content
Style and Influences
Fair & Square exemplifies the country folk and Americana genres, deeply rooted in the 1970s singer-songwriter traditions that defined John Prine's early career.[4][24] The album's sound draws from folk storytelling and character-driven narratives, incorporating blues elements and occasional country flourishes, such as bottleneck slide guitar reminiscent of Willie Nelson's style.[25] This approach aligns with Prine's longstanding influences, including Bob Dylan's winsome domesticity and thematic depth in albums like New Morning and Time Out of Mind, as well as Woody Guthrie's folk delivery in capturing everyday human experiences.[4][25] The production, helmed by Gary Paczosa, emphasizes an organic, acoustic-driven intimacy that prioritizes Prine's vocal clarity, evoking the sparse arrangements of Nick Drake's collaborations with Joe Boyd.[4][24] Featuring a full band with contributions from Nashville session players like Jerry Douglas on Dobro and Dan Tyminski on vocals, the arrangements blend peppy ditties, slow waltzes, and blues-leaning tracks while maintaining a warm, live feel—contrasting the denser, more polished production of Prine's 1990s albums like Lost Dogs and Mixed Blessings.[24][25] This shift highlights a return to raw emotional delivery over commercial pop-country sheen, underscoring Prine's resilience following his 1990s battle with squamous cell cancer.[25] In evolution from Prine's 1971 self-titled debut, Fair & Square presents a more introspective and mature perspective, blending his signature humor with melancholy in late-career reflections on love, loss, and human quirks.[4][25] The album's contemporary folk sensibility also nods to modern Americana currents, incorporating covers like Blaze Foley's "Clay Pigeons" and the Carter Family's "Bear Creek Blues" to bridge traditional roots with indie-folk influences.[24] This maturation amplifies Prine's role as a "songwriter's songwriter," praised by figures like Dylan and Johnny Cash for his narrative craft.[25]Track Analysis
"Fair & Square" opens with "Glory of True Love," a co-written track with Roger Cook that celebrates the enduring power of romantic and spiritual bonds through an upbeat tempo and driving rhythm, evoking a sense of deliverance with lyrics like "You can climb the highest mountain / Touch the moon and stars above / But Old Faithful’s just a fountain / Compared to the glory of true love."[26][4] The album's lengthiest song, "Some Humans Ain't Human" at 7:03, delivers a poignant critique of societal indifference and political hypocrisy, particularly targeting the George W. Bush administration, with sharp lines such as "They screw you when you're sleeping / They try to screw you blind / Some humans ain’t human / Some humans ain’t kind."[26][4] In contrast, "Crazy as a Loon," co-written with Pat McLaughlin and running 5:03, offers a humorous exploration of eccentricity and personal folly, highlighting Prine's signature wit via simple acoustic guitar riffs and a narrative of a restless wanderer unable to outrun his inner turmoil.[26][4] The album's sequencing creates a deliberate emotional arc, beginning on an optimistic note with tracks like the ebullient opener and the playful "Crazy as a Loon," transitioning into more reflective and introspective pieces amid themes of domestic life and mortality, before concluding on hopeful, contemplative tones in songs such as "Safety Joe," "Bear Creek Blues," and "Radio Show."[4] At 62 minutes and 9 seconds for its standard 14-track edition, "Fair & Square" stands as the longest runtime in John Prine's studio discography up to that point.[2]Release and Commercial Performance
Initial Release Details
Fair & Square was released on April 26, 2005, by the independent label Oh Boy Records, marking John Prine's first album of original material in ten years.[2][27] The initial format was a compact disc containing 14 tracks, presented in a digipak-style case.[23] Promotion for the album was constrained by the resources of the small independent label, relying primarily on targeted radio airplay on Americana and folk stations, such as an NPR World Cafe session in July 2005 where Prine performed and discussed the record.[18] A key element of the rollout was Prine's extensive live touring schedule, which began on April 8, 2005, in Asheville, North Carolina, and continued through May with plans for summer extensions, featuring opening acts like Keb' Mo' and Leon Redbone on select dates to showcase both classic hits and new songs from the album.[28] The album's packaging featured simple artwork depicting Prine in a contemplative pose, accompanied by a 12-page booklet insert with credits, lyrics, and photos. Liner notes were provided by the artist, offering personal insights into the songs alongside production details, including recording locations like The Butcher Shoppe and Seventeen Grand Recording.[23][29] Distribution was centered on the United States market through Oh Boy Records' network, with limited international availability via specialty music retailers and online outlets catering to folk audiences. Initial sales were propelled by Prine's dedicated fanbase, built over decades of touring and critical acclaim in the Americana genre.[23][30]Chart Performance and Sales
Fair & Square debuted at number 55 on the Billboard 200 chart in May 2005, selling more than 19,000 copies during its first week of release. The album also peaked at number 2 on the Billboard Top Independent Albums chart and number 55 on the Top Internet Albums chart, representing John Prine's strongest chart performance to date on the all-genre Billboard 200.[29][31][32] The album did not achieve RIAA certification.[33] Internationally, Fair & Square saw modest commercial results, peaking at number 21 on the UK Official Independent Albums Chart for three weeks and reaching number 70 on the Scottish Albums Chart. Performance in Canada and broader Europe was similarly limited, with no significant entries on major national album charts but some visibility on digital platforms.[34] Following Prine's death in April 2020, the album experienced a posthumous resurgence, charting on international digital platforms such as #9 on the Italian iTunes Albums Chart in April 2020 and appearing on charts in several other countries.[35] The album's chart success and sales were propelled by Prine's loyal fanbase, cultivated over decades in the folk and Americana scenes, as well as its win for Best Contemporary Folk Album at the 48th Annual Grammy Awards in 2006, which provided additional momentum despite scant mainstream radio airplay.[36][32]Reception and Legacy
Critical Reviews
Upon its release in 2005, Fair & Square received positive critical reception for its introspective songwriting and understated production, though some reviewers noted a subdued energy compared to Prine's earlier work. In a 3.5-out-of-5-star review for AllMusic, Mark Deming praised the album's contemplative tone and spare arrangements by producer Jim Rooney, describing it as "a good album for quiet listening" that highlights Prine's enduring ability to blend humor with observations on the human condition, even if it lacks the intensity of his debut efforts.[2] Similarly, Robert Christgau awarded it a three-star honorable mention in his Consumer Guide, highlighting tracks like "Some Humans Ain't Human."[37] Retrospective assessments following Prine's death from COVID-19 complications in April 2020 have elevated Fair & Square as a significant late-career achievement, often cited in obituaries and tributes as evidence of his matured artistry. Pitchfork's 2021 vinyl reissue review called it a "late-career gem" that captures Prine's hope, humor, and underdog spirit, sparking renewed interest in his catalog and underscoring its role in cementing his status as a folk elder statesman.[4] Publications like Rolling Stone echoed this in post-2020 reflections, highlighting how the album's weathered warmth and storytelling—exemplified in songs like "Crazy as a Loon"—demonstrate Prine's resilience after his 1998 cancer battle, positioning it as a highlight amid his later output.[38] Across these reviews, common themes include appreciation for the album's mature perspective on aging, love, and everyday absurdities, reflecting Prine's growth as a songwriter in his late fifties. Critics consistently valued the emotional authenticity and simplicity, though minor critiques surfaced regarding pacing in longer, more reflective tracks, which some felt contributed to an overall mellow atmosphere that could border on somnolence.[2][39]Awards and Long-Term Impact
Fair & Square earned John Prine the Grammy Award for Best Contemporary Folk Album at the 48th Annual Grammy Awards in 2006, his first win in the category since 1992 for The Missing Years, ending a drought of over two decades.[40][7] This accolade highlighted the album's return to form after a nine-year gap in original releases, underscoring Prine's enduring relevance in the folk genre.[36] In addition to the Grammy, Prine received the Artist of the Year award at the 2005 Americana Music Association Honors & Awards, a recognition tied to Fair & Square's dominance on Americana radio charts.[41] Following Prine's death from COVID-19 complications in April 2020, the album appeared in retrospective "best albums" lists compiling his career highlights, reaffirming its place among his most celebrated works.[32] The album's long-term impact solidified Prine's status as a songwriting elder statesman, bridging generations in Americana music and influencing artists like Jason Isbell, who has cited Prine's vulnerable, observational style—exemplified in Fair & Square—as a key inspiration.[42] Its cultural resonance persists through tributes and covers; for instance, the track "Some Humans Ain't Human" has been invoked in social justice discussions for its sharp critique of political indifference and human cruelty.[43] Posthumously, streams of Prine's catalog, including Fair & Square, surged by over 1,200% in the immediate aftermath of his passing, reflecting a renewed appreciation for his humanistic songcraft.Track Listing and Formats
Standard Track List
The standard edition of Fair & Square, released in 2005 by Oh Boy Records, features 14 tracks—12 originals primarily written by John Prine (with co-writes by collaborators such as Roger Cook, Pat McLaughlin, Keith Sykes, and Donnie Fritts) and two covers—running for a total of 62:09.[20]| No. | Title | Writers | Duration |
|---|---|---|---|
| 1 | "Glory of True Love" | Prine, Cook | 4:12 |
| 2 | "Crazy as a Loon" | Prine, McLaughlin | 5:03 |
| 3 | "Long Monday" | Prine, Sykes | 3:22 |
| 4 | "Taking a Walk" | Prine, McLaughlin | 6:09 |
| 5 | "Some Humans Ain't Human" | Prine | 7:03 |
| 6 | "My Darlin' Hometown" | Prine, Cook | 3:14 |
| 7 | "Morning Train" | Prine, McLaughlin | 4:02 |
| 8 | "The Moon Is Down" | Prine | 3:47 |
| 9 | "Clay Pigeons" | Blaze Foley | 4:27 |
| 10 | "She Is My Everything" | Prine | 4:25 |
| 11 | "I Hate It When That Happens to Me" | Prine, Fritts | 2:49 |
| 12 | "Bear Creek Blues" | A.P. Carter | 4:45 |
| 13 | "Other Side of Town" | Prine | 4:53 |
| 14 | "Safety Joe" | Prine | 3:58 |