John Prine is songwriters songwriter. Somebody who amassed a substantial body of work that influenced a raft of far more commercially successful songwriters from across the musical spectrum, but particularly those operating in a country and folk vein.
I’m not going to pretend to be an expert on Prine. Nor necessarily a fan. I’ve come to him more via. those he has influenced, including contemporary singers such as Jason Isbell, Kasey Musgraves and Sturgill Simpson, as well as those legends that revere him such as Johnny Cash, Bob Dylan and Kris Kristofferson. But Nanci Griffith would have been my initial introduction to him, via. her cover of this beautiful song on her 1993 covers album, Other Voices, Other Rooms. On that album Griffith, already established as a respected country folk (too country for folk, too folk for country) songwriter and performer, recorded a collection of songs by her favourite songwriters, including Bob Dylan, Woody Guthrie, Townes Van Zandt, and Tom Paxton. And this gem by John Prine.
Described by critic David Fricke as “a hypnotic song of lovesick melancholia set to a simple, mid-tempo rhythm that sounded like the desolate ticking of a hall way clock”, Speed Of The Sound Of Loneliness become an instant classic, something acknowledged by Prine when he later reflected “Jesus, that’s beautiful. I didn’t recognize it at the time, it was just pouring out of me”. Griffith had already performed the song as a duet with Prine, and so it made a lot of sense to record it for this project, particularly when joined by Prine on harmony vocals for the recording.
I was reminded of this song, and Griffiths recording of it, by a cover version by Kurt Vile on his recently released EP “Speed, Sound, Lonely KV”. Proof, if proof were needed, that a classic song is timeless.
Like many a classic song from this genre, this is a very straightforward song that shouldn’t prove too taxing. 3 chords (or 4 if you include the optional 7ths, which aren’t strictly part of the song but do add something), I’ve included two version – one in G as per Prine’s original, and one in C as per Griffith’s cover. Enjoy!