Mary Chapin Carpenter Albums (10)
'Come Darkness, Come Light: Twelve Songs of Christmas'
Release Date 9/30/2008
Tracks 12
Label Zoe
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What The Critics Say
"The same old stories, same old songs/We dust them off when Christmas comes," Mary Chapin Carpenter sings in "Christmas Carol," a song she wrote for her first holiday album, Come Darkness, Come Light: Twelve Songs of Christmas, and while the line resonates in context, it also stands out because it sums up what Carpenter has chosen not to do with this disc. While Christmas albums tend to be dominated by cheerful but rote interpretations of holiday favorites, especially from artists with a history on the country charts, Carpenter wrote or co-wrote six new songs for Come Darkness, Come Light, and though there are three traditional numbers on the album, the usual suspects such as "White Christmas" and "Rudolph the Red-Nosed Reindeer" are conspicuous in their absence. Come Darkness, Come Light instead focuses on the more thoughtful and spiritual side of the season -- "Bells Are Ringing" ponders symbols of faith in a chaotic world, "Christmas Carol" records the thoughts of a casual believer who is more concerned with Peace on Earth than the trappings of the Yuletide season, and "Christmas Time in the City" tells a fable of a street musician struggling to make a few bucks during the shopping season. Come Darkness, Come Light is the rare Christmas album that's made with thinking adults in mind, and Carpenter and co-producer John Jennings weren't afraid to make a record that's as thoughtful in its music as its lyrics; the arrangements are spare and tasteful, conveying the beauty of the melodies without cluttering them with gingerbread, and Carpenter's vocals are heartfelt without sounding histrionic, reflecting the inward contemplation that's a clear part of this music. Come Darkness, Come Light is a brave and beautiful collection of songs that dares to run counter to what most folks expect from a Christmas album, and it asks some questions worth pondering about the meaning behind the annual celebration while mirroring the simple joys of a snowy night. ~ Mark Deming, All Music Guide
What The Critics Say
One thing is certain: Mary Chapin Carpenter has heard the sound of the new Nashville. She brings the electric guitars and she brings her Martin; she allows the mix to bring up those drums and basslines. She's no longer afraid of rock & roll as long as it blends with her brand of folkish country. After years of walking the outside, despite a hit record or two, seemingly afraid to really let it rip, she has arrived here, on The Calling. Oh yeah, yeah, that's a good thing; it may even be a great thing. Carpenter has always allowed her songwriting to take precedence over her recorded performances, and even though her album performances have sometimes been stellar, they've also been just a little too restrained. The title track that opens The Calling and "We're All Right" rock harder than anything she's ever cut. The beautiful thing is that with the bigger volume and the loosed electric six-strings, her big voice has more room and those killer hooks she writes don't disappear in the mix. They come off sounding like the anthems they should be. Carpenter has a hell of a way of looking at life from all sides, from behind the closed doors, from the empty lanes and the darkening countryside. She has always had a special way of looking at fate and destiny from the perch of those lives that hold on with only a shred of hope but refuse to give up or let go. That eagerness to survive in the face of all odds, or to affirm the essential goodness of a moment where one of her protagonists can simply breathe, has been her art. She does this better than most and is second to none in her picaresque narratives of the wish to be free, and of embracing freedom as an alternative to despair. And while the music has never matched the tautness of her lyrics, it does here. That doesn't mean the gentleness is all gone. On "Twilight" (a song James Taylor or Nanci Griffith should beg her to cover), the acoustic guitars, vibraphone, cajon (by Russ Kunkel, no less), and electrics blend gently but empathically. "On and On It Goes" is another ballad, loaded with emotion but delivered with the empathy of an old friend imparting a story. The huge drums on "It Must Have Happened" are, along with the title cut, sure bets for videos and singles. This cut just rocks in the way Sugarland rock, straight up, fat, with a message and enough heart to fill a Bruce Springsteen record. The refrain is utterly gorgeous. The jangling Rickenbackers on "Your Life Story" is another candidate for a single. The bottom line, as the album unfolds -- whether it's "On with the Song," (written for the Dixie Chicks during their season in hell and an actual anthem), the sweet electric ballad "Why Shouldn't We," or the whispering closer "Bright Morning Star" -- is that it never ceases not only to please, but to pull the listener deeper into Carpenter's wide-ranging poetic world. Time will tell, of course, but in The Calling, Carpenter may have her finest moment yet; it also feels like an artistic rebirth. These songs come from her marrow and the conviction she sings them with proves it. Carpenter and her co-producer Matt Rollings should be awfully proud of this one. ~ Thom Jurek, All Music Guide
'Between Here and Gone'
Release Date 4/26/2004
Tracks 12
Label Columbia
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What The Critics Say
Early in her career, songwriter Mary Chapin Carpenter was marketed as a country artist, but strangely, it took ten albums before she would record in Nashville. On her first recording of new material since Time* Sex* Love* in 2001, Carpenter surrounds herself with old friends and new faces. Carpenter co-produced the set with Matt Rollings and John Jennings, two musicians who have regularly appeared on her recordings over the years. Newcomers include fiddler Stuart Duncan, bassist Viktor Krauss, guitarist Dean Parks, Rob Ickes on Dobro, and vocalists Mac McAnally and Garrison Starr. Carpenter's musical palette is much wider than ever before; it is a record full of textures and shapes rather than musical frameworks for lyrics. While the songs are still the most important construct, the manner in which they emerge is far more expansive. And even though there is more steel guitar and fiddle here than on any of her previous recordings, and the record was done in Nash Vegas, it's about as far from a country record -- in the modern sense of that word -- as can be. Carpenter's cosmopolitanism is certainly a sound for its time. The concerns experienced by the protagonists of her songs are those of everyday life at the dawn of a new century in the aftermath of September 11. That's not to say her melodies aren't timeless or that these songs do not transcend the present era (only time will reveal that to be true or false), but they tell the truth in a present tense we all recognize. There is an interesting fissure in these songs. As a body, they reflect transition and travel interior as well as actual byways, and impart the emotional sensibilities of being adrift, not in the present or in the past (though recollection of the previous is constant, if fleeting), while the future is still a blurry impression on the horizon. These songs are fissures; they exist in the gaps where real emotions are allowed to articulate themselves quietly and insistently before being blotted out by changes in circumstance and location as they appear like mirages, shimmer, and disappear. While there are standout tracks -- "Luna's Gone," "Goodnight America," "My Heaven," "Beautiful Racket," "Grand Central Station (the most devastatingly beautiful cut on the album), and "Elysium" -- the entire record holds together like a narrative mosaic; bits and pieces show up again and again, from song to song, without exact repetition. Between Here and Gone will hopefully garner some singles and get radio play, but it's hardly that kind of outing. In fact, one has to wonder if radio is brave enough to deal with the complex yet nearly universal emotions Carpenter explores in these gorgeous songs. Musically, this is a sophisticated but very accessible recording, pleasant in its tempos and in its lush presentation. But there is no ear candy here, nothing to while away idle moments by; it is not a "dark" or "melancholy" record, but it is a serious one. Between Here and Gone quietly demands the listener's attention and dives deeply into a labyrinth of emotions before emerging as a validating, affirmative, and instructive experience; it is an album not only to experience, but to hold on to. That's a lot for a pop album to promise, let alone deliver, and Between Here and Gone is marvelous; it does both. ~ Thom Jurek, All Music Guide
What The Critics Say
The asterisks following the words in the title to Mary Chapin Carpenter's seventh album of new material, Time* Sex* Love*, hide more words: the full title is "Time Is the Great Gift; Sex Is the Great Equalizer; Love Is the Great Mystery." If that sounds a bit overdone, it accurately introduces a collection given over to big statements. After four and a half years, Carpenter weighs in with a 73-plus-minute disc that thoughtfully examines important issues. Songs like "Simple Life" and "Maybe the World" take on the uncertainty of life at midstream, a subject also addressed in specifically careerist terms in "The Long Way Home" and philosophically in "Late for Your Life." But if that's the "time" part of the record, "sex" and "love" take primary place. Simply put, the better part of the album consists of torch songs that depict romantic and sexual obsession. Titles like "Swept Away" and "Slave to the Beauty" reveal the theme, and even attempted recoveries like "This Is Me Leaving You" reinforce it. The narrator of that song sounds like she'd be happier singing, "This is me crawling back to you." Working against the theme are the musical elements. Recording in Sir George Martin's Air Studios, Carpenter harks back to the Beatles' Rubber Soul for the album's sound, which lightens the mood. And her singing never supports the victimization in her lyrics, always maintaining its calm, murmuring tone. But the point is unmistakable. It's hard to see what any of this has to do with country radio, which, in any case, has been increasingly resistant to Carpenter. This album may not be a country blockbuster, ending the sleight of hand by which an artist who is essentially a folk-rock singer/songwriter has succeeded in Nashville, but it is a mature examination of life and love. ~ William Ruhlmann, All Music Guide
'A Place in the World'
Release Date 10/22/1996
Tracks 12
Label Columbia
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What The Critics Say
Mary Chapin Carpenter's heady star continued to rise with 1994's Stones in the Road, one of her most introspective collections, as searing in its way as Rosanne Cash's Interiors. In order to consolidate that success with her follow-up, A Place in the World, Carpenter returned to the looser, more rock-sounding Come on Come On for inspiration -- a record that netted seven hit singles. Carpenter and longtime bandmate and producer John Jennings hired studio aces like guitarist Duke Levine, keyboardist Benmont Tench, Fairport Convention drummer Dave Mattacks, bassist Bob Glaub, and a host of backing vocalists including Shawn Colvin and Kim Richey, as well as a small string section. This collection still touches on reflective adult folk, but returns to hooky, catchy, radio-friendly country-rock for balance. On the whole, A Place in the World doesn't offer the deep reflective rewards of Stones in the Road, nor is it quite as kinetic as Come on Come On. Still, the record is exceptionally well-crafted and boasts several excellent songs that reflect on the desire for romance and the willingness to risk virtually everything for it. There's the old-time soul feel of "Let Me into Your Heart" with its backing chorus, the bubblegum pop/rock of "I Want to Be Your Girlfriend," the poignant rocker "Hero in Your Hometown" -- which is a tracing-paper image for the way contemporary country singles sound in the 21st century -- and the anthemic country-rock of "Keeping the Faith." The title track that closes the record is one of several more poignant and introspective tunes, offering a look at the kind of changes Carpenter was going through in her personal and professional life. Any real fan will want to own this one as well as the aforementioned others, but those new to her music may want to seek out the earlier recordings first. ~ Thom Jurek, All Music Guide
What The Critics Say
Stones in the Road was an eagerly awaited album from Mary Chapin Carpenter; the runaway success of Come On Come On established her as a bona star in the country and up-and-coming AAA radio formats. For this offering, she tipped her sound down to its basics and returned to the core of her music -- namely, her folkier singer/songwriter roots. Although the lyrics are among her best and the songs thoroughly memorable and beautifully literate, Carpenter cut back on the number of hooks in her melodies, creating a palette that required closer listening to appreciate. There were no immediately radio-friendly hits to be found here -- though radio did indeed pick up on it and the album did exceptionally well. Previously, she found a balance between the lyrical and musical aspects of her writing, walking a tightrope between words and hooks. Here, she concentrates on lyrics, giving the listener something that might require working a bit to appreciate -- but also something to hold on to. And craft never leaves Carpenter's songs; these are as finely wrought as anything she's ever done and better than most. There are uptempo tracks here, such as "House of Cards," the dreamy "A Keeper for Every Flame," the retro pop/rock sound of "Tender When I Want to Be" (a song Bruce Springsteen could have written and most likely deeply influenced), the single "Outside Looking In," and the barroom rocker "Shut Up and Kiss Me." But even these are lyrically more involved than those on earlier records. The moodier pieces here include the title track, the transcendent "John Doe No. 24," and the brilliant "The End of My Pirate Days." Carpenter and producer John Jennings hired a crack band that included drummer Kenny Aronoff, keyboardist Benmont Tench, guitarists Lee Roy Parnell and Steuart Smith, and backing vocalists Trisha Yearwood, Linda Williams, and Shawn Colvin. The sound of Stones in the Road is moody and very introspective at times, but it is never less than engaging and even pleasant. This is a worthy if startling entry in Mary Chapin Carpenter's catalog. ~ Thom Jurek, All Music Guide
What The Critics Say
Come On Come On proved that even with two previous hit albums under her belt, Mary Chapin Carpenter was still as hot as could be. This album serves as one of the signposts that contemporary country would not only aspire to, but actually become in the 21st century. One need only to stack this slab up against 2006 recordings by Little Big Town and Sugarland to see the roots of Carpenter's blend of sophisticated pop, folk, and soft rock with country. This disc climbed all the way to number six on the country charts, yielding an astonishing seven hit singles, fully revealing Carpenter's meld of aesthetics, skill, and marketing savvy, and she established herself not only as one of her chosen genre's top artists, but crossed over into the then-burgeoning Americana and AAA radio formats as well. With friends such as Rosanne Cash, Joe Diffie, Shawn Colvin, and the Indigo Girls lending a hand, there's a full range of country, folk, and pop-styled songs strewn across the album, helping it and Carpenter herself gain enormous recognition from other audiences outside of country music. "He Thinks He'll Keep Her," a title keeping with country music's tradition of double entendres, became Carpenter's first number one hit, while the confident "I Feel Lucky" peaked at number four and netted her another Grammy. Lucinda Williams' "Passionate Kisses," with its beautiful guitar arrangements, also made it to number four, and Carpenter's vocal enthusiasm makes Dire Straits' "The Bug" one of the album's most spirited efforts. These songs, along with the title track's compelling folk essence, gave Come on Come On a well-rounded sound and exposed her talent for reaching slightly beyond the genre's long-established niches. Not only is Carpenter's music extendable, but her writing rescues country music from its familiar themes of "love 'em and leave 'em" conventionality while still managing to portray maturely the perils of romance and heartbreak from a female perspective. Carpenter repeated much of Come On Come On's full-ranged charm for 1994's Stones in the Road release, which garnered her yet a third Grammy in as many albums. ~ Mike DeGagne & Thom Jurek, All Music Guide
'Shooting Straight in the Dark'
Release Date 1/1/1990
Tracks 11
Label Columbia
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What The Critics Say
Although Mary Chapin Carpenter's second album yielded two Top Ten hits, it was the release of 1990's Shooting Straight in the Dark that confirmed her talents as an artist who could easily stage a crossover without relinquishing her country roots. With an even stronger infusion of folk and pop, Carpenter opened herself up to a wider market, taking the Cajun-tinged "Down at the Twist and Shout" (with the help of Beausoleil ) to number two on the country charts, a song that also netted her a Grammy for best country vocal performance by a female. Both "You Win Again" and Gene Vincent's "Right Now" were also released as singles, expanding Carpenter's exposure even more so, but the other tracks from the album also reveal her lyrical strength and attentive songwriting prowess. "Halley Came to Jackson" is a wonderful tale about a small town's fascination with and misconception about Halley's comet back in 1910, while tracks such as "What You Didn't Say" and "When She's Gone" are also fresh-sounding country efforts that shine a light on her delicate but hearty singing style. Carpenter gets some help from Shawn Colvin on a few of the cuts and, because their collaboration worked so well, she and a number of other artists appeared on her next album and on 1994's Stones in the Road, expanding her material to an even greater extent. Shooting Straight in the Dark was indeed a breakthrough album for Carpenter, not only in a commercial sense but at a personal level as well, and its progressive repercussions helped in making 1992's Come on Come On an even stronger effort, spawning a myriad of hit singles. ~ Mike DeGagne, All Music Guide
What The Critics Say
Carpenter, a folkie, eventually turned to the country market, especially on her third album, Shooting Straight in the Dark. On this, her second, she's still in transition, which makes her more thoughtful than the average country singer and catchier than the average folkie, especially on her breakthrough country hit, "Never Had It So Good." Also includes "Quittin' Time," "Something of a Dreamer," and "How Do." ~ William Ruhlmann, All Music Guide
What The Critics Say
Although she gained popularity and commercial success on country radio, New Jersey-born Mary Chapin Carpenter owes as much to folk as she does to country. With the release of her debut album Hometown Girl, Carpenter emerged as a new strong voice in the folk revival of the late '80s. Her songwriting skills are apparent here, and her lyrics read like journal entries of a young musician on the road and trying to make it. She looks back at where she's been and honors her heroes ("Family Hands") while looking ahead at the adventures to come ("A Road Is Just a Road"). Her best songs are the romantic ballads such as "Just Because," the album's highlight, where the spare acoustic arrangements bring out her one of a kind voice. Carpenter also demonstrates the breadth of her musical influences by covering Tom Waits' "Downtown Train" years before Rod Stewart turned the song into a hit. Hometown Girl is an understated affair -- there are not as many rollicking, fun tunes as on future efforts -- but this album is worth checking out for fans familiar with her 1990s catalog. ~ Vik Iyengar, All Music Guide
