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| Added: | 1 Year+ |
| Size: | 104 Megabyte |
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Mary Chapin Carpenter's first album of new material in three years has been hailed as a fine example of pop music for adults. This is both true and misleading. In changing producers (from John Jennings to celebrated piano man Matt Rollings), the literate singer-songwriter has slightly broadened her sophisticated Americana sound, and although it's less rhythmic as a whole, her acoustic-folkie approach remains at the core of her classic style. And while "Between Here and Gone"--which addresses the theme of travel and transition, the fragility of life, and the ephemeral nature of happiness--might be said to concern itself with grown-up issues, most of Carpenter's writing has always done just that. Yet this stunning album, informed both by her 2002 marriage ("Elysium," "River") and by the events of 9/11, is more introspective than much of her early work. The alto-voiced singer is compelling throughout, but never so much as on "My Heaven," inspired by Alice Sebold's novel, The Lovely Bones, or on "Grand Central Station," in which a New York City ironworker, standing on the bucket brigade at Ground Zero, hears the voices of the dead, desperate to find their way home. In moments such as these, Carpenter reestablishes herself not only as a world-class poet, but as an artist of the first order.
- amazon.com
-------------------------
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
More great music reviews & torrents at www.btbeat.com
-------------------------------
Mary Chapin Carpenter's first album of new material in three years has been hailed as a fine example of pop music for adults. This is both true and misleading. In changing producers (from John Jennings to celebrated piano man Matt Rollings), the literate singer-songwriter has slightly broadened her sophisticated Americana sound, and although it's less rhythmic as a whole, her acoustic-folkie approach remains at the core of her classic style. And while "Between Here and Gone"--which addresses the theme of travel and transition, the fragility of life, and the ephemeral nature of happiness--might be said to concern itself with grown-up issues, most of Carpenter's writing has always done just that. Yet this stunning album, informed both by her 2002 marriage ("Elysium," "River") and by the events of 9/11, is more introspective than much of her early work. The alto-voiced singer is compelling throughout, but never so much as on "My Heaven," inspired by Alice Sebold's novel, The Lovely Bones, or on "Grand Central Station," in which a New York City ironworker, standing on the bucket brigade at Ground Zero, hears the voices of the dead, desperate to find their way home. In moments such as these, Carpenter reestablishes herself not only as a world-class poet, but as an artist of the first order.
- amazon.com
-------------------------
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
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