These are Mary Chapin Carpenter's full-length albums of original material. For listings of compilations of previously-released material, appearances on collections of various artists, or appearances on albums by other artists, click on the appropriate link above.
Hometown Girl (1987) | |||
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MCC's first album is basically her demo tape -- John Jennings had produced it for her and she was shopping it around to record labels. CBS Records heard it, signed her to a contract, and released the album pretty much as-is, with only the addition of one new song ("Come on Home"). |
Although the record and the CD had different covers, the music on both is identical. The record also had an inner sleeve containing musician credits and lyrics, while the CD does not have that information. The 2007 budget-priced re-release of the CD has the original LP cover.
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State of the Heart (1989) | |||
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MCC's second album was her first "major-label" production. It sounds slicker than Hometown Girl, but the style of songwriting remains similar. State of the Heart also received more promotion, and sold a lot more copies than her first album. A couple of the songs here, "This Shirt" and "Quittin' Time," remain all-time favorites and are still performed live quite frequently. MCC actually wrote "This Shirt" in 1987, but it wasn't recorded until after Hometown Girl was released.
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Shooting Straight in the Dark (1990) | |||
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MCC's third album propelled her to country music superstardom. "Down at the Twist and Shout" (with a guest appearance from the Cajun group Beausoleil) won MCC her first Grammy award for Best Country Vocal Performance, Female. "Halley Came to Jackson" is based on an event from the life of writer Eudora Welty. A children's book based on the song was published in 1998, with illustrations by Dan Andreasen. The book is unfortunately out-of-print, but used copies should be available.
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Come On Come On (1992) | |||
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If Shooting Straight in the Dark made MCC a superstar, then Come On Come On made her a legend. The songwriting, production and performances come together to produce a truly great album. MCC won Best Country Performance, Female, Grammy awards two years in a row for this one -- in 1992 for "I Feel Lucky" and in 1993 for "Passionate Kisses."
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Stones in the Road (1994) | |||
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Moving into the realm of sheer perfection, Stones in the Road takes the listener on a profound and moving journey. The album begins and ends with a solo piano playing the "Why Walk When You Can Fly" theme, perfectly bookending this widely-varied collection of songs. The album itself won a Grammy for Best Country Album, and the song "Shut Up and Kiss Me" also won MCC a Grammy for Best Country Performance, Female. Interestingly, this album is less "country" than her prior four albums, and it is the first album in which all the songs were written by her.
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A Place in the World (1996) | |||
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MCC followed up the huge success of Stones in the Road with this somewhat weak album in 1996. She admits that the production of this album was rushed (due to pressure from the record label), and therefore wasn't what she would have liked to have had released, and it shows. That's not to say that there aren't some excellent songs on it -- there are a few gems here. I particularly like "Naked to the Eye" and "A Place in the World." "I Want to Be Your Girlfriend" is truly fun, too, in a 1960's bubblegum sort of way. But overall it doesn't doesn't hold together as the coherent work of art that the previous album was.
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Time * Sex * Love * (2001) | |||
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After a five-year wait, MCC returned to the scene with her first new studio album of the 21st Century. And what an album it is! The title is short for: "Time Is the Great Gift; Sex Is the Great Equalizer; Love Is the Great Mystery." This big title hints at the grand scale of this album -- the ideas are big, and the production is big. It was recorded in London at Air Studios (where the Beatles recorded Rubber Soul, and (for the first time in her career) it was co-produced by someone other than John Jennings (it was co-produced by Blake Chancey). This album is held back from brilliance by getting a little bogged down in the middle; there are a few too many "downer" songs in there. But where it shines, it glows like the sun. "Whenever You're Ready" and "Slave to the Beauty" rank among MCC's best songs, and "The Long Way Home" and "Late for Your Life" are classic MCC. Many people have commented that the bonus track is the best one on the album: "Going Home" sounds like a jam session, and is fun and raw and closes the album perfectly. This album was originally released on CD, and a few months later a multichannel SACD version was released. The SACD contains a 5.1-channel mix in addition to a high-resolution stereo mix, but it is only playable on SACD-compatible equipment (it is not a hybrid disc). If you have SACD-compatible equipment, I would highly recommend the SACD version of the album, although there isn't anything on it that you don't find on the regular CD version.
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Between Here and Gone (2004) | |||
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After a slightly shorter interlude (only three years this time), MCC is back with an even better album than Time * Sex * Love *. Between Here and Gone tightens up the pacing a little better than its predecessor, and contains a slew of perfectly-crafted songs. Melodic, profound, fun, moving and downright breathtaking are words that come to mind to describe the songs on this album. For the MCC fanatic, this CD is available in three different forms. The regular CD is available everywhere, with the twelve tracks listed to the left.
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Buy from Amazon:Buy the bonus CD version from a third-party seller:(You may want to check with the seller to make sure you're getting the version you want.)
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The Calling (2007) | |||
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This is MCC's first album on a new label, Zoe Records. While it is a move away from her major label, stylistically it sounds much like Between Here and Gone. Powerful, intelligent, both humorous and moving, this album continues her 21st-century move away from radio-friendly country music toward intellectual, thought-provocing folky-singer-songwriter music.
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Come Darkness, Come Light: Twelve Songs of Christmas (2008) | |||
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MCC's first holiday album is designed to be a non-traditional Christmas album, made up of original songs, songs by other contemporary singer-songwriters, and less-often-recorded traditional songs. MCC's original songs are: "Come Darkness, Come Light," "Christmastime In the City," "The Longest Night of the Year," "Thanksgiving Song," "Bells are Ringing" and "Christmas Carol." Tommy Thompson wrote "Hot Buttered Rum," Robin and Linda Williams wrote "On a Quiet Christmas Morn," and John Rutter wrote "Candlelight Carol." The remaining songs fall into the category of "traditional" Christmas music. While most MCC fans will recognize the titles "Christmas Time In the City" and "Bells Are Ringing," these are new, more acoustic versions of the songs, not the original versions released a number of years ago. "Christmas Time in the City" has several changes in the lyrics as well. Also, there's a bonus track available from the iTunes store. You can download "Have Yourself a Merry Little Christmas" there as an individual track or with the entire album.
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The Age of Miracles (2010) | |||
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The Age of Miracles is a studio album of all-new material. The standard version of the album contains 12 tracks, but the Barnes & Noble, Amazon MP3 and iTunes editions of the album each contain a different bonus track not found elsewhere. Unfortunately, the bonus tracks cannot be downloaded individually - you have to purchase the complete album in order to get the bonus tracks...
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Buy from Amazon:Buy the B&N; version from a third-party seller:Buy the download from Amazon:
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The Ashes and Roses (2012) | |||
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This album consists of all-new material. As has been the case with previous albums, there's a Barnes & Noble exclusive edition with a bonus track.
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Songs from the Movie (2014) | |||
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MCC's newest studio album is a collection of newly-recorded versions of various songs with full orchestral accompaniment. Contrary to what the title of the album might indicate, it is not a compilation of songs from movie soundtracks, but rather reimaginings of her own songs, drawing inspiration from great orchestral film scores and songs from motion pictures. All of the songs on this album are new versions of songs she has released before -- not reworkings or remixes of old songs, but rather entirely new recordings.
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