Today’s song is the second single from Mary Chapin Carpenter’s 1992 album Come On Come On. ‘Not Too Much To Ask’ is one of seven tracks from the album to reach the top 20 on Billboard’s Hot Country Singles chart (it peaked at #15).
Four of those cuts made it to the top five, helping make this the best-selling album of the country singer-songwriter’s career.
Today’s track is from Mary Chapin Carpenter’s 1990 album Shooting Straight in the Dark, the country artist’s third album and first to go platinum.
She followed this album with 1992’s Come On Come On, by far her most popular album, then the double platinum Stones in the Road in 1994.
I’ve lamented the lack of women in Round Two of Montauk Madness (in Round One, as well, for that matter). That’s my fault, of course, as I could have deliberately offered up a more balanced lineup.
Could I have found room for Mary Chapin Carpenter or k.d. lang, for example, two women who have released an album or two I love but many more I’ve never heard? How about Brandy Clark, Ashley Monroe or Kacey Musgraves, who have only a couple of albums each under their belts, but very strong ones? Continue reading
One of the neat things about Random Weekends is happening upon songs that I’ve long ago forgotten I own.
Today’s track is a cut from Mary Chapin Carpenter’s 1990 album Shooting Straight in the Dark. It’s a lovely ballad about the end of a relationship, specifically the man’s apathetic reaction to his lover walking out on him.
Bob Dylan has two songs represented over the next couple of weeks, and so too does Mark Knopfler. First up is Mary Chapin Carpenter’s take on Dire Straits’ ‘The Bug,’ a hit track from their final album, 1991’s On Every Street.
Carpenter released her version of the song on her 1992 album Come On Come On, a fine work that also includes ten original compositions and her hit cover of Lucinda Williams’ ‘Passionate Kisses.’
This song is a good case study for the old “can anything be country?” argument. I’d classify the Dire Straits original as more of a blues rock track, but it’s really not all that different from Carpenter’s version, which is clearly country.