As a fan of a wide variety of popular (and not-so-popular) music from the 1950s (and sometimes even earlier) up through the present, one of my bucket list projects for years has been to put together a list of my 100 favorite songs of all time. At some point I decided that, once I got around to figuring that out, I could put it out on a blog, for the infinitesimally small proportion of the Internet world that might be interested. So, here we are. While the Top 100 will be a major focus, I also plan to post on a variety of other musical (and occasionally non-musical) topics, in which you may or may not be interested. (If a particular posting doesn’t ring your bell, you’re only a few clicks away from a dancing cat video on YouTube.)

Tuesday, December 9, 2014

#2 Stones In The Road -- Mary Chapin Carpenter (1994)



Back in the day (mid to late 80s, I think), a group of us started going to see Emmylou Harris at Wolf Trap every year. One particular year, her opening act was someone we had never heard of, named Mary Chapin Carpenter. We were so impressed that we started going to Carpenter’s annual performances instead, although a few of us kept going to Emmylou’s shows as well. By now, I’ve seen more performances by her than by any other artist – in addition to the shows that she does almost every summer at Wolf Trap, I’ve caught shows by her at other local venues (Birchmere, 9:30 Club, Lyric Opera House in Baltimore), and one each in Philadelphia (WXPN annual summer music festival) and Elmer, NJ (Appel Farm Arts and Music Festival). I actually started going to the WXPN festivals in the summer of 2000 to see Carpenter, because for some reason she wasn’t going to be at Wolf Trap that year.

Carpenter wrote “Stones In The Road” during the heyday of her period as an unlikely country music superstar. The song is certainly more folk than country – it was actually first recorded by Joan Baez – which helps explain why her record company never released it as a single. Unlike “Slippin’ Into Darkness” and “Thunder Road” it follows the traditional verse-chorus-bridge structure, but like the latter the lyrics are outstanding, a parable of growing up in a comfortable white middle-class environment, for the most part touched only indirectly by the chaos of the late 1960s, and seeing youthful idealism replaced by the cynicism of the grownup rat race. It’s interesting that while the references in the first verse of the song (Pledge of Allegiance, starving children overseas) are common to many of us, the second verse is intensely personal, as Carpenter was growing up in Princeton NJ when Robert F. Kennedy’s funeral train traveled from New York down to Washington after his assassination in 1968. And as with “Canadian Railroad Trilogy”, the final lines pack a real punch. (Carpenter was always best when her political points were subtle):

"And the stones in the road leave a mark from whence they came / A thousand points of light or shame, baby, I don't know."
 

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