The 1994 sequel to her mainstream country breakthrough on Come on Come On further underscores Mary Chapin Carpenter's true identity, more Ivy League folk rocker than new country cowgirl. Her coolly delivered, deeply felt songs include meditations on family, community, and social injustice without rant or cant, never more so than on the gently incisive midlife reflections of the title song, which filters historic milestones and childhood lessons through its delicate verses. Elsewhere, she sketches a heart-breaking, restrained speculation on the inner life of a blind, deaf mystery man ("John Doe No. 24") with the economy and detail of good short story. The set's many love songs are no less intelligent, emotionally authentic, or moving. Chapin Carpenter's elegant yet earthy alto is beautifully framed in the settings, coproduced with longtime collaborator John Jennings, that balance jangling guitars, rippling piano, occasional fiddle and crisp rhythm sections closer to the best of L.A. country rock than what normally emanates from Nashville. --Sam Sutherland