Marty Stuart & his Fabulous Superlatives

Marty Stuart & his Fabulous Superlatives

Whitney Rose

Thu · March 23, 2017

Doors: 7:30 pm / Show: 8:00 pm

The Southgate House Revival-Sanctuary

$25.00 - $30.00

This event is 18 and over

No Seating Available - Standing Room Only

Marty Stuart & his Fabulous Superlatives
Marty Stuart & his Fabulous Superlatives
Five time GRAMMY-winner Marty Stuart will release Way Out West, his 18th studio album, on March 10 on Superlatone, and it will be available on CD, vinyl, and digitally here. The album was conceived as a love letter by one of Country music’s living legends, who has played with everyone from Cash to Lester Flatt, to the lonely but magical American West, specifically the promised land of California. “If you go and sit by yourself in the middle of the Mojave Desert at sundown and you’re still the same person the next morning when the sun comes up, I’d be greatly surprised,” says Stuart. “It is that spirit world of the West that enchants me.”

Way Out West’s first single “Whole Lotta Highway (With A Million Miles To Go)” premiered on SiriusXM’s Outlaw Country (Channel 60) and Rolling Stone Country and you can listen to it here:

Produced by Mike Campbell (Tom Petty and the Heartbreakers), and featuring the Fabulous Superlatives –guitarist Kenny Vaughan, drummer Harry Stinson and new member, bassist Chris Scruggs– Marty’s longtime band, which NPR Music said could “melt your heart with four-part harmonies, rock your bones with honky tonk, and dazzle you with picking worthy of their name,” Way Out West is a cinematic tour-de-force. Listeners can feel the warmth of those desert winds over the album’s 15 tracks, a collection of newly written originals, instrumentals and rare covers like the Benny Goodman-penned “Air Mail Special,” and “Lost on the Desert,” once recorded by Johnny Cash. “I asked Johnny about that song when I was in his band,” says Stuart, “and he said the only thing he remembered about it was changing some words. ‘Way Out West’ just as easily could have been titled ‘Lost on the Desert’.”

Growing up in Philadelphia, Mississippi, Stuart was taken by the mystique of the Golden State: the culture, the movies and especially the music. “Everything that came out of California captivated my kid mind in Mississippi,” says Stuart. As such, the album could only be recorded in California, and Way Out West was tracked between the famed Capitol Records, which birthed iconic albums like the Beach Boys’ Pet Sounds and the country-rock of Glen Campbell’s Wichita Lineman, and producer Mike Campbell’s M.C. Studio, where much of the early Heartbreakers music was recorded. Said Campbell about producing Stuart’s new record: “Working with Marty and the Superlatives was a blast, and it was fast! My role was easy, just set up the sound and let them play. Great guitars, great grooves, great vocals, they just have it all. This record is one of my favorite things I have ever been involved with.” The new album, with its atmospheric production and primal rock & roll energy, evokes classics like Marty Robbins’ Gunfighter Ballads and Trail Songs and Cash’s The Fabulous Johnny Cash, one of the first albums Stuart ever owned. While other artists chased popular trends in the name of radio play, Stuart formed complete bodies of work. Way Out West is just the latest embodiment of that creative mission.

Marty Stuart is a five time GRAMMY-winner, platinum recording artist, Lifetime Achievement Award recipient from the Americana Music Association, Grand Ole Opry star, country music archivist, photographer, musician, and songwriter. Since starting out singing gospel as a child, Stuart has spent over four decades celebrating American roots music. His teenage years on tour with bluegrass legend Lester Flatt in the ’70s were followed by six years in Johnny Cash’s band in the ’80s, and a chart-topping tenure as a solo artist in the ’90s. Stuart hosts a Late Night Jam at The Ryman, a yearly tradition which kicks off the CMA Music Festival, with recent guests including Dolly Parton, Jerry Lee Lewis, Neko Case, Eric Church, Chris Stapleton, Maren Morris, Dan Auerbach and many more.

Years from now when they’re talking about the great personalities in country music…Jimmie Rodgers, Hank Williams, Johnny Cash, Bill Monroe..they’ll mention Marty Stuart. He’ll be among those personalities because he’s never been afraid to follow his vision . . . to stretch the boundaries of country music . . . to make big statements about music and society. To let into his sound gospel, soul, rock and roll. And when country music strays too far from the heartbeat, he’s been there to snap it back. Virtually everything he’s done from the halcyon “no hats” days of the 1990s until this day has paid tribute to the masters: Hank, Mother Maybelle, Cash, Merle.

Marty went solo after working for Lester Flatt and Johnny Cash and dragged country music into the 1990s clinging to the tassels of Lefty Frizzell and hollering like James Brown. Along the way, he got a Golden Globe nomination for scoring Billy Bob Thornton’s All the Pretty Horses, collected five Grammys, married the beautiful country music legend Connie Smith, joined the Grand Ole Opry, brought together his Fabulous Superlatives , Kenny Vaughan on guitar, Harry Stinson on drums, Chris Scruggs on bass, unveiled the Marty Stuart Show on RFD TV and took the last photograph of Johnny Cash.

He’s a songwriter, performer unsurpassed, outlaw, student, teacher, star-spangled instrumentalist, photographer, philosopher, historian, writer of prose, jumpin’ jack flash, master.
Whitney Rose
Whitney Rose

Americana enchantress follows Raul Malo-produced Heartbreaker of the Year with more country-pop charm, accompanied by Haybale!’s Redd Volkaert, Earl Poole Ball, Tom Lewis and Kevin Smith

AUSTIN, Texas — Before moving to Austin, Whitney Rose had never danced the two-step. Now, the country-pop singer’s infatuation with Texas’ rich musical culture, from stage to studio to dance floor, informs an enthralling new project, a love letter to the Lone Star State. Her new EP, South Texas Suite, is a touch nostalgic, deeply romantic and defiantly personal — it’s Texas, through Whitney Rose’s eyes and ears.

South Texas Suite is a meticulous study of sound and place, but also a product of unexpected circumstance. Last October, shortly after the release of her album Heartbreaker of the Year, Rose packed up her boot collection and headed south to play a two-month residency at Austin’s famed Americana bastion, the Continental Club. But that November-December engagement went so well, she wound up staying. Since then, she’s toured with Sam Outlaw, made her European debut and signed with Thirty Tigers-distributed Six Shooter Records.

Rose became smitten with Texas, and the warm welcome from Austin’s vibrant musical community made her feel right at home. Songs started pouring out — so many that she just had to start recording. The first result is this new EP, which will be released January 27, 2017. Rose herself produced South Texas Suite, a first for the poised countrypolitan songwriter. Top to bottom, the EP is the work of an artist who is both an insider and an outsider, an observer and a maker, a listener and a storyteller — no matter where she lives.

“Ever since I moved here I’ve been going out and watching live music, and falling in love with musicians around town,” says Rose. “The music scene here is unlike anything I’ve ever experienced before. So I have been writing nonstop, I’ve written close to 40 new songs since I arrived.”

She recorded South Texas Suite over two days at Dale Watson’s Ameripolitan Studios in North Austin, accompanied by Grammy winner Redd Volkaert, Merle Haggard’s former guitarist; Earl Poole Ball, who spent two decades tickling keyboards for Johnny Cash; Kevin Smith, now playing bass in Willie Nelson’s Family Band; and Tom Lewis, who’s drummed with the Mavericks, among others. All four play in Haybale!, the Continental Club’s Sunday-night stalwart; Lewis also plays in Rose’s band, along with guitarist Bryce Clark, steel player James Shelton and acoustic guitarist Sophia Johnson. They’re also on the EP, along with fiddler Erik Hokkanen and accordionist Michael Guerra.

The sensuous waltz of the opening song, “Three Minute Love Affair,” with its Tex-Mex flavor provided by Guerra’s Flaco Jiménez-worthy accordion, beautifully sets the tone for South Texas Suite “I love the dance culture in Texas; I’m completely enamored,” says Rose. “That’s absolutely what inspired ‘Three Minute Love Affair’ — as a song starts, the world kind of stops and you’re like lovers for three minutes, and then it’s over and you’re strangers again. But there’s this beautiful little moment in time.”

Of course, no self-respecting two-stepper would take to a dance-hall floor without Rose’s favorite footwear; her heel-stomping honky-tonk ode to that Texas wardrobe essential, “My Boots,” is also a feminist statement.

“I’ll go if I can wear my boots/I don’t feel like high heel shoes/And that don’t mean that I’m crazy/That don’t mean I ain’t a lady,” she sings in her sugary-smooth voice. She sounds even sweeter on “Lookin’ Back on Luckenbach,” a wistful mid-tempo ballad about leaving a beloved place behind.

Rose didn’t write “Analog” or “Bluebonnets for My Baby,” but the “sultry country classicist,” as the New York Times called her, certainly identifies with both songs. In “Analog,” by Brennen Leigh, Rose sings the praises of lazy rivers and “that needle skipping on my old hi-fi,” as opposed to the soul-sucking conveniences of modern, digital life. And in “Bluebonnets for My Baby,” by Teri Joyce, Rose could almost be Shelley Fabares singing “Johnny Angel” to one of her ’60s-flick leading men.

“‘Bluebonnets for My Baby’ is everything that I love about music in a song. And it’s the state flower,” she observes. “I wanted this EP to be a little love letter or thank-you note to Texas, so I chose the songs that I perceived to be the most ‘Texas.’ And I love to cover songs written by women.” (It’s also no coincidence that both of the songwriters Rose has chosen hail from Austin.)

The Bakersfield-style instrumental closer, “How ’Bout a Hand for the Band,” originally was the outro for “My Boots.”

“I had amazing musicians, so I wanted the end of ‘My Boots’ to be a big jam,” says Rose. “But the song ended up being really long, so we had to cut that. But it’s such incredible playing, I didn’t want to rob the world of getting to hear it. It was a cool way to tie it up.”

Indeed it is.

Lauding Rose’s blend of “the purer sides of pop and country” in its Heartbreaker review, American Songwriter magazine noted, “The most exciting part is seeing where she goes next.”

Her immediate plans include more songwriting and work with Raul Malo, who produced Heartbreaker of the Year and will helm her next full-length; they’ll record in January at Nashville’s Blackbird Studio. Then she’ll head on tour for several months with dates in North America, Europe and Scandinavia. After that, it’ll be time to release the new album.

But until then, there’s South Texas Suite, a compelling tribute to the Lone Star State.
Venue Information:
The Southgate House Revival-Sanctuary
111 East 6th Street
Newport, KY, 41071