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
MARTY STUART TO RELEASE WAY OUT WEST ON MARCH 10 ON SUPERLATONE
PREMIERES “WHOLE LOTTA HIGHWAY (WITH A MILLION MILES TO GO)” ON ROLLING STONE COUNTRY AND SIRIUSXM’S OUTLAW COUNTRY CHANNEL
15 TRACK COLLECTION INCLUDES NEW ORIGINALS AND TWO COVERS
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: http://www.rollingstone.com/country/news/hear-marty-stuarts-restless-new-song-whole-lotta-highway-w461497

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.


BIO
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
WHITNEY ROSE READIES NEW ALBUM, RULE 62, FOR OCTOBER 6 RELEASE ON SIX SHOOTER/THIRTY TIGERS

World-traveling Austin-based artist enlists Raul Malo (Mavericks) as producer, Niko Bolas as co-producer.
Paul Deakin (Mavericks), Jen Gunderman (Jayhawks, Sheryl Crow), Kenny Vaughan (Marty Stuart, Lucinda Williams), Chris Scruggs and Aaron Till (Asleep at the Wheel) form Rose’s own hot studio band.

"Even the chief architect, standing in the ruins of her dream, could laugh at herself — and that is the very acme of humility.” —Tradition Four, AA

AUSTIN, Texas – There are many useful rules to live by, but for Whitney Rose, there’s one that stands alone as a guiding principle for life as she knows it: Rule 62. The origin of the rule is best summed up by the poignant, pronoun-adjusted excerpt from Alcoholics Anonymous’ Tradition Four cited above, a treatise on how to find harmony between ambition and self-awareness, and how to learn one’s lessons with humor and humility. This truism, officially worded as “Don’t Take Yourself Too Damn Seriously,” is the origin of both the title and ethos of Whitney Rose’s forthcoming album, Rule 62.

The album is due out on October 6, 2017 on Six Shooter Records through Thirty Tigers.

Rewind to January 2017. Six months ago, Rose was primed to release South Texas Suite, a countrypolitan valentine to Austin, Texas. (Rolling Stone noted that it “bristles with local flavor.”) Days before the EP hit the streets and Rose kicked off a four-month worldwide tour, the burgeoning songwriting force (and “country hair” disciple) packed her boots for Nashville, where she entered BlackBird Studio A to reconvene with the Mavericks’ Raul Malo. In one short week, Rose, Malo and co-producer Niko Bolas channeled the tumult, turbulence and tension outside of the studio into Rose’s sophomore worldwide release, which includes nine self-penned songs. Playful yet uncompromising, Whitney Rose reminds us of popular music’s rich history of strong female voices and perspectives, and on Rule 62, she channels her inner Nancy Sinatra, Bobbie Gentry and Françoise Hardy. Rule 62 finds Rose “breaking up with patriarchy,” a breakup evidenced by new songs that show verve, swagger and self-assurance in Rose’s instinctive sense of tone, broadened scope and attention to detail.

Consider “Can’t Stop Shakin’” in the context of the day it was recorded: January 20, 2017. With Malo on harmonies and rhythm guitars, Kenny Vaughan on lead guitar, and saxophones and organ in the mix, “Can’t Stop Shakin’” was originally written as an anti-anxiety treatment in Memphis soul dance party form. Against an ominous political backdrop, the song now reverberates with an undercurrent of uncertainty and anger that reframes the self-calming shimmy as an act of protest. “’Can't Stop Shakin’ started out as something I would sing to calm myself down.” Rose says. “We recorded that song on Inauguration day and you could physically feel the divide between the public and the unrest in the air. I was in the studio that week every day for twelve hours on average, so realized my contribution was going to have to take place within the walls of Blackbird. So the song that started as a personal anthem got a rewrite that day.”

Rule 62’s “breakup” theme can be felt in songs like “Arizona” and “Time to Cry,” two fiery, merciless tunes that show Rose at the end of her rope with the manipulation and discrimination of women in the music business and beyond. “For reasons unbeknownst to me at the time, I started writing all these “breakup” songs that were mostly angry. I wasn’t sure where all these feelings were coming from until one day it hit me like a ton of bricks that I was penning these songs to society,” she observes. These sharp-tongued send-offs come with a good dose of humor, and the result is a reassuring sense that Rose isn’t letting anything grind her down.

Rose’s rising resilience underpins the message of “Better to My Baby,” a standout song that puts into practice the spirit and the letter of the album title. A tuneful take on moving on, the song is a measured spin on the traditional volatility of regret and jealousy that accompanies the end of a relationship. “Better To My Baby” also showcases Rose’s adept handling of ’60s pop conventions in its proud girl group nods: tinkling piano, buoyant harmonies and rueful romanticism.

Rule 62 is Rose’s second release of 2017, and sees the songwriter’s increased output matched by increased distinction. With so much touring now under the tires, it’s no surprise that Rose’s best work yet often explores her journeywoman’s experience. “Meet Me in Wyoming” and “Trucker’s Funeral” are emblematic of Rose’s clever study of the musician-as-trucker analogy. “Trucker’s Funeral,” a Dolly-caliber yarn with a stranger-than-fiction twist, is in fact a true story: “I had a meeting at Bank of America here in Austin last year and when the meeting was over the teller told me about going to his grandfather’s funeral here in Texas,” Rose recounts. “He found out he had a full second family on the West Coast. His grandfather was a trucker and always on the road, so neither family had any idea. As he was telling me this story, I was jotting down lyrics on my banking papers because it was just too intriguing an experience not be made into a song.”

Rule 62 boasts the first-class musicianship and studio instincts of collaborator and producer Raul Malo. The comfort and familiarity between the two made for a seamless return to the studio, this time with the added ear of Niko Bolas as co-producer. “Niko brought a lot to the table in the studio (when he wasn't sitting at his table at Waffle House). It allowed Raul to step down from the producer role from time to time and be a part of the band. That man can play and sing. One of my favorite parts of the album is the guitar solo on ‘You Never Cross My Mind’ — that's all Raul,” Rose observes appreciatively. Other musicians in the studio included Paul Deakin (The Mavericks) on drums, Jay Weaver (Dolly Parton, Tanya Tucker, The Mavericks) on bass; Jen Gunderman (Sheryl Crow) on piano; Chris Scruggs (Marty Stuart) on steel; Aaron Till (Asleep at the Wheel) on the fiddle; and Kenny Vaughn (Marty Stuart, Lucinda Williams) on lead guitar.

Rule 62. Don’t Take Yourself Too Damn Seriously. It’s the only rule that Whitney Rose needs to keep going.
Venue Information:
The Southgate House Revival-Sanctuary
111 East 6th Street
Newport, KY, 41071
http://www.southgatehouse.com/