Marty Stuart and His Fabulous Superlatives
Girls, Guns & Glory Acoustic
Fri, December 8, 2017
Doors: 7:00 pm / Show: 8:00 pmNarrows Center for the Arts
$60 Advance | $65 Day of Show | $200 VIP 1 | $100 VIP 2
VIP Package 1: 1 front row ticket (not a table)
Admission to private pre-show event in the venue, featuring a two-song performance by Marty and the Superlatives and question & answer / story telling session with Marty and the band.
One commemorative limited edition show poster and one VIP laminate and lanyard
Individual photo opportunity taken on stage with Marty and band, using tour photographer
Autograph session with Marty and band (one item limit)
Crowd-free merchandise shopping
VIP Package 2: 1 ticket in 2nd, 3rd or 4th row
Admission to private pre-show event in the venue, featuring a two-song performance by Marty and the Superlatives and question & answer/story telling
One commemorative limited edition show poster and one VIP lanyard and laminate
Crowd-free merchandise shoppinghttps://narrowscenter.ticketfly.com/event/1575465/
While he’s too gracious to admit it himself, the Grammy-winning singer, songwriter and musician is living, breathing country-music history. He’s played alongside the masters, from Cash to Lester Flatt, who discovered him; been a worldwide ambassador for Nashville, Bakersfield and points in between; and safeguarded country’s most valuable traditions and physical artifacts. Including its literal shoes: Stuart counts the brogan of Carter Family patriarch A.P. Carter and an assortment of Cash’s black boots among his vast collection of memorabilia.
But most importantly, Stuart continues to record and release keenly relevant music, records that honor country’s rich legacy while advancing it into the future. Way Out West, his 18th studio album, hits both of those marks. Produced by Mike Campbell (of Tom Petty and the Heartbreakers), the album is a cinematic tour-de-force, an exhilarating musical journey through the California desert that solidifies Stuart as a truly visionary artist.
Opening with a Native American prayer, a nod to Stuart’s affinity for the indigenous people, particularly the Lakota, Way Out West transports the listener to the lonely but magical American West. It is, in its own way, musical peyote.
“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.”
Specifically the promised land of California. 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,” he says. “It seemed like a fantasy land. Way Out West is a love letter to that.”
As such, the album could only be recorded there, and Stuart, with his longtime backing band the Fabulous Superlatives, decamped for California. They recorded half of the album at Capitol Records and the rest at Campbell’s M.C. Studio, a gritty space with a vibe all its own. Much of the early Heartbreakers music was recorded at Campbell’s and that primal rock & roll energy is palpable throughout Way Out West, reinforced by Capitol’s own rock history: the Hollywood studio birthed iconic records like the Beach Boys’ Pet Sounds and the country-rock of Glen Campbell’s Wichita Lineman. Way Out West, with its atmospheric production, evokes those classics, as well as cowboy records like Marty Robbins’ Gunfighter Ballads and Trail Songs and Cash’s The Fabulous Johnny Cash, one of the first albums Stuart ever owned.
“This is a California record, and I knew that when I emerged from the studio at night, I wanted to see palm trees and breathe that desert air,” says Stuart.
Listeners too can feel the warmth of those Santa Ana 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, and he said the only thing he remembered about it was changing some words,” laughs Stuart. “But Way Out West just as easily could have been titled Lost on the Desert.”
The idea of losing oneself runs through Way Out West, with the title track both a spiritual adventure and a cautionary tale – Stuart wraps up the travel ballad with a spoken aside about his own bad trips with pills.
“I researched that for 30 years,” he jokes, self-deprecatingly. “There’s a lot of truth in that song.”
The rollicking standout “Time Don’t Wait” also offers a warning: to not let life race by. “As the dirt fell through my fingers / the wind it seemed to say / don’t put off until tomorrow, what you can today,” sings Stuart. “That’s just country wisdom. I can’t claim that. But I like when you can talk about the simple things that are around us. That makes country music come to life for me,” he says.
When it comes to transforming country songs into tangible experience, Stuart has a secret weapon: the Fabulous Superlatives. Made up of guitarist Kenny Vaughan, drummer Harry Stinson and new member, bassist Chris Scruggs, the Superlatives are an extension of Stuart himself.
“The Superlatives are missionaries, they’re fighting partners. They’re my Buckaroos, my Tennessee Three, my Strangers. They’re my legacy band and have been since Day One,” says Stuart.
Along with the playing of Mike Campbell, who contributed guitar, B-3 organ and piano, the Fabulous Superlatives are all over Way Out West and ensure that the mystical detours Stuart explores always remain of the moment.
As Stuart himself will tell you, he often ventures off the reservation – in a way, his entire career has been “way out west.” While other artists chased popular trends in the name of radio play, he formed complete bodies of work, not unlike the greats he idolized. Way Out West is just the latest embodiment of that creative mission.
Love and Protest: two concepts that seldom go hand in hand. Until you think about it a while.
That’s what singer, guitarist and songwriter Ward Hayden did as he began mapping out plans for Girls Guns & Glory’s next album, which happens to be called Love and Protest.
“That title sums up this album and it sums me up very well too,” he says. “We’ve done 10 years of touring, living, learning and growing, maturing and developing a broader world view, a view outside of the small town where I grew up.”
That decade began with Hayden and several like-minded musicians getting together. Their love for early rock ’n’ roll, true country, raw blues and pretty much any kind of authentic American music branded them quickly as anomalous — and electrifying. Since that time they’ve barnstormed far beyond their Boston hometown, playing honky-tonks, beer joints and more recently concert venues throughout the U.S. They’ve amassed a loyal legion of fans along the way. The media have noticed too, including Rolling Stone, which heralds them as a “modern-day Buddy Holly plus Dwight Yoakam divided by the Mavericks.”
Now, in this milestone year, with Girls Guns & Glory recording for the first time on its own label, the group has channeled all it’s experienced into its most personal and, paradoxically, hardest-rocking release to date.
Narrows Center for the Arts
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