Marty Stuart Unveils Surf Guitar-Inspired Album “Space Junk”

Marty Stuart and His Fabulous Superlatives have been experimenting with differing soundscapes over the last few records, exploring the sometimes psychedelic Cosmic Cowboy sounds inspired by The Byrds and other Country Rock bands of that late ’60s, early ’70s era. This time around they offer a take on ’60’s instrumental surf and Ennio Morricone Western soundtrack inspired sounds. The result is often breathtaking to behold.

The first thing you notice with this vinyl-only Record Store Day release is the very striking cover art. It’s a painting from the famous Herb Alpert; yes that Herb Alpert, the jazz musician trumpeter known for his work with the Tijuana Brass, and a guy who’s performed on many soundtracks over the decades of his highly successful career. The artwork arrests your attention, much like the instrumental compositions contained within this exquisite two-record set of originals from Marty, “Cousin” Kenny Vaughan, “Handsome” Harry Stinson, and Chris Scruggs.

Longtime fans of Marty Stuart’s live shows are used to hearing a few rousing surf-inspired instrumentals in the middle of his sets, so perhaps this album shouldn’t come as a total surprise.

The surf music genre started in the late ’50s when a handsome, charismatic surfer in Long Beach California named Richard Monsour developed a striking instrumental guitar sound and technique that he hoped could convey the sound of waves in the ocean and the feeling when one is riding in them on a surfboard. He took a Fender Stratocaster and proceeded to blow up every amplifier he could get, playing it at high volume and creating an absolute sensation in youth culture everywhere.

Monsour, who’s stage name was Dick Dale, had created a monster culture almost single-handedly, and a large number of surf bands popped up almost everywhere, cashing in on the sound. The Ventures among others took the sound all over the world and kids everywhere became guitar players, inspired by those magical sounds. Artists like Duane Eddy also made instrumental music popular as well.

Italian composer Ennio Morricone who scored soundtracks to the so-called spaghetti western movies of Clint Eastwood like Hang Em High, The Good, The Bad and The Ugly, and A Fistful of Dollars, utilized a sound featuring Fender electric guitars, catchy melodies, and an orchestra to achieve a gritty sound designed to match the rugged western landscapes they were portraying in the movies.

Then there was the John Barry-scored James Bond theme, which around the same time was creating a sensation. All of these sounds figure in to this album in one way or another. Marty Stuart and The Fabulous Superlatives never do anything halfway. The album is a labor of love and a major commitment of time, energy and passion. And it shows.

So much attention has been given to detail on this record, from the collection of vintage instruments the band chose to record with, to the way the drums and amplifiers are mic’d. Longtime collaborator Mick Conley is once again heavily involved in the recording and engineering process, and sonically the album sounds terrific. Marty, Kenny and Chris have brought out the tools that guitar players doing vintage music absolutely relish, including use of tremelo, reverb, echo, baritone guitars, tremolo bars, and tube amplifiers.

You can almost feel the reverberating tones coming off of Clarence, Marty Stuart’s Holy Grail 1954 Telecaster guitar, once owned by Byrds alumni and Kentucky Colonels founder Clarence White. The guitar, so prized among musicians as it featured the very first ever B-bender device installed, allows notes to be bent via a hidden mechanical device nestled into the body of the guitar and activated by a strap button which Marty controls. The resulting pedal steel style bends are startlingly effective, and this record showcases Marty Stuarts enviable lead guitar playing.

Yet Space Junk also features songs written by all the band members, and they individually and collectively get a chance to shine. The album was recorded at multiple locations, including a couple studios around Nashville and the notable Capitol Studios in Hollywood.

With Space Junk, Marty Stuart and The Fabulous Superlatives have successfully created an enviable collection of music that will feel right at home with surf fans, guitar enthusiasts, soundtrack junkies, Morricone devotees, western movie fans, musicians and music fanatics in general. It’s a bold, heady take on some vital but often overlooked genres in American music, and the end result is a wonderfully and perfectly-crafted album that years from now will still sound exciting.

Marty Stuart is not ready to lie down and quit. He’s ever challenging himself, and in the process proving he has a lot left to offer.

(Kevin Smith, SavingCountryMusic.com)