Marty Stuart – “Branded”

1. Marty Stuart’s new record Ghost Train: The Studio B Sessions, has been referred to as “traditional country” by several media outlets. When a modifier is added to a genre, it often gives too much credit to the offspring. The corrrect way to describe Marty Stuart’s type of music is “country”, in the same way that Hank Williams is not “Hank Senior” — he is just “Hank”. Stuart has been ignoring the urge to pander to country radio for many years now, and in doing so, is making some of his finest music yet.

2. “Branded”, the leadoff track on the record, echoes Stuarts commitment to the core of country music in both lyrics and music. Riding a stomping rhythm that locks into a Waylon-worthy groove, Stuart sings about being known in every town for his less reputable actions. His solo breaks, on Clarence White’s 1954 Telecaster, give the instrument a workout — as if having Kenny Vaughan in his backing band wasn’t enough.

3. The lyrics echo classic songs from Haggard and Cash, singing about the perils of a negative reputation — whether that be an actual prison sentence, a reputation as a heartbreaker, cheater, drinker, or all of the above. Like so many other artists featured on this site, Stuart succeeds with Ghost Train: The Studio B Sessions by being himself and keeping it simple. New artists could learn a lot by following his example in staying true to the rich history and heritage of country music.

Marty Stuart – “Branded”

Five Records With… Jim Lauderdale

I had the opportunity to interview Jim Lauderdale about some records that keep him going. I covered a song from his last record, Patchwork River here. Five Records is an occasional feature of artists talking about the music that inspires them. Read more of these posts here.

The Beatles With The Beatles

“I saw The Beatles on the Ed Sullivan Show and I knew that music was what I wanted to do. My mom was a choir director, and my dad had a really good voice, so I grew up in a musical home. It was such an interesting time in radio. You heard great stuff like this record, as well as the other British Invasion stuff, country music, soul music, all together.”

Ralph Stanley The Very Best Of

“When I was 14, I got into bluegrass, and I wanted to be a banjo player. I heard “Rank Stranger” by Ralph Monroe, on a collection of Bill Monroe songs, and I would sing along, trying to tackle Ralph’s tenor parts. Such great music from a man whose career I respect.”

Buddy and Julie Miller Written In Chalk

“I can’t really listen to music while I am writing — I get distracted, or worry that I am going to steal something subconsciously. Lately, I have been listening to this record a whole lot. Buddy and Julie have such a distinct sound, and such distinct voices, but they blend so well that it has that magic quality. I got to sing with them on a couple of tracks on Robert Plant’s new Band of Joy record, and it was great to be a part of that.”

Otis Redding The Very Best Of

“I hear songs all the time that I wish were mine, but one that stands out is Otis Redding’s “I’ve Been Loving You Too Long”. Its a simple, well written song, with great production that centers around his voice. Songs like these give me something to aspire to with my own music.”

The Black Lillies Whiskey Angel

“These guys are from Knoxville, Tennessee, and are doing the right things — writing good music and working hard. Cruz Contreras has a great voice, and I think they have a chance to see some real success if they keep this up.”

Jim Lauderdale – “Jawbone”

Jamey Johnson – “Playing the Part”

1. In a time when many country singers are trying to leave behind their hometown and trace their lineage to some semblance of Southern roots, Jamey Johnson releases a single that chastises himself for doing the opposite. “Playing the Part”, from his upcoming The Guitar Song finds him indulging in “the smell of tofu and high dollar wine”, and feeling disgusted with himself for “acting like [he's] playing the part”.

2. It is hard to tell what Johnson is referring to with this song: becoming too indulgent in the Los Angeles honky-tonk scene (which he recently praised as underrated), or his own actions under his original label deal, where he wore the hat and appeared on CMT’s ill-fated Nashville show. Either way, he has shown his unwillingness to play that game any longer, placing this steel-laden track on a record with a Vern Gosdin cover and guest vocals from Bill Anderson, two legends that aren’t likely to be name-checked by an American Idol transplant anytime soon.

3. In his now-traditionally brusque style, Johnson says his piece and gets out of the song, leaving with a stinger:

“these high dollar women, and the fame and the fortune/
ain’t worth the ticket I bought”

Will this warning fall on deaf ears to artists making their Nashville gold rush? Probably. Will this song hit number one, with its middle finger of an outro pointed at country radio program directors? Probably not. Either way, it is refreshing that this music is being made on a major Nashville label, and released to radio. I can keep my fingers crossed.

Jamey Johnson – “Playing the Part”