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”

Dexateens – “Spark”

1. Counting off time with a thumping muted guitar strum, the Dexateens immediately reference Johnny Cash’s Sun Records sound, though considering the conditions under which “Spark”, from their latest record Singlewide was recorded, John Hiatt might be a better comparison. Hiatt’s landmark Crossing Muddy Waters (one of Ed Jurdi’s favorites) was the first record I remember to be recorded on a porch, and this record from the Dexateens makes two. I heard of their second record, Hardwide Healing, through its producer, Patterson Hood of the Drive-By Truckers. The stripped down sound of Singlewide is not as much a departure from their early roots-rock sound as it is a focused effort to highlight the songs rather than the music. “Spark” is a prime example, with the bare instrumentation laying plain Elliott McPherson’s optimistic words.

2. McPherson’s pitched tenor is immediately reminiscent of Gary Louris from the Jayhawks, a comparison reinforced when John Smith enters singing in unison. McPherson’s lyrics speak of hopeful wishing for a “faraway life” without “so much darkness drawn down to ya”, dismissing the negative with “can’t be a shadow or a spark don’t shine”. The rest of the band shuffles in on the chorus, warming McPherson and Smith’s duet that jumps past future glory to reminisce “that I knew you when”, and assuring that the “time will come around again/ If you stick around and see.” The second verse is more endearing encouragement to “wait all night, the sun is gonna find us”, before moving into an understated solo and ending as it began.

3. McPherson doesn’t have a lot to say in this song other than a few hopeful suggestions to a struggling friend. Luckily, he doesn’t try to hide the simplicity of his song with a lot of instrumentation or extra verses. Some of my favorite songs, like Big Star’s “Thirteen” follow this concept. Lyle Lovett said that in songwriting, “having something to say is the hard part. If you get an idea for a song, then it pulls you along.” The Dexateens succeed by not letting a lot get in the way of a simple, good idea.

The Dexateens – Spark

Rosanne Cash – “Sea of Heartbreak”

1. By now, Rosanne Cash’s new record The List has been pored over by critics, previewed by NPR, and released a week ago. Her renditions of songs from her father’s list of 100 essential songs provide new insight into classic American standards, with warm production by her husband, John Leventhal. One of these songs, Don Gibson’s “Sea of Heartbreak”, was also covered by her father on his second American Recordings release Unchained. The two versions of Gibson’s terribly lonely classic are very different, but both seem to serve the song equally well. Rosanne brings in Bruce Springsteen to assist on background vocals, while her father had Tom Petty (and the Heartbreakers) backing him on much of that entire record. As for whose version is better? That is up to you to decide.

2. Johnny Cash’s work with Rick Rubin stands as a testament to both artist and producer, with Cash’s strong baritone hovering over Rubin’s crisp, acoustic based arrangements. Petty’s drawled count-off leads into a jangly rendition with all the American Recordings’ hallmarks – triangle, layered acoustic guitars, and booming piano fills. Petty has always been underrated as a background singer, a role he displayed on Bob Dylan’s 1986 True Confessions tour, where he and his band opened for the legend, then served as his backing band. His thin tenor lilts over Cash’s recitation, while Benmont Tench’s organ provides a perfect warmth to the track. Rubin, who also produced Petty’s Wildflowers, provides a similar sound here, with the bright accompaniment a worthy foil to Cash’s unmistakable voice.

3. Leventhal and Rosanne take a different approach, with an airy keyboard and a twangy, reverb-heavy guitar providing the only accompaniment before Rosanne’s distinctive alto breaks the ethereal mood. Bruce’s voice is in full croon mode that he showed on Magic’s “Girls in Their Summer Clothes”, more deep-vibrato Roy Orbison than the gritty howl that Springsteen fans are used to. A change of chords on the chorus creates a descending, tension-building pattern that echo the narrator’s desperation. Springsteen’s solo turn on the bridge over a lightly strummed guitar makes it a true duet, rather than just a background cameo.

4. It is hard to pick a favorite of these two tunes. Rosanne’s version is more adult contemporary, similar to a rendition that Sting might turn out if he were prone to covering American classics. Her father’s version is more of an update of his traditional country sound mixed with the Traveling Wilburys (of which Petty was an integral part). Maybe both can be enjoyed without picking a favorite, but in case you haven’t heard either, listen to them below and let me know which version you favor in the comments.

Johnny Cash (with Tom Petty) – Sea of Heartbreak

Rosanne Cash (with Bruce Springsteen) – Sea of Heartbreak