Marty Stuart

All Music Guide

A former bluegrass picker and Johnny Cash sideman, Stuart burst on the scene with this largely rockabilly-flavored album. Not a great album, but made somewhat more interesting by some of the people appearing on the record and the inclusion of two Steve Forbert songs.

By Jim Worbois

Rated: 5

Billboard

Country Music

Working with Lester Flatt, then with Johnny Cash, as Marty did over the past decade, you learn the importance of being true to yourself. The result on this first album, for which both Stuart and producer Curtis Allen share credit, is a nearly flawless synthesis of rockabilly, bluegrass--two forms more closely related than many realize--1960's rock, blues and various contemporary pop styles that succeeds despite being a bit slick at times.

The churning rockabilly of "Arlene," also released as Marty's first sing, leads off Side One. His revival of The Band's 1970 rocker, "The Shape I'm In"--with Duane Eddy guesting on guitar--is flashier, less rustic and cockier than the original. David Mallett's "Hometown Heroes" is a timeless and intriguing anthem-plus-warning of the ultimate futility of life in the small town fast lane.

Two Steve Forbert compositions are among the most successful cuts on the album. "All Because of You" is a love song devoid of sugar-sweet sentiment, and "Honky Tonker," with its unrelenting Bo Diddly/bluegrass beat, breathes new blood into a theme that has been wearing thin for years. "Do You Really Want My Lovin," which Marty co-wrote with the late Steve Goodman, is a 1950's rhythm and blues roadhouse shuffle arranged Delbert McClinton style. "Maria," co-written by Marty and Curtis Allen, is a modern cowboy/bluegrass that evokes the spirit of Marty Robbins.

My sole complaint--and this is directed at CBS--is the album's brevity, only eight songs. [Note: The CD reissued in 1992 contained 9 songs.] The "mini-album" approach may have it's place and they are priced proportionately lower than the standard ten-song albums, but any debut should give an artist the chance to stretch out to the max. I fail to see the advantage of abbreviation given Marty's clear ability to sustain himself. To introduce a new artist, I would argue that it would be money well spent for record companies to offer the customer more songs, not fewer.

There will be those who will complain that none of this music is country, just as people complained that Bob Wills, Elvis and even Waylon were too far off the beaten path. Like those three, Marty's music has exciting new dimensions, many of them non-traditional considering Nashville's past direction. After years of watching Music Row--and millions of record buyers--choke on a steady diet of creamy pop mediocrity, maybe that's exactly what we need.

By Rich Kienzle

Music City News

Stuart has long been noted for his instrumental skills (he plays some superb electric guitar and mandolin riffs here), but he also has a strong voice that reflects credible interpretation through great phrasing and dynamics. Stuart also contributed three co-written songs on Side Two and they show the contracts of his musical styling.

One, Maria (Love To See You Again), is a touchstone to his years as a bluegrass musician. Heart Of Stone offers bold vocals and strong layering of keyboards. His first single release, Arlene was a blast of rockabilly. These elements all blend together well under the producership of Curtis Allen. Hands down the best cut is the rollicking Honker Tonker, on which Stuart pulls out all the stops. Needless to say, I'm impressed.

By Dixon Harden

New Country