Marty Stuart & His Fabulous Superlatives Way Out West Signed LP Vinyl Record RSD

$

56

This listing is for Marty Stuart And His Fabulous Superlatives - Way Out West Signed LP Vinyl Record Album New Sealed.  
Label: Superlatone Records – STR-101 Format: Vinyl, LP, Album, Limited Edition, Autographed, Album   Country: US Released: 2017 Genre: Folk, World, & Country Style: Country  Barnes & Noble Exclusive - Signed by Marty Stuart and the Fabulous Superlatives --guitarist Kenny Vaughan, drummer Harry Stinson and new member, bassist Chris Scruggs
Condition:   Jacket:  Mint (new, sealed)            Vinyl:  Mint (Never Played)
Tracklist:
A1 Desert Prayer - Part I A2 Mojave A3 Lost On The Desert A4 Way Out West A5 El Fantasma Del Toro A6 Old Mexico A7 Time Don't Wait B1 Quicksand B2 Air Mail Special B3 Torpedo B4 Please Don't Say Goodbye B5 Whole Lotta Highway (With A Million Miles To Go) B6 Desert Prayer - Part II B7 Wait For The Morning B8 Way Out West (Reprise)
John Marty Stuart (born September 30, 1958) is an American country music singer-songwriter, known for both his traditional style, and eclectic merging of rockabilly, honky tonk, and traditional country music. In the early 1990s, he had a successful string of country hits.  Five time GRAMMY-winner Marty Stuart will release Way Out West, his 18th studio album, on March 10 on Superlatone. The album was conceived as a love letter by one of Country music’s living legends, whom has played with everyone from Cash to Lester Flatt, to the lonely but magical American West, specifically the promised land of California. "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." Produced by Mike Campbell (Tom Petty and the Heartbreakers), and featuring the Fabulous Superlatives --guitarist Kenny Vaughan, drummer Harry Stinson and new member, bassist Chris Scruggs-- Marty’s longtime band, which NPR Music said could “melt your heart with four-part harmonies, rock your bones with honky tonk, and dazzle you with picking worthy of their name,” Way Out West is a cinematic tour-de-force. Listeners can feel the warmth of those desert winds over the album's 15 tracks, a collection of newly written originals, instrumentals and rare covers. Marty Stuart is a five time GRAMMY-winner, platinum recording artist, Lifetime Achievement Award recipient from the Americana Music Association, Grand Ole Opry star, country music archivist, photographer, musician, and songwriter. Since starting out singing gospel as a child, Stuart has spent over four decades celebrating American roots music. His teenage years on tour with bluegrass legend Lester Flatt in the '70s were followed by six years in Johnny Cash's band in the '80s, and a chart-topping tenure as a solo artist in the '90s. Stuart hosts a Late Night Jam at The Ryman, a yearly tradition which kicks off the CMA Music Festival, with recent guests including Dolly Parton, Jerry Lee Lewis, Neko Case, Eric Church, Chris Stapleton, Maren Morris, Dan Auerbach and many more.
Way Out West is Marty Stuart's album-length paean to the myth and magic of the American West. It finds country's stalwart neo-traditionalist turning cosmic cowboy for a journey through the Joshua trees, shadowy canyons and desert dreams that tantalize travelers with the promise of a golden shore on the other side.
Stuart grew up in Mississippi, captivated at an early age by glimpses of the West like the Bakersfield sound of Buck Owens, and the cowboy ballads of his namesake, Marty Robbins. Having made his mark on country over the last four decades, first as a guitarist with Flatt & Scruggs and Johnny Cash and then as a reliably roots-conscious solo artist, Stuart takes the occasion of his 18th album to bring his Western preoccupation full circle with a moody, atmospheric song cycle.
Naturally, Nashville wasn't the place to make this kind of record, so Stuart called on his old cohort Mike Campbell, guitar hero for Tom Petty & The Heartbreakers, who produced the album at Hollywood's iconic Capitol Studios and his own recording headquarters. The pair first met when Stuart joined with Petty's gang to back Johnny Cash on The Man in Black's 1996 Unchained album. And Campbell's co-production of Petty's 2010 release, Mojo, bore a bit of the heady desert-trip vibe he and Stuart have cooked up for Way Out West.
After conjuring up some ancient spirits with a swirling snatch of audio collage called "Desert Prayer" that blends the sound of Native American ritual with some rather psychedelic sitar splashes, Stuart offers up "Mojave," the first of several instrumentals that punctuate the album, luxuriating in the kind of deep-diving guitar reverb that evokes the grand echo of the desert canyons.
Those plangent guitars return on "Lost on the Desert," a Buddy Mize/Dallas Frazier tune Johnny Cash released in 1962 that shows the desert's dark side; an escaped convict desperately searches for his buried loot, foiled either by fate or the devil himself, depending on which way those dry, dusty winds blow. Way Out West's title track works the Cash legacy and a multitude of other elements into its lyrics, crafting a trippy travelogue that moves from Arizona to California and finds the narrator addled by taking too many pills, eventually having visions of everything from scorpions and poisonous ants to aliens. It feels a bit like what might have happened if Woody Guthrie had written his California-dreaming "Do Re Mi" during the temptation of Christ in the Judaean Desert.
Just in case the proceedings didn't already feel cinematic enough, the Mexican-tinged instrumental "El Fantasma Del Toro" comes off like a lost Ennio Morricone spaghetti western theme. On the freedom-across-the-border ballad "Old Mexico," Stuart makes his contribution to country's Mexican fascination, picking up where Marty Robbins left off on tunes like "El Paso." Stuart sings of Mexico as a place for potential reinvention, where "there's no price on my head, I can live and I can breathe and come back from the dead," just like the fresh start California has historically represented for searchers from the early settlers' era to the dust-bowl days and beyond.
More spirit visions arrive amid cosmic lyrics worthy of the late Byrds songsmith Gene Clark as Stuart stokes a '60s rock vibe on "Time Don't Wait." Chiming guitars riffs, wah-wah pedal swells, and a nimble Beatles-indebted bass line bring a gently psychedelic feel, like the comedown from a desert peyote buzz.
That Fistful of Dollars feeling returns on "Quicksand," another evocative instrumental, but this time it dovetails with the '60s sun-and-fun side of Western culture by tapping into a surf-rock vibe. If Morricone could have collaborated with surf guitar god Dick Dale, the results might have been something like this. The track leads into a cover of the Jim & Jesse bluegrass standard "Airmail Special," reinvented as a burning honky-tonker and returning to the California-as-promised land-theme with its plane ride "over plains and high, dark mountains" to the Golden State.
After another desert-surf twang-guitar showcase ("Torpedo"), a melancholy love song distinguished by a string quartet ("Please Don't Say Goodbye") and Stuart's classic-sounding addition to the country catalog of white-line-fever trucker anthems ("Whole Lotta Highway (With a Million Miles to Go)"), things come to a close on a reflective note. The quiet, almost hymnal "Wait for the Morning" promises redemption through a flight into the rising sun.
The closing credits of Stuart's movie for the mind (and ears) would scroll to the instrumental reprise of the title track. All the elements woven through the record come together for a final bow, as surf music, spaghetti western soundtracks, psychedelia, and cosmic country merge in celebration of the idealized West that Stuart's album brings to life.

CONDITION Descriptions:
I base the condition of each of my Records off of Ebay's Grading System. 

• MINT (M) Looks new and unplayed. Very high vinyl luster and no noticeable label defects. Sounds new. With 45rpm records, this does not always mean there is no surface noise at all. 
• NEAR MINT (NM) Looks almost new, but has some minor flaws such as a drill hole; unobtrusive writing on label (e.g., an X on a promo copy); minor scuffing on vinyl; minor color flaking on label, or other insignificant flaws that only slightly detract from visual appeal. May have some minor surface noise, but nothing distracting. 
• VERY GOOD (VG) There may be light scuffing and some of the original vinyl luster may be lost. The vinyl and label may appear used, but well cared for. Records may have some more obvious flaws that are not visually degrading such as a sticker on the label; more noticeable writing on the label; scuffing and minor scratches on the vinyl; or minor discoloration of the label. There may be very minor warping of the vinyl. There may be a slight scratch not affecting play. 
• GOOD (G) Record has visible signs of handling and playing, such as loss of vinyl luster, minor surface scratches, groove wear, and audible surface noise. Appears well used but not abused. May have a few major flaws, such as scratches, label tears, or stickers, and/or writing. 
• FAIR (F) Appears well used and somewhat abused. Audio is not great due to surface noise and scratches. The record may have a stick or a skip. Records in this condition are those you might purchase to fill a hole in your collection until a better copy comes along. 
• POOR (P) Well played with little luster and significant surface noise, but still not cracked or broken. Record likely skips and/or sticks. Typically so bad looking that a true “collector” would just toss it out. More useful as a Frisbee. I try not to sell records in this condition.
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