Marty Stuart and His Fabulous Superlatives continue their musical exploration with the release of Space Junk, a vinyl-only album that merges 1960s surf instrumental vibes with the cinematic grandeur of Ennio Morricone’s Western scores. Building on their recent forays into the cosmic cowboy and psychedelic sounds of late ’60s country rock, the group ventures into instrumental territory deeply rooted in Americana and vintage textures.
The album arrives as a special Record Store Day release, immediately drawing attention with its arresting cover art, a painting by none other than Herb Alpert—the legendary jazz trumpeter known for his work with the Tijuana Brass and contributions to countless film scores. This visual sets the tone for a listening experience filled with sonic color and depth. Composed entirely of original tracks, Space Junk showcases the talents of Stuart alongside “Cousin” Kenny Vaughan, “Handsome” Harry Stinson, and Chris Scruggs, creating an atmospheric blend of genres that feels both familiar and refreshingly inventive.
Longtime followers of Stuart’s live performances may recognize the surf music influence that occasionally punctuates his shows. This full-length project, however, fully embraces the surf aesthetic, drawing inspiration from the genre’s roots in late 1950s Southern California. The sound that Dick Dale—born Richard Monsour—developed with his reverb-soaked Fender Stratocaster is a cornerstone of Space Junk. Dale’s electrifying approach, meant to emulate the sensation of surfing through crashing waves, sparked a youth movement and inspired generations of guitar players, including Stuart and his band.
In addition to surf guitar, the album pays homage to Ennio Morricone’s gritty Spaghetti Western scores. Morricone’s work on films like The Good, The Bad and The Ugly and A Fistful of Dollars featured distinctive guitar melodies, cinematic orchestration, and an emotionally raw ambiance—elements that Stuart and his band weave into their own soundscape. Similarly, the James Bond theme, composed by John Barry and known for its signature twang and mystique, also leaves its imprint on this project.
True to their meticulous nature, Marty Stuart and His Fabulous Superlatives leave no detail untouched. The album’s production is characterized by a rich analog feel, thanks to a wide array of vintage gear. The band leaned heavily into period-specific equipment, including tremolo bars, echo effects, baritone guitars, and tube amplifiers, capturing the authentic spirit of their influences. Mick Conley, a frequent collaborator, plays a vital role in the engineering process, helping the group achieve a sound that is as lush and atmospheric as it is clear and powerful.
A key highlight of the album is the sound of “Clarence,” Stuart’s iconic 1954 Telecaster once owned by Clarence White of The Byrds. Famed for its pioneering B-bender mechanism, the guitar produces steel-like bends that add a compelling voice to the album’s instrumental palette. Stuart’s mastery of the instrument is on full display, with his leads evoking both the wild energy of surf rock and the dusty drama of old Westerns.
Space Junk is more than a showcase for Marty Stuart’s virtuosity; it’s a collaborative effort with all members of the Superlatives contributing songwriting and instrumental flare. The record was tracked across multiple locations, including several studios in Nashville and the iconic Capitol Studios in Hollywood, adding geographical flavor to the sonic tapestry.
The result is a striking and inventive body of work that appeals to a broad range of listeners—surf music enthusiasts, fans of classic film scores, guitar aficionados, and anyone who appreciates finely crafted instrumental music. By fusing these historically significant but underappreciated genres, Stuart and his band breathe new life into classic American sounds.
Marty Stuart’s creative energy shows no sign of slowing. With Space Junk, he and The Fabulous Superlatives continue to push boundaries while honoring the traditions they love. The album stands as a vibrant testament to their commitment to musical storytelling and to the enduring power of instrumental composition.
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