The current best band in the world?


There is of course no such thing. There’s not even a best Blues band, or Rock band, or Jazz band, or Country band, or any other kind of band. But a lot of us probably have a "favorite" band, one we like so much it is our favorite irrespective of genre. And so it is for me.

A band is the combined talents of all it’s members, different bands having varying distributions of talent levels amongst it’s members. There is a band that has been playing together now for 16 years, and damn are they good. It’s Marty Stuart and His Fabulous Superlatives, and they are my current favorite band. All four members are extremely talented, and they work together as only the very best bands do.

Marty Stuart went on the road in a Gospel group at age 12, playing mandolin for the Summer before returning to school. He was caught in class reading a Country music magazine hidden in a history book, and explained to the teacher he would rather make history than read about it. He was expelled, so looked for a job. Lester Flatt hired him, and Marty went on the road with him at age 13. He worked with Lester until Flatt’s failing health took him off the road in ’78, then kicked around a little with Vassar Clements and Doc Watson. In 1980 he was hired by Johnny Cash, with whom he worked for years. Marty got himself a record deal, and put out a bunch of albums on MCA and Columbia. I met him at The Palomino (the legendary Country music bar in North Hollywood, where Dwight Yoakam got his start) in the early 90’s, and a nicer guy you couldn’t find. He owns a bunch of historic guitars, including Pop Staple’s acoustic and Clarence White’s (The Byrds) Telecaster.

Drummer Harry Stinson is a superb musician and singer, long employed in Nashville studios in both capacities. Guitarist Kenny Vaughan is a Telecaster ace whom I first saw live playing guitar in Lucinda Williams’ band, on the Car Wheels tour. He’s also a real good harmony singer, with his own recent solo album. Bassist Chris Scruggs, Grandson of Earl Scruggs, is an incredible multi-instrumentalist (a first-call pedal steel player in Nashville) and, again, good harmony singer. Country musicians grow up singing as well as playing instruments.

All these guys are seasoned pros, talented not only on the instruments they play, but also as ensemble players; those are very different talents. Their latest album, Way Out West, was produced by Petty’s guitarist Mike Campbell, he also a big fan of Marty Stuart and His Fabulous Superlatives. Great band name!

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@slaw---yeah, I don’t know why home studios just don’t get as good a sound as pro studios. My old friend Pete Curry (bassist in Los Straitjackets) has a studio with a 2" 3M 16-track recorder, a bunch of great mics (Sennheiser, AKG, Neumann, Electro-Voice---the EV RE20 is a killer bass drum mic), a Manley tube mic pre-amp, a great plate reverb, other high quality outboard gear. Yet the recorded sound he gets lacks the "snap", the lightning-quick transient response that pro studios do. The sound is a little soft and veiled, lacking transparency and presence. By the way, his monitor system is a Mac 5100 integrated and 1960’s Altecs with 15" woofers in bass reflex enclosures and horns.

It could be the small rooms that are typical in home studios. Pete’s room is a square with hard floors and walls, really live and "splashy". I loaned him my 13 ASC Tube Traps, but they didn’t help much. I recorded in Emitt Rhodes studio, and his sound was really bad. But then he likes digital (his 2" multi-track Otari was covered in plastic, unused), and uses a bunch of junky semi-pro equipment. His mixes are really weird; the tambourine I overdubbed over my drum track was the loudest instrument!

@bdp24 ,

When you refer to (your) drum track... for what recording is this? Something we may have?

I doubt you or anyone else here has it slaw! It’s a track on a single by a guy named Ray Paul that Emitt produced and sang harmony on. The song is entitled "Some Sing, Some Dance", a 1972 song written by Canadian Michael Pagliaro. It came out in the late 90’s on a small Indi label named Permanent Press, and is also on an album collection of Ray Paul’s on the same label.

I have recorded in two pro studios since moving to the Portland area, and the drum sound the engineers got is as good as any project I’ve been involved in, including recordings made in the old RCA studio in L.A. (in the same room in which The Stones recorded "Satisfaction"), engineered by Tchad Blake (Los Lobos, T Bone Burnett). One of them has done some work with David Lynch!

I don't mean to get personal but, Is a reason you moved to Portland, one that had recording in mind?