This collection of photographs and commentary from hillbilly country singer Marty Stuart follows closely on the heels of one of the best albums of his career, The Pilgrim.

The CD was a rarity in country - a conceptual CD. The Pilgrim is the story of a down and outer from his hometown of Philadelphia, Mississippi, who married a pretty woman he probably ordinarily wouldn't have because of her need to sow her wild oats. The relationship wasn't meant to last, but the music and story certainly is.

In this book, Stuart brings to life some of the small town folks of his upbringing and his entire history in music ranging from joining Lester Flatt at age 13 to a six-year stint with Johnny Cash to going out on his own. The book does not parallel the CD, but covers some of the same issues everyone faces in life.

While not professionally trained, (in fact, he credits his mother with being his influence photographically speaking) Stuart certainly has a good eye for capturing attitude and emotion whether in the shots of family members (a photo of Stuart's father on retirement day from his factory job with a U.S. flag hanging from the ceiling is particularly poignant) or the one-legged peanut salesman in Philadelphia or the shot of Connie Smith getting into her car after coming or the local Choctaw Indian Fair (the story here is most interesting because not only was Smith Stuart's mother's hero, but because "On the way home I told momma I was going to marry that girl. I did - on July 8, 1997.") or many photos of Cash (not all of them making him look particularly good) or the Sullivan Family gospel group, Steve Earle, Dolly Parton or a visit by Hank Williams Jr. with his daughter to the grave of his father with the words "Praise the Lord/I saw the light" etched on the stone.

Stuart turns in some wonderful photos of Waylon and Willie as well with both quite photogenic.

"A Day in Poor Valley, Virginia" is excellent at showing the simple life of Janette and Joe "Bull Carter," the guardian angels of the place where country music was born, the homestead of A.P. and Sara Carter. Stuart, of course, has a direct connection to the Carters through by marriage to his first marriage Cindy Cash, daughter of John and June Carter Cash.

The photographs are spiced with little vignettes about such luminaries as Bill Monroe, who gave Stuart the stamp of approval with "You learned good, boy" just a short while before his death, Harlan Howard, Haggard, Merle Travis and on and on.

Stuart does not tell the stories in a braggadocio, egomaniacal manner. Stuart imbues the book with a strong sense of history taking place, making it clear that he is participating in and recording it, not necessarily making it.

These were people he really did know, who influenced his life both musically and spiritually.

Given the title of the book, it's no surprise that Stuart isn't afraid to portray those who shaped him with a few warts and all.

While it would be unfair to call Stuart a chronicler of late 20th century country music in all its forms (not surprisingly, there are no pictures of Garth Brooks, Shania Twain and the like, but, of course, that is not what Stuart is into musically), he turns this into a masterful job of relating experiences of those with whom his musical and family life intersected.

This is an easy read, perhaps a few hours worth to do the reading and look over the photographs. The time spent is well worth it to gain further insight not only to Stuart, but many greats of country music.

By Jeffrey B. Remz