Marty Stuart And His Fabulous Superlatives
Variety Playhouse, Atlanta, Georgia on February 10, 2006
|This appeared in Glide Magazine - February 27, 2006|
Marty Stuart not only has musical talent, but he also possesses the ability to captivate an audience with endearing charm and turn even a large room into an intimate setting. His Fabulous Superlatives git-r-done as well with tight rhythm and vocals churned out by drummer Harry Stinson and bassist Brian Glenn. Kenny Vaughan served up searing lead and rhythm guitar on both electric and acoustic.
Marty and company immeditately kicked things off with You Know It Aint Right, Heartbreak Kind and Country Boy Rock and Roll, and by the time the band broke out The Whiskey Aint Workin, which makes an appearance on the just released Live at the Ryman album, it was clear the band was firing on all cylinders. Stuart made an intimate show even more intimate with a moving version of Homesick before a solo acoustic excursion that contained the gospel influenced Train of Love and a moving tribute to his friend and mentor, Johnny Cash, with Dark Bird. The show had an electrifying resurgence with Country Music and Badlands before Stuart switched to acoustic again for Wounded Knee and Casino, from Badlands, a homage to Native Americans, and displayed the musicians crafty guitar picking and his powerful songwriting. The gospel influence would re-emerge with Take the Lord. Harry Stinson provided a powerful voice to the poignant Slow Train, which was just one example of the The Fabulous Superlatives proficiency at singing, not only harmonies but leads as well. The band rifled through Now thats Country, Hey Baby, Me and Hank, and a crowd pleasing Look at that Girl and the audience responded with erupting applause.
Stuart would re-emerge with his mandolin to kick off an epic encore. Thrilled the audience with his picking, he was eventually joined once again byt the Fabulous Superlatives for Working on a Building and a fiery version of Hillbilly Rock that put an exclamation point on the show and sent the audience into a much deserved standing ovation.
By Richard Clarke
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