In a career spanning over 50 years, dozens of albums, and too many shows to count, Marty Stuart is still restless and pushing himself to new heights. Space Junk showcases the inimitable interplay and bond between Marty and his longtime band The Fabulous Superlatives, Kenny Vaughan, Harry Stinson, and Chris Scruggs. The album’s origins can be traced to Marty’s years composing music for film and television, including the score for All The Pretty Horses, which garnered a Golden Globe® Award nomination for “Best Original Score” and earned him GRAMMY® Awards in the category of “Best Country Instrumental Performance” for “Foggy Mountain Breakdown” and “Hummingbyrd.” “Scoring required a cinematic way of thinking.” reveals Marty. “I had to make music for what the scene called for, which turned me into more of a visual player in an understated way. That kind of thinking followed me into the studio during the making of Space Junk. I knew the music had to be pretty, but it also had to say something without losing its drive.”

He and The Superlatives ventured to Hollywood to cut the bulk of what would become Space Junk at the legendary Capitol Recording Studios. “The creative atmosphere of California always gives me the feeling that the sky is the limit,” Stuart muses. “Space Junk is California music. If you want a specific sound, you go to certain places in the world. For the California sound, it’s Capitol. You’ve got the blue skies, the legacy, the romance, and a lot of friendly ghosts. The atmosphere makes you do a little better.”

“California Part 1 (Bobbie Gentry Please Call)” channels this spirit. Captured live at Capitol, Marty played Clarence White’s famous Fender Telecaster guitar. “It winks at me, because it’s purely California,” Marty says of instrument. “I close my eyes and see a Western sunset. Clarence played really softly and there was a magic bell tone to what he did. I finally found that tone on the guitar with this song.”

 The songs are influenced by the California sun, palm trees, and the occasional flying saucer flyover. A dramatic drumroll gives way to ethereal guitar transmissions on “The Ballad of the Lonely Surfer.” “Waiting on Sundown” alternates between tender low-string twang and echoes of sustained notes awash in waves of reverb. “The song is clearly under the spell of my romance with the Golden State,” Marty confesses. “It’s a reflection of the music, rhinestone fashion of Lankershim Boulevard, cars, the TV and movie heroes. In reality, it’s a love affair with the entirety of the landscape of California custom culture.”

 The band also recorded a handful of tracks in Nashville. Among those, “Graveyard” hinges on a quintessential surf guitar riff coupled with a dynamic beat and fast tremolo. “We recorded at the House of Blues studio,” Marty remembers. “Right behind it, there’s a big graveyard where people like George Jones, Tammy Wynette, Marty Robbins and Porter Wagoner are buried. The title worked.” Then, there’s “Space Junk” which includes steel drums, galactic chimes, topped off by a sample of the Sputnik signal. Kenny elaborates, “Sonically, it’s like you’re sitting in the window seat of a spacecraft and you’re seeing all of this stuff just drift on by.” Ultimately, Space Junk is another natural step for Marty and The Fabulous Superlatives, a worthy addition to their essential catalog.

“I hope Space Junk takes the listeners for a ride,” he leaves off. “It makes me forget my problems and remember why I play guitar and get to dress up in cowboy clothes. It reminds me I’m okay, and I want it to do the same for you. Mainly, I want to inspire some kid to go to the store, buy an instrument, and make a difference. This concept was passed down to us from the old heroes. If we can serve the same role, mission accomplished.”