Singer-songwriter, and bass player with The Memphis Drawls (and before that, sideman for Alvin Youngblood Hart, Cory Branan etc), Mark Edgar Stuart writes good songs; his style edges towards fellow singer-songwriters John Prine, Steve Goodman and Blaze Foley. Melodic, and on occasions a little off-kilter as pedal steel guitar shares stage with shuffling rhythm, harmony vocals and Stuart’s engaging, easy on the ear lead vocals. Song wise, the material is of the kind the listener can store in his or her mind, absorb and go back to later. Quality. Some aspects of his work has slow burner emblazed all over it.
Recorded at Sun Studios, Ardent Studios & Sam Phillips Recording Service, Arkansas-born Stuart’s acoustic, electric and bass guitar is aided by John Argroves (drums, percussion), Al Gamble (wurlitzer, organ, clavinet, mellotron), Jim Spake (clarinet, saxophone, baritone sax) and Kait Lawson (background vocals) plus others.
Time and again Stuart comes through with something cool and of excellent listening. Sharp as a tack lyrically, ever warm and engaging choice cuts include the likes of “Trinity Dear”, “Ms America” and with Eric Lewes’ slide guitar shaping the mood, “Louise From Deridder” and steeped with a 1970s free ‘n easy singer-songwriter flavour “Napoleon Blues”. That glides, effortlessly like a stone skimmed across a still water lake. “Wasted”, with a warm loping melody, seamless harmony vocals and more pedal steel (hints of 1970’s country rock and Prine), and other sympathetic picking to someone who writes great lyrics. The good, and interesting stuff doesn’t stop here. No way, for in “We Were In Bloom” veers, ever so slightly to that of slicker acts of vintage 1970s singer-songwriter scribes. Maybe a little of the Californian influence? “Joe Is Enough” that follows in the running order is of a stripped-down piece, and with beautiful acoustic guitar playing and more superb lyrics it sees Mark Edgar Stuart arguably, deliver his finest and meaningful song on the record. “Myra Gale” is an interesting one, written about rock’n’roll legend Jerry Lee Lewis (and marriage to his second cousin) with funky electric guitar and lyrics so descriptive it borders on brave. Though musically it isn’t in synch with the remainder of the album it nevertheless contains much room for thought. More still, room of thought can be sourced from closing track “Louise From De Ridder”; a song I could well imagine John Fulbright having written and proud of the fact!
Stuart’s work and career is very much on the rise, and with a little luck and Stuart getting himself over here, his name will soon become a regular occurrence in Americana music circles.
Maurice Hope