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Once Upon a Time (Marty Stuart album)

From Wikipedia, the free encyclopedia

Once Upon a Time
Studio album by Marty Stuart
Released 1992
Genre Bluegrass, country
Language English
Label CMH
Marty Stuart chronology
Once Upon a Time
This One's Gonna Hurt You

Once Upon a Time is the sixth studio album of country/bluegrass singer Marty Stuart. The album is mostly acoustic, featuring mainly bluegrass songs and Marty Stuart's mandolin. It is a retrospective of Stuart's teenage work[1] during his time with Lester Flatt and Nashville Grass; the All Music Guide to Country describes the album as "certainly a special compilation" of a "true musical treasure" that "documents the early years and provides a glimpse into the development of an artist of character and quality."[2]

YouTube Encyclopedic

  • 1/3
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  • Marty Stuart - What's in My Bag?
  • Marty Stuart and his Fabulous Superlatives - Full Performance (Live on KEXP)
  • Marty Stewart - This Ones Gona Hurt


Hi everybody I'm Marty Stuart. I am at Amoeba right here in Hollywood and this is What's in My Bag. I ran into my whole... a big piece of my musical life here This was the first record I ever owned, right here. This record actually came in a different cover at the time, but this was the second record I ever owned. And the crazy part about it was the only two jobs I ever had in my life was with Lester Flatt and Johnny Cash. And I used to watch their television shows and I would think someday I wish I could be one of their kids and y'know take that banjo case, tote that guitar case to the bus for them. I was crazy that way. I started to work with Lester Flatt when I was 13. I left home, I was cutting yards one day and the next day I was in his band. It was like joining the Navy. It never hit me until about 20 years later, my drummer brought his kid out on the bus, Travis pimples and voice changing. I said Travis how old are you, he said 'thirteen' and I saw myself sitting there and it almost made me sick I thought man, that was you, and you didn't have any sense to know any better. God took care of me. And when Lester passed away, I didn't have anywhere to work all the bluegrass bands were full. Bill Monroe's band was full, Ralph Stanley didn't need anybody Jimmy Martin, the Osmond brothers, none of those guys needed a musician. But I went into a guitar store one day where I had my guitar fixed and a buddy of mine named Danny Farrington was building this really fancy black guitar. I said, who's that for, he said Johnny Cash. I said, I want to go with you when you deliver it. When the door swung open, John, I call him J.R., was sitting playing a guitar and Cowboy Jack Clement was dancing with a martini on his head and John was singing 'Wabash Cannonball' John stood up to shake my hand. He just kept shaking my hand, he said, where you from? I said Mississippi. He said, I thought so. He said, where you been? I said getting ready. Three or four weeks later they called and I was working in the band. But the one that really mattered, where'd she go...this girl, Connie Smith. My mom had a record of Connie's called 'Miss Smith Goes to Nashville.' I would just go by and look at her because I thought she was the prettiest girl in the world and one day I was in the living room and the radio was playing it 'Coming to the 1970 Choctaw Indian Fair, Miss Connie Smith from the Grand Ole Opry in Nashville' I went, mama, she's coming. So mom took my sister Jennifer and me out to the Choctaw Fair to see Connie Smith sing. I asked my mom if I could borrow her camera. So I went back to where Connie was sitting in her car and I said Miss Smith can I take your picture? Yeah and I went 'pow.' It was the first picture I ever took in my life. And I thought about it, and I was really serious about it. I was 12 years old and on the way home that night I said, someday I'm gonna marry Connie Smith and she's sitting right over there now. However strange it may seem to your heart when the right record or the right person comes through y'know be brave enough to let it in, because you never know. I found this record, I was spellbound when I heard it I heard those prisoners start screaming I was in front of my aunt Waldene's stereo and I stood there and listened and the goosebumps must have been this big on my arm and it was like something was reaching inside of my heart and doing this and if I had to point to one record, if you've never heard rock and roll in your life and if you've never heard country music in your life, go get this record. This was not the most y'know, glamorous time in his life. He was coming up out of the ashes and he was using this jailhouse as his theater so they recorded the set one time, took a break, and re-recorded it one more time in the morning so it was done by noon as far as just a man, his guitar, his band, and his songs, coming up out of the ashes. If you want the definition of American country music, American rock n' roll whatever Americana music is, here it is. If I had to take one record to heaven with me, it would be that one right there. The other thing I chose, I ran straight into myself. This was the first record I ever played on when I went to work with Lester Flatt in Nashville and this record means a lot to me because this is kind of the situation, Lester was kind of just a legendary Grand Ole Opry kind of act. He and Earl Scruggs did the Beverly Hillbillies thing and y'know 'Foggy Mountain Breakdown' was a part of the Bonnie and Clyde film that Warren Beatty and Faye Dunaway did but then we worked the show there's a song on this record called 'Feuding Banjos' which is 'Dueling Banjos,' which is the song that was featured in Deliverance. Now lets you just drop them pants. Drop? Just take 'em right off. And it was just a part of the set for a lot of years, just a lot of years. And so when the Deliverance film came out, this song had just been a part of this old show for a long time. So we played this concert in Cincinnati, Ohio and it was called a 'College Buyer's Showcase.' The acts were Lester Flatt, Chick Corea, and Kool & The Gang. And here we are in these cowboy hats and these Kentucky kinda gentleman clothes I remember walking on the bus, going they're gonna laugh us off the stage but we didn't know about the secret weapon of 'Feuding Banjos.' Because that movie was so popular and the song was so big and we just did it, and it was all hippies and kids in the crowd. It exploded. The place exploded, we encored it. and that was the first of nine encores in a 45-minute set. The next day Lester's agent took 72 bookings in college campuses and rock festivals across America so we were rock stars the next day. I went really heavy on The Byrds. When I first went to work with Lester Rowland White was the mandolin player and his brother was this man right here, Clarence White. A great guitar player. They were based here in Hollywood for so many years and he was tragically killed in 1973 but that's Clarence's guitar, and that guitar is probably more famous than all of us put together but that's the guitar I bought in 1980 and still play. But I went heavy on the Byrds, and one thing that was really... that struck me about this one, it's called 'Byrdmaniax.' There's a song on the new record called 'Whole Lotta Highway' and I woke up that morning thinking, I have to go to the studio and I want to work on my guitar solo, make it a little better. Michelle, Clarence's daughter, brought Clarence's mask to the studio that day, to show to me and while I was playing the solo Clarence's mask was down here looking up at me, and I'm going, whoa. It couldn't get any better, it was spooky and it was a spirit-filled moment but it was big. When I hear the Byrds come out of my speakers, to this day I become a little kid again. Roger's Rickenbacker, that jangle I can close my eyes and see palm trees and the Hollywood sign and the blue skies out here. It just transported me. Their music had the power to transport me from my bedroom in Mississippi to California, way before I ever got here. Today is a reminder to me more than looking for new things, it's a reminder to me that when you make records, they're forever. They will be here long after we're gone and hopefully they inspire somebody and this is a pile, I'm sitting the middle of a pile that absolutely touched my heart and it changed my life. Thank you so much. Thank you, guys.

Track listing

1."Take A Little Time"Marty Stuart, T. Michael ColemanMarty Stuart 
2."Dim Lights, Thick Smoke (And Loud, Loud Music)"Joe Maphis, Rose Lee Maphis, Max FidlerMarty Stuart 
3."Orange Blossom Special" (Live)Ervin T. RouseMarty Stuart & Clarence 'Tater' Tate 
4."Mother Maybelle"Joe Maphis, Rose Lee MaphisMarty Stuart & Johnny Cash 
5."The Bluebirds Are Singing for Me"Lester Flatt, Mac WisemanMarty Stuart 
6."Till The End of the World Rolls Around"Flatt, Newton ThomasMarty Stuart 
7."Roanoke"Joe AhrMarty Stuart 
8."Cannonball Blues"M. ChristianMarty Stuart 
9."I Don't Love Nobody"FlattMarty Stuart 
10."The Sun's Coming Up"Dee GaskinMarty Stuart 
11."What Would You Give in Exchange for Your Soul?"M. ChristianMarty Stuart & Curly Seckler 
12."Bluegrass Shuffle"M. ChristianMarty Stuart 
13."Black Mountain Rag"T. MagnessMarty Stuart 
14."Somebody Loves You Darlin'"Wiley Morris, Zeke MorrisMarty Stuart & Curly Seckler 
15."Sugar Lee"Braxton HolmesMarty Stuart 
16."Two in the Morning"M. ChristianMarty Stuart 


  • Johnny Cash - vocals on "Mother Maybelle"
  • Pete Corum - bass, background vocals
  • Lester Flatt - vocals on "The Bluebirds Are Singing for Me"
  • Kenny Ingram - banjo, background vocals
  • Curly Seckler - rhythm guitar, mandolin, background vocals, lead vocals on "What Would You Give In Exchange For Your Soul" and "Somebody Loves You Darlin'
  • Marty Stuart - acoustic guitar, mandolin, lead vocals, background vocals
  • Clarence "Tater" Tate - fiddle, background vocals, lead vocals on "Orange Blossom Special"
  • Blake Williams - 5-string banjo


  1. ^ Edward Morris, "Hills Alive With Sound of Country Music", Billboard, August 1, 1992, p.25. Excerpt available at Google Books.
  2. ^ All Music Guide to Country (Hal Leonard Corporation, 1997), ISBN 978-0-87930-475-1, p.456. Excerpt available at Google Books.
This page was last edited on 25 October 2018, at 22:47
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