Let There Be Country

Editorial Reviews

Barnes & Noble - Kerry Dexter
Though recorded in the late '80s, Let There Be Country wasn't released until 1992, by which time the expert country-rocker was at the top of his popular success. is an eclectic but cohesive group of tunes that showcase Stuart's background in bluegrass as well as his affinity for rock. Let There Be Country opens with a rollicking statement of Marty Stuart's bluegrass, rock, and country roots in the title track. He follows with the stone-country barroom tale "Mirrors Don't Lie." Stuart plays with words to reveal emotions on "Matches" and cuts loose with a bluegrass instrumental on "Old Hat." As he sings on the title track, Stuart was ...
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Editorial Reviews

Barnes & Noble - Kerry Dexter
Though recorded in the late '80s, Let There Be Country wasn't released until 1992, by which time the expert country-rocker was at the top of his popular success. is an eclectic but cohesive group of tunes that showcase Stuart's background in bluegrass as well as his affinity for rock. Let There Be Country opens with a rollicking statement of Marty Stuart's bluegrass, rock, and country roots in the title track. He follows with the stone-country barroom tale "Mirrors Don't Lie." Stuart plays with words to reveal emotions on "Matches" and cuts loose with a bluegrass instrumental on "Old Hat." As he sings on the title track, Stuart was indeed "breakin' new ground for the future."
All Music Guide - Jana Pendragon
This early recording gives a clear idea of just who Marty Stuart is. Without all the hype and over production of many of the MCA recordings, Let There Be Country displays Stuart's traditional hillbilly bent. Only his 1982 Sugar Hill debut, Busy Bee Cafe, defines him better. Self-produced, it is obvious that the artist knows what he is doing in terms of material and performance. With the inclusion of only two original songs, the rest of the tunes are strong statements by Stuart concerning country music. Merle Haggard's "Mirrors Don't Lie" is strong evidence of Stuart's affiliations. Also good is Bill Monroe's "Get Down on Your Knees and Pray." Stuart's version of the Johnny Horton hit "One Woman Man" is priceless and the sincere sweetness he reflects on the Harlan Howard-Max D. Barnes number "I'll Love You Forever If You Want Me To" is stunning. A worthy addition to any Stuart collection.
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Product Details

  • Release Date: 10/6/2003
  • Label: Sony Special Product
  • UPC: 079895996521
  • Catalog Number: 59965
  • Sales rank: 75,856

Album Credits

Performance Credits
Marty Stuart Primary Artist, Primary Artist, Guitar, Mandolin, Vocals
Emmylou Harris Vocals
Warren Haynes Slide Guitar
Curtis Allen Guitar
Jack Clement Guitar
Vassar Clements Fiddle
T. Michael Coleman Bass
Stuart Duncan Fiddle
Roy M. "Junior" Husky Bass
Kenny Malone Percussion
Jody Maphis Guitar, Drums
Ralph Mooney Steel Guitar
Alan O'Bryant Vocals
Mark O'Connor Fiddle
Mike Rojas Piano, Keyboards
Gove Scrivenor Slide Guitar
J.D. Sumner Vocals
Roland White Mandolin
W.S. Holland Drums
Flip Anderson Guitar, Piano, Keyboards, Vocals
Barry Tashian Vocals
Paco Shipp Harmonica
Michael Rojas Piano, Keyboards
Melissa June Prewitt Vocals
John Sturdivant Jr. Drums
Leon Watson Bass
Jim Hill Bass
Technical Credits
Bill Monroe Composer
Peter Rowan Composer
Marty Stuart Producer
Max D. Barnes Composer
Jack Clement Executive Producer
Jim Cotton Remixing
David Ferguson Engineer
Randy Kling Mastering
Charlie Craig Composer
Bill Johnson Art Direction
Benny Quinn Mastering
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