Sturgill Simpson is a man of many pursuits. Known for his constantly evolving artistic stance, he’s no stranger to new ideas. Between different releases that tap into elements of psychedelic rock, bluegrass, and even outlaw country, his limits have yet to be found. With his recent metamorphosis, venturing into the world of Johnny Blue Skies, he continues his musical journey; however, it would be a shame to forget about the many incredible projects he has released over the years. As such, we’ve ranked his six original LPs (not including the Cuttin’ Grass sessions) below!
6. SOUND & FURY
Most fans would agree that SOUND & FURY isn’t exactly what they were expecting when Sturgill Simpson announced a rock album. So heavy and in your face, many of the tracks on SOUND & FURY don’t exactly fit with the rest of his catalogue. While creativity has always been a strength for Simpson, this record felt more like a self-pleasing experiment rather than digestible art. That being said, not all is lost on the album. “All Said and Done” is one track that sits well in Simpson’s discography, and in this case, the subtle slowrock elements are what make it really work. It’s likely that if SOUND & FURY were rereleased with a stronger sense of simplicity, it would be much easier to digest. From an instrumental standpoint, many of the experimental choices were cleverly developed and could’ve been better presented; however, unfortunately, the production is far too jarring to allow a listener to play the entire project at a reasonable volume without getting a migraine.
5. High Top Mountain
It’s totally justified for you to get all wound up and bothered after seeing this album ranked so low, but it’s not without reason. It’s not that High Top Mountain is not a bad record; in fact, for a debut album, it’s unbelievably tight. There’s really nothing too negative you could say about any of the songs themselves, but as a cohesive piece, there are some weak points. First off, “Life Ain’t Fair and the World Is Mean,” and “You Can Have the Crown” (the album’s two biggest hits) sound awfully similar in structure, especially between the chords and melody of the choruses. Additionally, in concept, it’s Sturgill’s most traditional release, as every other album has made some artistic statement. It should be noted that “traditional” wasn’t exactly normal for the time period that High Too Mountain was released during, and it was completely uncommon to hear someone singing something so close to “outlaw” country in that era. If the record has one unshakable identity, it’s the mix of nostalgic outlaw grit with Simpson’s clever and sometimes humorous writing style.
4. The Ballad of Dood & Juanita
In comparison to his other albums, The Ballad of Dood & Juanita stands alone as a chronologically told story, narrated by Sturgill Simpson himself. The musical tale is one of struggle and sorrow as the main character, Dood, goes on a journey to save his beloved Juanita from captivity. With his horse, “Shamrock,” and his dog “Sam,” Dood travels long and far, and when accompanied by Sturgill, and even a solo played by Willie Nelson, the intensity of the expedition is on full display. If you’ve ever heard Nelson’s iconic record Red Headed Stranger, you may be able to draw some similarities, and rightfully so, because Simpson has shared how it was the direct inspiration behind the making of this project. While some tracks, like the fan favorite “Sam,” are quite short, that doesn’t diminish their impact; however, it would have been cool to hear extended versions. Overall, this release was packed with plenty to enjoy, but due to the storytelling nature of the album, there aren’t too many songs to add to your playlist.
3. Metamodern Sounds in Country Music
If you know a lot of die-hard Sturgill Simpson fans, you probably already know that Metamodern Sounds in Country Music holds a special place in their hearts. Praised for songs like “Long White Line” and “Turtles All the Way Down,” it blends psychedelic rock and country in a way that had scarcely been heard elsewhere. With the title track kicking things off, you’re immediately met with lyrics that match the psychedelic vibe, discussing drugs and inner power, making the listening experience a full mind trip from the get-go. Between songs like “It Ain’t All Flowers” and his cover of When In Rome’s “The Promise,” the production is rich, offering a wide range of sounds in high quality. One downside to this album is the similarities in the sounds of certain tracks. Between “Long White Line,” “A Little Light,” and “Living The Dream,” some melodies and grooves sound a little samey, and when looking at the track list, you might wonder why they sit so close to each other.
2. Passage Du Desir
Sturgill Simpson has experimented with a wide range of sounds and styles, and has succeeded on nearly every attempt. However, his most recent record carries an easygoing groove that sets it apart from all his other projects. Released under the name of “Johnny Blue Skies,” Passage Du Desir showed a reinvented, further matured version of Simpson. Over the course of forty-one minutes, the album feels like a trip through the mind of a man at peace, finding comfort in the ups and downs of life. All the love and simple pleasures of “Mint Tea,” “Right Kind of Dream,” and “Scooter Blues” carry a similar attitude. While the heights of joy in this album are great, the deep-cutting, tragic lyrics of “Jupiter’s Faerie” present an equally impactful darkness. While many fans of Sturgill Simpson might not yet consider this album a favorite, each track seamlessly blends without a single second feeling one-note. This attribute has been rarely accomplished in his career.
1. A Sailor’s Guide to Earth
How much more vulnerable can you get? On A Sailor’s Guide To Earth, Simpson reflects on being a father through various lenses. From the beginning words of the first song, Sturgill welcomes his newborn child to the world, pouring out words of love and care that rightfully reflect the precious importance of nurturing a new life. Much of the record is equally earnest and heartfelt, but there are also moments on tracks like “Sea Stories” and “Keep It Between The Lines” that feel more like advice for a teen son, where the father is telling some more PG-13 stories to his kid for the first time. Covering Nirvana on “In Bloom,” you can also see a good representation of Simpson’s distance from the mainstream norms of country music. Full of horns, strings, and rhythm, this record was nothing like what was playing on country radio. At the time it was released, a large percentage of music listeners were hesitant to consume country music of any kind, and the experimental qualities of A Sailor’s Guide to Earth proved that some artists in the genre had more to offer than beer and painted-on blue jeans.
