Sturgill Simpson’s groundbreaking 2014 album, Metamodern Sounds in Country Music, revitalized the “outlaw country” genre with its sharp wit and worldly perspective. Its impact resonated so deeply that it paved the way for similar albums, notably Chris Stapleton’s Traveller, which, under the guidance of Metamodern producer Dave Cobb, earned a Grammy for Best Country Album in 2016. While Metamodern Sounds of Country Music inspired imitation, its essence was darker and more profound than Stapleton’s award-winning record or even Jason Isbell’s acclaimed solo works (also Cobb-produced). It was a sometimes-nihilistic exploration, famously declaring, “Ain’t no point of getting out of bed if you ain’t livin’ the dream” and suggesting hallucinogens like DMT as pathways to deeper truths. This blend of classic musicality and contemporary themes made it a standout release of recent years.
Following the critical acclaim of Metamodern, Sturgill Simpson could have comfortably continued down that path, ensuring industry accolades for years to come. However, A Sailor’s Guide to Earth marks a significant and rewarding shift in his artistic direction. Moving beyond the traditional country sounds of his earlier work, Simpson embarks on a musical journey that is both unexpected and deeply personal. Dismissing comparisons to being a modern Waylon Jennings – a connection he finds inaccurate, noting he isn’t a Waylon Jennings listener – Simpson ventures into uncharted waters. A Sailor’s Guide to Earth is a concept album, a song cycle inspired by his time in the Navy, particularly his station in Japan. Structured as a letter from a sailor to his wife and newborn son (drawing inspiration from a letter his grandfather wrote to his grandmother), it’s an intensely intimate record. This album not only solidifies Simpson’s position as a leading songwriter of his generation but also showcases an artistic evolution that defies simple categorization.
The concept of A Sailor’s Guide to Earth – an album addressed to his son and wife – might initially seem sentimental. Yet, the execution is genuinely moving and earnest, effectively inverting the underlying sense of resignation found in Metamodern. A Sailor’s Guide to Earth exhibits a notably brighter tonal palette than its predecessor. Tracks like “Keep It Between the Lines,” featuring instrumentation from Sharon Jones’ backing band, the Dap-Kings, are richer, bolder, and more rhythmically complex than Simpson’s previous recordings. Producing the album himself, Simpson utilized his Atlantic Records budget to fully realize his creative vision. Side A culminates in a surprising countrypolitan cover of Nirvana’s “In Bloom.” One of the album’s most striking moments arises when Simpson sings the line “[Sell the kids for food]” within an album dedicated to his son, creating a jarring yet thought-provoking contrast. Witnessing Simpson’s artistic stretch and triumph on A Sailor’s Guide to Earth is truly compelling, marking it as a must-listen for those seeking musical innovation and depth.
