Sturgill Simpson: Cuttin' Grass - Vol. 2

In an era when country music's mainstream has largely abandoned its roots for algorithmic pop appeal, Sturgill Simpson's Cuttin' Grass series stands as both artistic triumph and middle finger to industry orthodoxy. Following just weeks after Vol. 1: The Butcher Shoppe Sessions, this second installment proves that Simpson's bluegrass interpretations aren't novelty—they're revelatory reimaginings that often surpass their original electric incarnations.

Simpson reconvened his "Hillbilly Avengers"—an A-list roster that reads like a bluegrass hall of fame. The lineup includes mandolin virtuoso Sierra Hull, guitarist Tim O'Brien, banjoist Scott Vestal, legendary fiddler Stuart Duncan, bassist Mike Bub, and guitarists Mark Howard, with Miles Miller on percussion. These aren't session musicians for hire; they're titans of acoustic music lending their expertise to Simpson's genre-defying vision.

The recording location itself carries weight. Cowboy Jack Clement's Cowboy Arms Hotel and Recording Spa represents hallowed ground in Nashville's musical geography—the same studio where legends carved their legacy into analog tape. Executive producer credit goes to Ora Simpson, Sturgill's grandfather, who introduced him to bluegrass music, adding familial gravitas to an already deeply personal project.

Vol. 2 primarily draws from 2016's A Sailor's Guide to Earth, Simpson's Grammy-winning masterpiece that took home Country Album of the Year and earned an Album of the Year nomination. The challenge wasn't merely translating these songs to acoustic arrangements—it was proving that Simpson's songwriting transcends stylistic boundaries.

The results vindicate Simpson's instincts. "Welcome to Earth (Pollywog)," originally a psychedelic country epic, becomes an intimate bluegrass meditation on parenthood. "Brace for Impact (Live a Little)" trades electric urgency for acoustic contemplation without losing its emotional impact. The album also includes "Jesus Boogie," originally performed by Simpson's first band Sunday Valley, and two previously unreleased songs: "Tennessee" and "Hobo Cartoon," the latter co-written with Merle Haggard.

The Merle Haggard collaboration deserves particular attention. "Merle loved bluegrass, so it felt like a proper homage, really exposed and stripped down to the root of something," Simpson explains. Given Haggard's assessment that Simpson was "about the only thing I've heard that was worth listening to in a long time," this posthumous collaboration carries extraordinary weight.

Vinyl Me, Please produced a club edition limited to 2,500 copies on transparent blue and black swirl vinyl. However, the VMP treatment represents classic subscription service economics: premium pricing for cosmetic differentiation. The mastering, lacquer cutting, and pressing plant remain identical to standard editions, making the blue vinyl purely aesthetic enhancement.

This isn't necessarily problematic—VMP's model has always prioritized collectibility over sonic improvement. But collectors should understand they're paying for exclusivity and packaging enhancement rather than audiophile advantages.

Unfortunately, Cuttin' Grass Vol. 2 exemplifies modern vinyl manufacturing's quality control crisis. Collector reports from Discogs reveal widespread pressing inconsistencies across all variants. Multiple users report "surface noise," "clicks throughout," and "B1 comes in very hot!" Others describe "background noise throughout" and "poor sound quality" resulting in "a muddy sounding mess".

Particularly troubling, one collector noted that after purchasing both colored and black vinyl versions, "I was never happy with the sound on the colored version. Even after multiple deep cleans, it still had multiple sound issues... this black vol 2 is much better than the blue". This suggests potential compound-related issues affecting colored vinyl formulations.

However, some collectors report dramatically different experiences. One user initially complained about noise but after proper cleaning found "This record came EXTREMELY dirty. I shouldn't have rushed the initial cleaning, it's now fairly quiet and crystal clear". This highlights both manufacturing cleanliness issues and the importance of thorough cleaning protocols for new vinyl.

The mastering, credited to Carl at Trutone Mastering in New York, appears competent based on successful copies. Simpson's distinctive baritone benefits from the acoustic arrangements, allowing his voice to occupy center stage without competing against electric instrumentation. The bluegrass ensemble's dynamics—particularly Stuart Duncan's fiddle work and Scott Vestal's banjo—require precise imaging, which the mastering generally achieves.

However, the pressing execution undermines the technical excellence. Multiple collectors note that "digitally, it sounds way better, so it's not the source", confirming that manufacturing rather than mastering creates the quality issues. This represents the unfortunate reality of modern vinyl: excellent source material compromised by industrial pressing processes prioritizing quantity over quality.

Simpson's bluegrass pivot occurs during country music's ongoing identity crisis. While Nashville's mainstream embraces pop production and algorithmic songwriting, Simpson demonstrates that traditional forms remain viable when approached with genuine artistry rather than calculated nostalgia. The timing proved particularly significant, arriving during bluegrass's 75th anniversary celebration at the Grand Ole Opry, positioning Simpson's work within historical continuum rather than novelty revival.

The Vinyl Verdict
Cuttin' Grass Vol. 2 presents the classic modern vinyl dilemma: exceptional music undermined by inconsistent manufacturing. The artistic achievement deserves recognition—Simpson and his collaborators created bluegrass interpretations that enhance rather than diminish the original compositions. However, the pressing quality lottery makes purchasing recommendations complex.

For serious collectors: Seek out the standard black vinyl, which reportedly suffers fewer quality control issues than colored variants. Budget for potential exchanges if purchasing online, or buy from retailers allowing in-person inspection.

For casual listeners: The digital version provides superior sonic consistency while avoiding manufacturing roulette. The music itself justifies any format choice—Simpson's artistic vision transcends medium limitations.

Bottom line: When the pressing gods smile upon you, Cuttin' Grass Vol. 2 delivers one of the finest examples of contemporary bluegrass artistry. When they don't, you'll understand why many collectors maintain parallel digital libraries. The music earns five stars; the vinyl execution averages three. Purchase accordingly, but purchase nonetheless—Simpson's artistic achievement demands support despite manufacturing shortcomings. 💵

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