Steve Martin Albums (5)
'The Crow: New Songs for the Five-String Banjo'
Release Date 1/1/2009
Tracks 16
Label Rounder
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What The Critics Say
First off, there's no "King Tut" here, and this isn't Steve Martin with an arrow through his head using the five-string banjo as a prop and trying to be funny. The Crow: New Songs for the Five-String Banjo is exactly what the title says it is -- it's a banjo album, spotlighting Martin originals on the instrument (of the 16 tracks, all but one are his own compositions). And guess what? Martin is pretty good at the banjo, and this is no vanity project. Tracks like the stirring and revealing "Daddy Played the Banjo," the blisteringly kinetic "Hoedown at Alice's," the very pretty "Freddie's Lilt," and the expansive, even beautifully ornate "Calico Train" (there are two versions here) not only wouldn't seem out of place on any progressive bluegrass album, they'd probably be the best cuts on it. Martin has a lot of help, yes, from the likes of Mary Black, Vince Gill, Tim O'Brien, Dolly Parton, Earl Scruggs (Scruggs' presence here should tell you something about Martin's playing chops), Tony Trischka, and Pete Wernick, and the album is lovingly produced by John McEuen of the Nitty Gritty Dirt Band, but make no mistake, this is completely Martin's album and it's his vision all the way. He even takes a very successful shot at frailing the banjo with the lovely and modal "Clawhammer Medley," the one non-original here. Everyone knows that Martin can be very funny, but The Crow isn't a joke. It's a first-class banjo album. One wonders if entering an archery tournament is next on this talented performer's agenda. Here's guessing Martin's probably pretty good at that, too. ~ Steve Leggett, All Music Guide
'Comedy Is Not Pretty!'
Release Date 4/28/1998
Tracks 12
Label Warner Bros.
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What The Critics Say
Steve Martin returns to the intimacy of the Boarding House in San Francisco -- the same venue where his 1977 debut, Let's Get Small, was documented -- for 1979's sublime and surreal Comedy Is Not Pretty! The overwhelming success and appeal of the previous year's A Wild and Crazy Guy -- which included the hit novelty single "King Tut" -- all but guaranteed any follow-up to be as eagerly embraced by his ever-increasing legion of fans. Martin is fully armed with his fool-proof sense of timing, which is addressed in the opening collage of observational non sequiturs titled "Born to Be Wild." Using a saber-like sense of humor, Martin wastes nary a second as the first thing out of his mouth is "...Check the time, don't wanna do too long." He pokes with vigor at himself and his blatantly out-of-step anti-anti-establishment leanings. In other words, a man whose professed sexual fetish is to wear "Men's Underwear" is the same man who points out that he is "wearing loafers [with] no laces on his shoes" before ironically belting out the ultimate rebel yell, "Born to Be Wild." Part of the brilliance in Martin's delivery style is the totally unselfconscious manner in which he seemingly screws up the introduction to "Googlephonics," only to unravel a series of verbal jokes and put-ons in the process. His affinity for the written and spoken word is equally as effective on "Cruel Shoes," which is a recitation of the title work from the artist's first book. Slightly edgier are the sexist "Comedy Is Not Pretty" and the unconventional "Hostages." The latter denotes how Martin is proud of his latest acquisition, rationalizing that "[there are] so many people with hostages nowadays and you say 'hey, I'd like some too!'" On the opposite end of the entertainment spectrum, the sole non-spoken entry is the "Drop Thumb Medley" -- an obligatory and adeptly executed original banjo solo from Martin. The track actually foreshadows the contents of his next LP, 1981's The Steve Martin Brothers, consisting of comedy on one side and bluegrass-flavored instrumentals on the other. ~ Lindsay Planer, All Music Guide
'The Steve Martin Brothers'
Release Date 1/1/1981
Tracks 12
Label Warner Bros.
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What The Critics Say
With regard to Steve Martin's small discography, "the worst of the four" is how The Steve Martin Brothers is usually tagged, which isn't so harsh when you consider two of the other albums are classics and one is just plain old good. It's an oddball release for sure, with half devoted to standup -- very loose and stream-of-consciousness standup -- and the other half showing off Martin's self-taught banjo playing and his love of lively bluegrass. The worst thing about the album is the sloppy way the standup side is put together. What must be the intro to his "cocktail" act in Vegas is stuck in the middle of the set while other short bits are sequenced in a way so there's no momentum. Frustratingly, Wounded Bird's CD reissue only splits the standup side of the original album into two tracks, making listeners sit through the haphazard flow to get to fan favorites like the "Fart Zone" routine or the great "What I Believe" credo. The instrumental side of the album is actually pleasant and sometimes exciting, with Martin's fast fingers skillfully delivering these tunes with renowned folk like Vassar Clements and John McEuen at his side. Even Martin admits this was a way to finish off his contract at Warner Bros. and concentrate on acting, but it's hardly the disaster you've been told. It may even be the best half-standup, half-bluegrass album you'll ever hear. ~ David Jeffries, All Music Guide
'A Wild and Crazy Guy'
Release Date 1/1/1978
Tracks 10
Label Warner Bros.
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What The Critics Say
"Repeat after me. I promise to be different! I promise to be unique! I promise not to repeat things other people tell me to repeat!" This is Steve Martin in action. He says something somewhat pseudo-intellectual followed by something silly, observation of the moment in tow. Throughout the Wild & Crazy Guy compilation, Steve Martin continuously caps on himself for being a comedian. "It's really great to be here... There's nothing like doing the same thing over and over again every night for two weeks in a row." Self-reflective, one of his gimmicks is to put on the super suave act and compliment that by then turning into a complete imbecile. (Reference the movie The Jerk for a more complete definition of the phrase "complete imbecile.") Not only do his jokes fall into this unique-to-him format, but the album itself is set up the same way. The first half of the compilation is a series of clips of Steve Martin working the nightclub crowds in San Francisco. Very intimate settings. Lots of brainpower being exercised. The second half is Martin caught onstage in a frenzy of celebrating mob mentality in front of a fantastic crowd. There's a heavy reliance on his Saturday Night Live bits and creative but simple sex jokes. Part one of the Wild & Crazy Guy album is wry and elicits a series cock-eyed grins along with several guttural "a-ha-I-get-its" from its audiences. There are many "takes" of the same joke (different versions, different clubs) that can give the at-home listener a sense of inertia, but this is forgivable (even enjoyable) because of the special kind of brilliance he bombards the audience with. Not everyone can play an idiot with the amount of savvy that Steve Martin can. Also, it is very interesting to hear how the same joke plays itself out with different crowds. The listener almost gets the sense that s/he is being let in on the creative process. In the first half, Martin notes idiosyncrasies about college (his major, Philosophy, no surprise) career, and language. He claims he has a way with words, while other people, he notes, "er...not have way." This comedy album also contains some of Martin's best (and most repeatable, not to mention stolen) comeback lines. When interrupted by a catcall from the peanut gallery, Martin takes a moment, then offers, "Yeah, I remember when I had my first beer." (Some of the more "heady" humor from this section that would be lost on a larger crowd also translates into his written works. He even names a few new faux titles including, "I'll Take the Alphabet." An important work for him, he muses, because it's when he first started to include verbs in his writing.) Part two of the Wild & Crazy Guy album (the crazy part) isn't quite as engaging from a philosophical standpoint. But if you're looking for zany, "Excuse me, I lost my mind for a moment." Here Martin lovably panders to a roaring audience. He leaves his intellect for the crowd who can really appreciate it and beefs up posing as a complete idiot for the enjoyment of all involved. Non sequiturs abound between gags. (Another Steve-ism). He sings, "I'm a neat guy." And "Grandpa/bought a rubber." The crowd, obvious SNL devotees, gets treated to the famous "kitty handcuffs" bit, King Tut, and a rare on-stage appearance of the album's namesake and actual wild and crazy guy character. All in all, a very enjoyable album highlighting the range of Steve Martin's craft. A must-have for the shelf of every fan. ~ Sandy Lawson, All Music Guide
What The Critics Say
Before becoming a Hollywood A-list actor, Steve Martin first made a name for himself as a writer for a number of successful stateside television variety shows. His résumé included credits on The Smothers Brothers Comedy Hour, The Glen Campbell Hour, and -- during a brief stint living in Canada -- the influential Half the George Kirby Comedy Hour. By the mid-'70s Martin had paid his dues opening for rock acts and had begun to develop a highly original alternative to the typical pseudo-hip sex and drug humor of the era. Let's Get Small, Martin's debut long-player released in 1977, would further assert his anti-comedy act with a platter full of smart wordplay and aural jousting, as well as some of the artist's remarkable banjo picking and frailing. In fact, Martin kicks off the festivities with the witty "Ramblin' Man/Theme from Ramblin' Man" number, firmly establishing his multifaceted lightning-quick wit -- like dividing the room into two-sevenths and five-sevenths to participate in a mile-a-minute singalong. He one-ups the typical smarmy "Vegas" lounge act by making comparisons to the $4.50 price of admission (in 1977 dollars) to the $25 price tag of experiencing a show on the Sin City strip. The title performance of "Let's Get Small" is a clever parody of the experimental nature of the perpetually growing drug culture -- which is particularly appropriate as Martin is addressing denizens of the Boarding House nightclub in San Francisco. During "Excuse Me," he goes so far as to direct his satire at any residual hippies who might still be hanging around the venue, blaming them for the lack of functioning "mood lighting." This short bit ultimately launched one of the entertainer's most enduring catch phrases. "Mad at My Mother" is as close to a straight narrative as listeners can expect on Let's Get Small, taking a few surrealistic spins on the typical mother-son relationship. Similarly, the weird and whimsical "Grandmother's Song" reveals Martin's penchant for silly verbal non sequiturs as if they were nothing out of the ordinary. Let's Get Small was one of the rare comedy endeavors to find a mainstream audience during the height of the disco era, climbing all the way to a very respectable number ten on the pop chart and setting the stage for Martin's follow-up, 1978's A Wild and Crazy Guy. ~ Lindsay Planer, All Music Guide
