The Crow: New Songs for the Five-String Banjo

Performer: Steve Martin
Engineer: Michael Manning; Ciaran Byrne; Johnnie Truesdale; Travil Stefl; Dae Bennett; George Tutko; Billy Robinson
Producer: John McEuen
Distributor: Universal Distribution

Notes: Personnel: Steve Martin (banjo). Audio Mixer: Nick Sevilla. The banjo has been a major player in Steve Martin's act since his earliest days of stand-up. Back in the era of wild 'n' crazy guys and arrows through heads, the comedian's bluegrass breakdowns seemed just another puzzle piece to his absurdist shtick. However, four decades into a career of comedy, movies, novels, and memoirs, Martin proves his banjo love no passing fancy on his dead-serious 2009 musical debut, THE CROW. It's a somber yet fun affair that ranges from rollicking instrumentals like "Hoedown at Alice's" and "Tin Roof" (on which he is joined by fellow comedian-musician Eugene Levy) to the rich country balladry of "Pretty Flowers" (featuring Dolly Parton & Vince Gill in gentle duet). The only time Martin regresses to silliness comes on "Late for School," a dizzying, sweet, and downright hilarious narrative of a dash to beat the opening bell told from the frantic schoolboy's perspective. 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

Entertainment Weekly (p.67) - "Martin showcases his fine five-string talents on instrumentals such as 'Pitkin County Turnaround' and the wistful 'Freddie's Lilt.'" -- Grade: B

Before he became one of America's top comic actors, Steve Martin was one of the biggest phenoms stand-up has ever seen. During the 1970s, the prematurely grey comedian and longtime television writer scored million-selling records, sold out arenas, and hosted numerous network specials. In 1978, Martin even scored a hit record, cracking the Billboard top 20 with "King Tut," his novelty ode to the mummy fad sweeping the nation. While he played up his zany arrow-through-the-head persona, his wider appeal rested on a subtle, yet ever-present intellectualism. Martin studied philosophy in college, and an existential sense of the absurd ran through his oddball observations. In the `80s, the original wild and crazy guy officially announced his permanent retirement from stand-up.

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