The Crow: New Songs for the Five-String Banjo

Steve Martin’s talent as a clawhammer and Scruggs-style banjoist fares on this album much as his talent as a comic actor in films has over the last three decades. Both his talents are considerable but depending on his own songwriting and scriptwriting simply hasn’t showcased him properly; he’s a much better performer than a writer. This album is mostly Martin originals, shared with some celebrity instrumentalists and singers. The lyrics and arrangements suggest that Martin is too eager to please and contemporise, though his playing style, biographical info, and the company he keeps suggest he’s steeped in traditional bluegrass. His banjo skill is most tangible on his less cutesy creations, such as ‘Words Unspoken, the title–track, and the more imaginative ‘Clawhammer Medley, which incorporates quotes from ‘Simple Gifts, ‘Loch Lomond’ and other folk sources, and displays Martin’s virtuosity at hammering–on, pulling–off, and otherwise decorating melodies. Other able players such as Jerry Douglas, David Amram, Tony Trischka, and Earl Scruggs (Martin’s acknowledged idol) also shine brighter on the more traditional tracks.

But the album’s razzle-dazzle elsewhere tends to push the players towards the sort of gimmickry heard in much contemporary country and processed, overproduced roots music. (Listen for the gratuitous dominant seventh chords; they’re a danger signal.) Singers Mary Black, Tim O’Brien, Vince Gill and Dolly Parton struggle with lyrics that examine love and music rather awkwardly and self-consciously. Martin the comedian puts his own vocals and banjo to much better use on the light¬hearted kids’ tale of ‘Late For School.’