steve martin albums download The Long-Awaited Album. The Long-Awaited Album arrived six years after Rare Bird Alert, the 2011 collaboration between Steve Martin and the Steep Canyon Rangers, so perhaps the wait between records wasn't all that long. Still, the clever title also suggests the difference between this 2017 affair and its predecessor: Martin is no longer hesitant to crack a joke as he stands behind a banjo. After playing it relatively straight on 2009's The Crow -- the album where he revived his longstanding love of bluegrass -- a smile started to creep into his performances on Rare Bird Alert, but on The Long- Awaited Album he seems unable to resist any quip that fluttered across his mind. Perhaps this is a reaction to the pair of subdued records Martin cut with Edie Brickell in the mid-2010s, but Martin seems ready to cut loose with jokes and fingerpicking. The Steep Canyon Rangers are ideal foils for him in that regard, as they're fleet-fingered and versatile, and they boast a fine deadpan singer in Woody Platt, who trades off tunes with Martin. The songs on The Long-Awaited Album are littered with references to contemporary life -- references to cell phones, Olive Garden, and Skype calls are threaded into a mosaic of modern life -- and the music feels fresh too, alternating between lilting ballads, funny bits designed for a stage, and the quick-stepping instrumentals that act as the glue binding it all together. Martin and the Steep Canyon Rangers specialize in good cheer, and while that means they can sometimes overplay their hand here -- "Strangest Christmas Yet" sticks out like a sore thumb, each punch line landing with a thud -- their act is ingratiating and so is The Long-Awaited Album. MQS Albums Download.

Mastering Quality Sound,Hi-Res Audio Download, 高解析音樂, 高音質の音楽. Steve Martin & Edie Brickell – So Familiar (2015) [HDTracks FLAC 24bit/96kHz] Steve Martin & Edie Brickell – So Familiar (2015) FLAC (tracks) 24 bit/96 kHz | Time – 33:50 minutes | 671 MB | Genre: Country Official Digital Download – Source: HDTracks.com | Digital Booklet | @ New Rounder Records. Martin & Brickell’s second studio album together after, “Love Has Come For You” in 2013. With Steve Martin on banjo and Edie Brickell on vocals, the duo really knows how to do Bluegrass right! Produced by Peter Asher. Mixed and mastered by Nathaniel Kunkel. Steve Martin picked up his banjo again in 2009, recording his first-ever all-instrumental album with his Steep Canyon Rangers, and then he wound up devoting the better part of the next half decade to the instrument he loved since a teenager. Never shy on-stage, he nevertheless wasn’t a natural frontperson, so once he ran through two albums with the Rangers, he joined forces with Edie Brickell, an unexpected but natural fit. Bluegrass may not have been in Brickell’s vocabulary per se but she’s an old versatile folkie comfortable with an array of Americana, something proven out by her new millennial group the Gaddabouts. When Brickell teamed with Martin, they found a common folk-pop ground assisted by producer Peter Asher on 2013’s Love Has Come for You, and its 2015 sequel So Familiar is indeed a sequel: it offers more of the same, more of the tasteful dance numbers and romanticism heard on the first. This is hardly a bad thing. Martin and Brickell have an easy, natural chemistry, with Edie helping to focus Steve’s nimble, graceful playing while the banjoist returns the favor by loosening up the singer, so she doesn’t seem as precious as she sometimes did with the New Bohemians. While the duo sometimes sneaks a glance toward yesterday — “Another Round” rambles forward like a square dance and “Way Back in the Day” makes its nostalgia plain — this is unapologetically well-tailored contemporary music, drawing upon the traditions of Kentucky and Laurel Canyon to create something gentle, pretty, and substantive, something that is as enchanting as it was the first time around. -AllMusic Review by Stephen Thomas Erlewine. Tracklist: 1 So Familiar 2:46 2 Always Will 2:27 3 Way Back In The Day 3:18 4 Won’t Go Back 2:22 5 I’m By Your Side 2:37 6 I Had A Vision 3:57 7 I Have You 2:19 8 Another Round 2:24 9 Mine All Mine 2:09 10 Heart Of The Dreamer 3:12 11 My Baby 3:22 12 Heartbreaker 3:20 Personnel: Edie Brickell – Vocals, Composer, Vocals (Background) Steve Martin – Deering “Clawgrass” Banjo Steve Aho – Banjo, Cajon, Clapping, Congas, Drums, Marimba, Percussion, Piano, Vibraphone, Vocals (Background) Peter Asher – Clapping, Guitar (12 String Acoustic), Guitar (Acoustic), Guitar (Resonator), Percussion, Producer, Ukulele, Vocals (Background) Victoria Asher – Clapping, Vocals (Background) Mike Ashworth – Percussion Rob Berman – Accordion, Celeste, Fender Rhodes, Harmonium, Piano Chris Bleth – Clarinet, Engineer, Penny Whistle Edie Brickell – Composer, Primary Artist, Vocals (Background) Mike Einziger – Guitar (Electric) Béla Fleck – Baritone Banjo Isaiah Gage, Vardan Gasparyan – Celli Mike Guggino – Mandolin, Vocals (Background) Charles Humphrey III – Double Bass Abby Khalek, Koyo Kim, Rachel Kim – Violin Nathaniel Kunkel – Banjo, Drum Engineering, Mastering, Mixing, Percussion, Percussion Engineer, Vocal Engineer Doug Livingston – Pedal Steel Guitar Woody Platt – Guitar (Acoustic), Vocals (Background) Jeff Alan Ross – Guitar, Guitar (Acoustic), Guitar (Baritone), Guitar (Electric), Hammond B3, Keyboards, Sax (Baritone), Wurlitzer Nicky Sanders – Fiddle Graham Sharp – Banjo, Vocals (Background) Ann Marie Simpson – Orchestra Contractor, Orchestral & String Arrangements, String Conductor, Violin Leland Sklar – Bass Steep Canyon Rangers – Banjo Cindy Wu – Violin Geoff Zanelli – Orchestra Contractor, Orchestral & String Arrangements, String Conductor. Steve Martin. Like this comedian? Log-In or Register to mark it! Who’s Funnier? W: 3183 | L: 1168. Next Tour Date. Steve Martin & Martin Short: The Funniest Show in Town at the Moment. with Martin Short. Works. Records. Won 1978 Grammy Award for Best Comedy Recording. Won 1977 Grammy Award for Best Comedy Recording. Specials (and other video) Collected on "Steve Martin: The Television Stuff" Collected on "Steve Martin: The Television Stuff" Collected on "Steve Martin: The Television Stuff" Collected on "Steve Martin: The Television Stuff" Collected on "Steve Martin: The Television Stuff" Collected on "Steve Martin: The Television Stuff" Books (by and about) by Morris Wayne Walker. Videos. Biography. Silly Putty, yo-yos, and the frisbee all had fad appeal. So did the human equivalent, “wild and crazy guy” Steve Martin, who become a stand-up comedy phenomenon in the late 70’s. Just as people couldn’t explain why they enjoyed playing with Silly Putty or a yo-yo, Martin’s wildly enthusiastic supporters couldn’t explain why they loved watching him grin idiotically with a corny fake arrow through his head or make balloon animals, or deliberately utter a line so goofy and devoid of wit that it was hilarious. Born in Waco, Texas, Steve played the banjo, juggled, and sometimes did Red Skelton pratfalls to amuse his classmates. He remembered the effect of a good fall: “Crash! It was like intentionally embarrassing yourself…My comedy has never been about someone else slipping on a banana skin and laughing at them…making yourself look stupid seems much more human…” Growing up in Orange County, California, Martin eventually got jobs playing the banjo and doing magic tricks at Disneyland and Knotts Berry Farm. At 21 he found a lucrative career as a staff writer on comedy/variety shows, knocking out gags for Sonny and Cher, Pat Paulsen, The Smothers Brothers and Glen Campbell. He quit Campbell’s show to pursue his own career in stand-up. At the time, stand-up was not particularly popular and young performers were having trouble getting ahead. Old fashioned nightclubs were out-dated and with no comedy clubs around, comedians sometimes risked their lives taking the only venues available, opening for pop and rock singers. Crafty veteran George Carlin learned to soothe them, talk down to them, make a lot of funny faces, catch their attention with jokes about dirty words and bodily functions. Martin Mull exaggerated and satirized the whole “o-kayyy, we’re really havin’ fun” attitude” of show-biz phonies. Martin made fun of the artificiality of suit-and-tie stand-up and utilized elements of both Carlin and Mull’s style, in addition to his own. He emerged with something exciting and new, the jerky “wild and crazy guy” with his put-ons, sly gags, corny schtick and so stupid-it’s-hip personality. If anyone didn’t get it, he had a mock-arrogant and hilariously haughty cry of “Well, excuuuuuuse me!” After several guest spots on “Saturday Night Live,” Martin zoomed to stardom and fad success, selling a million and a half copies of his first album, 1977’s “Let’s Get Small.” Another album also went platinum and a year later, April 3, 1978, Steve Martin was on the cover of Newsweek magazine. The fever continued to mount. A “non-book” of whimsies and silliness, “Cruel Shoes,” sold over 200,000 copies in hardcover. There was a price for all the fame and attention and intensive touring: “You get physically tired, emotionally tired, and start wondering what you’re doing….I started doing things like collapsing onstage. It was a signal…It was just exhaustion. I was a wreck.” Martin decided to quit stand-up while he was ahead. Summing up this phase of his career, Martin would later say “I always felt there was a deeper meaning to what I was doing than just being “wild and crazy,” something more philosophical. I had a view that there was something funny about trying to be funny…now…I see it for what it was. It was just fun, and it was stupid and that’s why it was successful.” He got up to “half a million a week. By then I thought, I’ve worked hard to get this act together, I’ve got to run it into the ground. I had to exploit it or I would have been an idiot. But I only did it for three years, and then I stopped.” For years interviewers tried to get an idea from Martin on how he put together his act. In an interview with writer Paul Morley in Blitz magazine, Martin analyzed his style: “With jokes the audience wait for the punchline and then decide whether to laugh or not. With me, I would deny the punchline, and just keep going, so that the tension would just build and build so much that they would have to start laughing. They would find their own place to laugh, rather than laughing at the place where you told them to laugh. And if they found their own place to laugh it would be ten times funnier than if you told them where they should laugh. It’s like when you’re a kid and you’re laughing so hard at something and you don’t know why and you just cannot stop—that’s what I was going for. You couldn’t leave my show going, “and then he told the joke…” . they could only say, “You had to be there.” Actually Martin did toss in a quotable joke now and then: “If I’m in a restaurant and I’m eating, and someone says ‘Mind if I smoke’ I say ‘No, no, mind if I fart?” Sometimes he gave a tongue-in-cheek observation or two: “I believe it’s derogatory to refer to a woman’s breasts as boobs, jugs, Winnebagos, or Golden Bozos. And you should only refer to them as hooters. And I believe you should place a woman on a pedestal, high enough so you can look up her dress.” But more often he blurred the line with prop comedy, put-ons and put-offs: “Got me a $300 pair of socks. I got a fur sink. Oh, let’s see. Electric dog polisher. Gasoline-powered turtle neck sweater. And of course I bought some dumb stuff, too…” What delirious fans didn’t know about Steve Martin at the time was that beneath the flashy exterior there was a shy, very serious man, a philosophy major and art collector who realized how important it was to distance himself from the mad success. And, as a comedy writer and keen student of humor, he knew he had done all he could with his “jerk” character. After one movie as “The Jerk,” Martin turned out experimental films that turned radically from one side of satire (“Pennies from Heaven”) to another (“The Man With Two Brains”) and yet another (“The Lonely Guy”). The only thing more bewildering than these films would’ve been movies based on the kind of books Martin said he enjoyed reading: “Bad Banana on Broadway…Renegade Nuns on Wheels…How I Turned a Million in Real Estate into Twenty Five Dollars in Cash…Trouble in Doggy Land… The Apple Pie Hubbub…How To Make Money Off the Mentally Ill…” There were some critics who pronounced “Pennies from Heaven” and “Dead Men Don’t Wear Plaid” as noble failures and there were cults for them, but Martin’s film career didn’t really kick off until he discovered the right balance of wild and crazy gyrations and more human, character- oriented humor. “All Of Me” was a major breakthrough, and his bankability at the box office increased with the hit “Roxanne.” He married his co-star on “All Of Me,” Victoria Tennant. He rarely discussed his private life, saying only “We have got to keep our world private. Otherwise you feel like you get up to go to the bathroom and it becomes a possible anecdote for an interview.” The most intimate topic he discussed was their cuisine: “I’m a vegetarian but I eat fish, so I’m not a true vegetarian. And the same is true of her.” Martin achieved consistent success in the late 80’s with a string of successful films and always had enough fans to see him through a casting mistake (“My Blue Heaven”) or another of those noble experiments (“Three Amigos.”) Even his worst film experience was better than his off- Broadway debut in “Waiting for Godot.” As Vladimir he didn’t earn the critical praise heaped on stage-trained co-stars Robin Williams, F. Murray Abraham and Bill Irwin. Calling the reviews “negative to the extreme” and “out of all proportion” he said, “I had plenty of adversity as a stand-up comic—I played dives for 15 years—I thought I had every kind of experience on stage, but this was sheer torture.” Martin returned to the crazed California coast and “L.A. Story,” another comfortable comedy which, like “Roxanne,” he also wrote. It began with his voiceover, “I was deeply unhappy, but I didn’t know it because I was so happy all the time.” Critics were happy to see Steve Martin once again grappling serious problems in his own “wild and crazy” way. Of that line he said, “I guess it captures a mood of quiet desperation. It’s very easy to go along in life working, talking, getting married, and never pausing to say “What should I really be doing?” He added, “Yearning to me is the most pathetic emotion. That people want something and can’t get it…Some people know exactly what they want to do with their lives. Some people have no clue…” While some people continued to have no clue as to his “wild and crazy” comedy style, many more caught on, and many would accost the very reserved, very private star for an autograph. Martin finally found a solution to the problem. He would hand a fan a card reading: “This certifies that you have had a personal encounter with me and that you found me warm, polite, intelligent and funny.” Steve Martin (2) American actor, comedian, writer, playwright, producer, musician (banjo player) and composer, born 14 August 1945 in Waco, Texas. His ascent to fame picked up when he became a writer for the Smothers Brothers Comedy Hour, and later became a frequent guest on The Tonight Show. In the 1970s, Martin performed his offbeat, absurdist comedy routines before packed houses on national tours. Since the 1980s, having branched away from stand-up comedy, he has become a successful actor, playwright, pianist, banjo player, and juggler, eventually earning Emmy, Grammy, and American Comedy awards. So Familiar. Steve Martin picked up his banjo again in 2009, recording his first-ever all-instrumental album with his Steep Canyon Rangers, and then he wound up devoting the better part of the next half decade to the instrument he loved since a teenager. Never shy on-stage, he nevertheless wasn't a natural frontperson, so once he ran through two albums with the Rangers, he joined forces with Edie Brickell, an unexpected but natural fit. Bluegrass may not have been in Brickell's vocabulary per se but she's an old versatile folkie comfortable with an array of Americana, something proven out by her new millennial group the Gaddabouts. When Brickell teamed with Martin, they found a common folk-pop ground assisted by producer Peter Asher on 2013's Love Has Come for You, and its 2015 sequel So Familiar is indeed a sequel: it offers more of the same, more of the tasteful dance numbers and romanticism heard on the first. This is hardly a bad thing. Martin and Brickell have an easy, natural chemistry, with Edie helping to focus Steve's nimble, graceful playing while the banjoist returns the favor by loosening up the singer, so she doesn't seem as precious as she sometimes did with the New Bohemians. While the duo sometimes sneaks a glance toward yesterday -- "Another Round" rambles forward like a square dance and "Way Back in the Day" makes its nostalgia plain -- this is unapologetically well-tailored contemporary music, drawing upon the traditions of Kentucky and Laurel Canyon to create something gentle, pretty, and substantive, something that is as enchanting as it was the first time around.