| | Steve Martin Let's Get Small CD Steve Martin Discography of CDs
Recorded live at The Boarding House, San Francisco, California. Includes an excerpt from Steve Martin's book CRUEL SHOES.
There is nothing small about this recording. Martin was on the cusp of greatness when he released this first LP, recorded in a small San Francisco comedy club. Listening to LET'S GET SMALL now shows not only how far this wild and crazy guy has come, but also how utterly strange and unique his offbeat monologues and awry images were back in the laconic '80s.
Martin skewers some of stand-up comedy's most hoary chestnuts-the arrow through the head and faux Groucho glasses were never the same again. His fast-talking Vegas showman spoof contains the immortal line "It's impossibleŕto put a Cadillac in your noseŕ" Martin is one of stand-ups' masters of inflection and nuance; how things are said is always as important as what is said. Martin's trademark "whoa"s and "okay-uh"s defined his style for a decade. The album contains the classic routines "Let's Get Small," "So Mad at My Mother," and "Smoking." In one hilariously rhetorical bit, Martin relates that people often come up to him and ask, "Steve, how can you be so ****ing funny?" LET'S GET SMALL answers that question in a big way.
Solo performer: Steve Martin (spoken vocals).Alternative Press (12/00, p.128) - Included in AP's "10 Essential Comedy Albums" - "...One of the '70s most inspired stand-up comedians. With a style that was equal parts vaudeville and surrealism. Martin was never funnier than on this set..." Steve Martin Let's Get Small Songs | 1. | Ramblin Man / Theme From Ramblin' Man | |
| 2. | Vegas | |
| 3. | Let's Get Small | |
| 4. | Smoking | |
| 5. | One Way To Leave Your Lover | |
| 6. | Mad At My Mother | |
| 7. | Excuse Me | |
| 8. | Grandmother's Song | |
| 9. | Funny Comedy Gags | |
| 10. | Closing | |
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Let's Get Small Review
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Purchase Let's Get Small CD To buy, Click on price to add to cart | Steve Martin Wild & Crazy Guy CD (1978)
Let's Get Small
 $6.05    
'80s funnyman Steve Martin's follow-up to LET'S GET SMALL finds everyone's favorite rubberhead in the coterie of the stars. At this point, Martin was a national phenomenon, having already moved beyond nightclubs into stadiums. His stature was that of a juggernaut rock band. Martin's film debut ("The Jerk") helped to solidify his superstar status, as did the hit single "King Tut" (included here) and his frequent (and brilliantly hilarious) appearances on NBC's SATURDAY NIGHT LIVE, where the "wild and crazy guy" moniker originated and stuck.
A WILD AND CRAZY GUY is split between a single San Francisco gig and one of Martin's first stadium extravaganzas before a mob of adoring fans. Martin is at his comedic apotheosis here, meshing surrealism and slapstick into a howlingly funny ...
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COMEDY IS NOT PRETTY is another all-around laughfest and a further glimpse into Martin's wild and wacky world. "The Love God," a routine honed to perfection on many episodes of SATURDAY NIGHT LIVE, is given full reign here; it's worth the price of admission alone. There are far too many salty bits to recount, but the goofiness factor and Martin's smarmy allure are reproduced to hilarious effect, even without visual aid. Martin is one of the few stand-up comedians whose physical ...
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With Nashville duo Big & Rich, "Big Kenny" Alphin created a startling, everything-but-the-kitchen sink brand of pop-country music that took the charts by storm and became one of the aughts' most unexpected success stories. Though Alphin had recorded one solo album prior to joining up with John Rich, his label shelved the disc until after he and his partner hit it big, making the follow-up THE QUIET TIME OF A ROCK AND ROLL FARMBOY the first Big Kenny record created and released on the ground breaking singer-songwriter's own terms. Interestingly, the album largely forgoes the eclecticism of both LIVE A LITTLE and his work with Big & Rich, instead emerging as a consistent, finely-crafted, emotionally direct set of contemporary country and roots rock. From the John Mellencamp-like heartland rocker "Long After I'm Gone" to the hard-driving, thrashy Southern rocker "Happy People" much of the material is positive and upbeat, often seeming like a musical embodiment of Big Kenny's trademark slogan "love everybody."
The Big & Rich camp decreed that 2009 was the year of solo projects, with John Rich taking the spring for Son of a Preacher Man and Big Kenny getting the fall for The Quiet Times of a Rock and Roll Farmboy, his first album since Live a Little. If that record -- recorded in 1999 but not released until 2005, after Big & Rich turned into stars -- veered toward big-budget studio rock, The Quiet Times does have a stronger country bent, containing lots of fiddles and guitars, even odes to being back down home. Despite ...
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Jamey Johnson is a successful songwriter on Nashville's Music Row, who has authored hits by George Strait and Trace Adkins. THAT LONESOME SONG, Johnson's debut album as a performer, is a happy throwback to the outlaw country of the 1970s, with Johnson's gruff, character-filled vocals surrounded by a small, rocking ...
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Retreating to generally quieter territory after the somewhat splashy IT'S NOT BIG IT'S LARGE, Lyle Lovett also backs away from original tunes on NATURAL FORCES, choosing to devote the bulk of the 11-track album to other writers. Covers are common for Lovett, but not since 1998's STEP INSIDE THIS HOUSE has he spent so much time singing other's songs, and he revisits some of the same composers as before, picking tunes from Townes Van Zandt and Vince Bell, while ...
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Not that anyone's keeping score, but as Band alumni records go, Levon is pulling way ahead of the pack with his second keeper in as many tries in the '00s. ELECTRIC DIRT finds the Arkansas legend building on its critically acclaimed predecessor, ...
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This is what the critics are saying:"Bonnie Lee Sanders is a jazzy, sophisticated, inventive cabaret singer & writer."Bonnie Lee Sanders’s lyrics are smooth, sophisticated and witty and tell of a modern woman confronting love and life. I heard her at Opia, an attractive low-key cabaret on East 57th Street in New York, where she sang her own songs and a few by favorites such as Peggy Lee, Cole Porter and Piaf.The trade has honored Bonnie’s work: in recent years, she has won a Back Stage Bistro Award for outstanding singer/songwriter and two MAC (Manhattan Association of Cabarets & Clubs) tributes: an award and a nomination for Song of the Year.Two of the songs she performed at Opia were “Positive Influences,” the MAC nominee, which she co-wrote with jazz guitarist Ken Hatfield, and "Friends (Laisse Moi T'aimer)," the MAC winner, co-authored with Joel Diamond and Mila.Bonnie has an appealing, upbeat, jazzy delivery and an inventive eclectic style. Among my favorites at Opia were “Broadway Moon” the show-tune prayer of a Broadway hopeful, and “Montauk” a poetic musing done as a tongue-in-cheek homage to “country and western.” I loved its images.In ...
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