Steve Martin and Edie Brickell
Album: So Familiar
Label: Rounder
Tracks: 12
Website: http://www.stevemartin.com
http://www.ediebrickell.com

I won't bother rehearsing the overly familiar gag about it being good Martin has another career to fall back on now he's no longer funny, rather let's address this as two separate worlds. Over the years, he's proved and established himself as versatile banjo player, releasing his first album in 2009, winning a Grammy for the best new blues grass album, subsequently collaborating with both Brickell and the Steep Canyon Rangers. This, produced by Peter Asher (who also adds guitar here and there) and part inspired by the duo's collaborative musical, 'Bright Star' (which hits Broadway in December), is his second studio pairing with Brickell, on which they're joined by guest bluegrass musicians Bela Fleck and the Steep Canyon Rangers alongside bassist Leland Skar, Cobra Starship's Victoria Asher on background vocals and an unlikely contribution by Mike Einziger from heavy rock outfit Incubus guesting on electric guitar.

While a companion work to their 'Love Has Come', it's also lusher and dreamier, Brickell's vocals bringing both a relaxed ease and a confident determination to the songs, Martin keeping his Clawgrass banjo playing subtly unfussy. As mentioned, many of the songs come from the musical, itself inspired by the track 'Sarah Jane and the Iron Mountain Baby' from the first album; unfortunately, there's no indication as to which on the press release or on any online information about the show. Given it's an album stand out but not mentioned in any of the show reviews, I'm guessing the harmonium-accompanied title track opener isn't one of them, Brickell breathily rhyming 'peculiar' with 'knew ya' as Martin plays an understated melody that, at one point, almost seems to have a Christmas feel. Definitely featured in the musical, where its performed as a duet, the fiddle waltzing 'Always Will' is another simple, airy tune that leads into the sepia-toned reflective lullaby 'Way Back In The Day' which, with its piano, strings- mandolin and pedal steel, sounds like a particular production highlight.

The tempo picks up with the bubbling, congas-spurred lurching rhythm of first single, 'Won't Go Back', Martin on baritone banjo as Brickell sings "I've been there, I've done that, I'd go anywhere, but I won't go back." Another piano ballad, here with added recorders, I'm guessing 'I'm By Your Side' is from the musical, as is 'I Had A Vision', a gospel-tinted number (and at 3.55, the longest track here) on which strings and brass gradually flesh out the initial voice and banjo arrangement, then comes 'I Have You', backed by organ and coloured with vibes and clarinet and the only track to also feature Martin duetting, albeit only on the title line chorus.

The Steep Canyon Rangers step up to the mark for the frisky, foot stomping bluegrass drinking song 'Another Round' ("I like strong liquor, it hits me quicker"), then it's on to the pizzicato plucked banjo and steady drum beat of the swaying 'Mine All Mine' with vibes popping up in Einziger's instrumental guitar break. Banjo maestro Fleck makes his appearance on the bluesy Appalachian tones of 'Heart Of The Dreamer' with its strings and penny whistle before the album plays out with 'My Baby', another lullaby-styled number with xylophone and an 'oomah oomahamah baby' refrain, and, finally, the lush strings and Orion banjo ripples of 'Heartbreaker', an unexpected lyrical downer ("how could he ever love me now") that I assume isn't the way the show itself closes.

There's a definite show tune (or even cinematic) feel throughout, but it never takes on that dramatic production overkill that characterises many a Broadway musical, ensuring that Brickell's stories and characters have an intimate, emotionally engaging quality well suited to the quiet hours of listening.

Mike Davies