Got me a $300 pair of socks....
3 Out Of 5 Stars
With the 70's, comedy albums made a radical shift. The rock and roll generation didn't have the mindset for the starchiness of, say, Bob Newhart, or the homilies of Bill Cosby. The sex and drugs and rock and roll world needed their jokes to come at them more like a progressive rock album, just in monologue form. They also took advantage of the studio technology. The first of these artists came in the likes of Firesign Theater or Cheech and Chong, who used recordings like sound stages to set up elaborate long form jokes and characters. Then there was the other side of that coin. Enter Robin Williams and most importantly, Steve Martin.
Martin flipped the 70's upside down. Instead of the dopey world of Cheech and Chong, Martin came to the stage as the most uptight of WASP's, with a shiny white suit and surreal sideshow sight gags. Like Monty Python did to TV, martin went to that backdrop, and he exaggerated the absurdity of being this vanilla wafer of a guy to the point that his routines became like rock songs. By making a name for himself with his appearances on Saturday Night Live, where his banjo and bunny ears were delivered with a straight face as compared to the rapid-speed freakishness of John Belushi and the rest of the original cast. He was acting like he was clueless among the hippest, but you were in on the gag. By 1977, Martin was one of the hottest of the new breed of stand-up comedians and "Let's Get Small" was recorded.
These were such 'hits' in the late 70's that every high-schooler and college kid had most of the catch phrases memorized. You couldn't go an hour without hearing somebody set themselves up to say "Excuuuuuse Meeeee!" Or sing the bits off of "Theme From Ramblin' Man." His shows were like concerts for his acolytes. This was a great album for parties in that, like a classic rock album, everyone knew the words. Since 1977, though, the style has worn out, and jokes involving Jimmy Carter or the gay jokes will likely draw a blank stare from anyone under 50. Still, "Let's Get Small" is like a classic rock album. Those hits you all drunkenly shouted along to in college thirty some years ago still can elicit a nostalgic chuckle or two, but getting your teenage grandkids to laugh along might be a challenge.
3 Out Of 5 Stars
With the 70's, comedy albums made a radical shift. The rock and roll generation didn't have the mindset for the starchiness of, say, Bob Newhart, or the homilies of Bill Cosby. The sex and drugs and rock and roll world needed their jokes to come at them more like a progressive rock album, just in monologue form. They also took advantage of the studio technology. The first of these artists came in the likes of Firesign Theater or Cheech and Chong, who used recordings like sound stages to set up elaborate long form jokes and characters. Then there was the other side of that coin. Enter Robin Williams and most importantly, Steve Martin.
Martin flipped the 70's upside down. Instead of the dopey world of Cheech and Chong, Martin came to the stage as the most uptight of WASP's, with a shiny white suit and surreal sideshow sight gags. Like Monty Python did to TV, martin went to that backdrop, and he exaggerated the absurdity of being this vanilla wafer of a guy to the point that his routines became like rock songs. By making a name for himself with his appearances on Saturday Night Live, where his banjo and bunny ears were delivered with a straight face as compared to the rapid-speed freakishness of John Belushi and the rest of the original cast. He was acting like he was clueless among the hippest, but you were in on the gag. By 1977, Martin was one of the hottest of the new breed of stand-up comedians and "Let's Get Small" was recorded.
These were such 'hits' in the late 70's that every high-schooler and college kid had most of the catch phrases memorized. You couldn't go an hour without hearing somebody set themselves up to say "Excuuuuuse Meeeee!" Or sing the bits off of "Theme From Ramblin' Man." His shows were like concerts for his acolytes. This was a great album for parties in that, like a classic rock album, everyone knew the words. Since 1977, though, the style has worn out, and jokes involving Jimmy Carter or the gay jokes will likely draw a blank stare from anyone under 50. Still, "Let's Get Small" is like a classic rock album. Those hits you all drunkenly shouted along to in college thirty some years ago still can elicit a nostalgic chuckle or two, but getting your teenage grandkids to laugh along might be a challenge.
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