The last decade has seen a veritable spate of actors, seemingly driven by outsized egos strive for the coveted occupational “/” after their names—as in Actor / Sommelier / Perfumer turned Hip-Hop Artist/Pop Star/ MC/ Songbird/Diva/ Sultry Chanteuse etc. Although the argument can be made that the silver screen and the concert stage were never meant to cross pollinate talent, some surprisingly legitimate music has been created by the sparkle of Tinseltown in recent years. Therefore, this week’s Omnivore’s Delight posting pertains to a “special” breed of musician: actor turned rocker (the good, the bad and the downright peculiar).

It would be too time consuming to rant about the all the ill-advised ventures into the vocal booth (Hilton, Lohan, Murphy, Hasselhoff) so instead I’m going to pick my favorite.

Two words: STEVEN SEGAL! Yes, Segal came out with his debut album Songs from the Crystal Cave in 2005. After a quick listen, it’s not quite clear where this crystal cave exists. The tracks suggest hip hop Americana, somewhere in the African jungle or simply in Segal’s 50-year-old libido. And while his song “Lollipop” may not contain the same sexual connotation as 50 cent’s “Candy Shop,” the aboriginal percussion and a tropical horn section is at least, shall we say, unique. Oh, and don’t forget to checkout the album artwork. It’s gnarly.

Now on to the peculiar. William Shatner’s first album (yes there is more than one) was 1968’s Transformed Man. Known for the seemingly drug laden interpretation of “Lucy in the Sky with Diamonds,” this creation was more of a novelty than anything else. Captain Kirk hopped back on the saddle in 2004 with Has Been, another spoken word album consisting of both social commentary and self-inspired poetry. This time however, the backing music takes a turn for the better; noise with a time signature instead of unpredictably ambient sounds. Why? Ben Folds arranged the album. And he’s not the only VIP Shatner fan. Henry Rollins co-wrote “I Can’t get Behind That,”  a laundry list of the gripes with American society, and even supplies guest vocals on the track. Country star Brad Paisley wrote the song “Real” especially for Shatner and sings the chorus as well. No matter what you think of the spoken word genre, the man is a very descriptive story teller. If you ever want to guarantee yourself a night full of vivid dreams, I suggest falling asleep with Shatner’s voice ringing in your ears.  Once you can get past the strange vibe, this music is at least thought provoking.

Now, onto the artists who could earn some musical recognition—celebrity status or not.

For all of Robert Downey Jr.’s past troubles, he sure can write some gorgeous, piano-driven music. The Futurist (2004) is a solid album all in all, boasting cool piano tracks with an autumnal sound that’s perfect for crisp mornings and falling leaves. Downey’s talent, (as a vocalist, pianist and songwriter) is adequately displayed through these exquisitely nostalgic songs, most of which combine jazz with singer/songwriter and a tint of R&B. “Smile,”  one of my personal favorites, shines through as the most optimistic track on the album. A percussive-less song, the triad of piano, bass and Downey’s unrefined vocals really make the song both honest and sincere. He even covers Yes’ “Your Move,” simmering it down just a tad, in turn producing the quintessential wind down atmosphere.

Zooey Deschanel is one of those actresses you can’t help but adore. Her music is no different. Turns out her quirky roles translate flawlessly into the musical realm, forming clever indie pop with twang. She and Him consists of Ms. Deschanel and M. Ward, a musical partnership that spawned on the set of the movie The Go-Getter. Their 2008 album Volume 1 is a treasure chest of simple and charming songs like their stunning cover of Smokey Robinson’s “You Really Gotta Hold On Me,” and pieces where Deschanel inserts a little more audacity into her voice like the hit “Why Do You Let Me Stay Here.” The duo’s melting harmonies mix with poppy piano and slide guitar to form an irresistible balance of backbone and vulnerability.

From one idiosyncratic star to the next we travel. Notice a trend? Jason Schwartzman, formerly of Phantom Planet, put together Coconut Records in 2006 and released the debut album Nighttiming a year later.  Warning: This stuff is incredibly hooky. A few listens and you’ll be addicted for weeks. The strongest song on the album is “West Coast,” a feel good anthem for any displaced Western native. It’s light-hearted and mellow on the surface but contains a subtle, compelling pulse underneath, marching forward with increasing force as the song drifts on to it’s outstanding climax—the fortified shout chorus. Then there’s the title track “Nighttiming,” a song emitting a less urgent feel good vibe with synth happy hooks and a straight ahead rock beat that would feel more at home in the 80s. And what do you know—his collaborations on Nightiming include none other than Ms. Zooey Deschanel.

It’s always nice to find a stereotype disproved. Hopefully in years to come, actors who decide to give music a try will be given attention earned for the caliber of the music they create, not because of their star quality. If the aforementioned artists offer any foreshadowing into the future of multi-hyphanted actors, then we’re in for some fantastic music!