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Rating:
China Forbes is one of the female voices I hold most dear and she always will be, no matter what she decides to do, no matter which path she chooses in the future. For this reason, writing about her in negative terms is difficult, yet also liberating, and it's still a sign of affection; after all, "reproaches" are for those we care about. Being (or was? The issue isn't very clear these days) the voice of Pink Martini obviously carries significant weight in my evaluation and appreciation: thanks to Tom Lauderdale's extraordinary little orchestra, she has had the opportunity to delve into a vast, multicultural, and high-quality repertoire: she has sung in French, Portuguese, Italian, Arabic, Japanese, Greek, Croatian, Neapolitan, always distinguishing herself for her charisma, brilliance, and interpretive sensitivity. A sexy and vibrant voice, like a true entertainer, and extraordinary versatility: obviously "Sympathique," but especially "Una notte a Napoli," "Let's Never Stop Falling In Love," "Tempo Perdido," "Dosvedanya Mio Bombino," "Ninna Nanna," and a chilling "Ta Paidia Tou Piraia" are her performances I am most fond of. This is a China Forbes album, not a Pink Martini one, and she should at least be credited for trying to offer something different from her experience with the group, but it's a pity that the final result is nothing short of disheartening.
The problem is just one, glaringly evident: this "'78" dated 2008 is an album so anonymous that it makes China Forbes seem like any ordinary singer, decent but bland, and I know this is absolutely not the case. Do you know "Our Last Summer," a beautiful song by ABBA? "And now you're working in a bank, the family man, the football fan, and your name is Harry, how dull it seems that you're the hero of my dreams": well, this record makes me feel exactly like that, incredulous and disappointed. Let's put it bluntly, had it not been for China Forbes' name printed on the cover, I wouldn't have gotten past halfway through the album: nothing terrible, but this semi-acoustic pop/rock lacks soul, creativity, and personality entirely. Damn, what a cold shower, what a bitter fruit you've made me swallow, my dear China! I can barely recognize you; at your best moments, you seem like a second-class Aimee Mann, but she masters this kind of sound masterfully, while you seem a shy novice and not even particularly enthusiastic, it seems. In the worst moments, however, you convey absolutely nothing, you don't sing as you know how to, you sink into quicksand of treacle, boredom, and banality—how much terrible banality! I really don't know what else to say, there's very little to say, even Candice Night as a solo artist managed to do better than you, which says a lot.
"Lovely Day" and "Everybody Needs Somebody" can at least be listened to easily, but not with pleasure for those who know and love the China Forbes of Pink Martini, just like the slow "I'm Still Talking To You". There's also a rendition of "Hey Eugene", the title track of the most beautiful album as well as a classic of the Lauderdale's Premiata Orchestrina, but it's a cunning and academic attempt, also aligned with the album's extreme mediocrity. As for the rest, total darkness and wasted potential for a mid-tier pop rock, but so middle-tier as to provoke the grimmest indifference, "Can't Be Wrong" with that plastic riff is something embarrassing, sifting through Sheryl Crow's outtakes, one surely finds much better. I've maintained an elegant and calm tone, as is right for a lady like China Forbes, but my state of mind and the feelings experienced during the listening of this album are the same as Richard Benson grappling with "Acoustic Samurai" by Paul Gilbert; yes, this album made me feel bad, this one truly makes me feel bad, but the reality is so evident and inexorable that sugarcoating it would be wrong. China Forbes without Pink Martini? No thanks, while Pink Martini can function perfectly well without China Forbes. Pairing "'78" with a masterpiece like "1969" (the similarity of titles and dates is truly mocking) is a mischief I could have spared myself, I know, but it perfectly conveys the situation, highlighting a misstep, an unfortunate choice, a total disappointment.
The problem is just one, glaringly evident: this "'78" dated 2008 is an album so anonymous that it makes China Forbes seem like any ordinary singer, decent but bland, and I know this is absolutely not the case. Do you know "Our Last Summer," a beautiful song by ABBA? "And now you're working in a bank, the family man, the football fan, and your name is Harry, how dull it seems that you're the hero of my dreams": well, this record makes me feel exactly like that, incredulous and disappointed. Let's put it bluntly, had it not been for China Forbes' name printed on the cover, I wouldn't have gotten past halfway through the album: nothing terrible, but this semi-acoustic pop/rock lacks soul, creativity, and personality entirely. Damn, what a cold shower, what a bitter fruit you've made me swallow, my dear China! I can barely recognize you; at your best moments, you seem like a second-class Aimee Mann, but she masters this kind of sound masterfully, while you seem a shy novice and not even particularly enthusiastic, it seems. In the worst moments, however, you convey absolutely nothing, you don't sing as you know how to, you sink into quicksand of treacle, boredom, and banality—how much terrible banality! I really don't know what else to say, there's very little to say, even Candice Night as a solo artist managed to do better than you, which says a lot.
"Lovely Day" and "Everybody Needs Somebody" can at least be listened to easily, but not with pleasure for those who know and love the China Forbes of Pink Martini, just like the slow "I'm Still Talking To You". There's also a rendition of "Hey Eugene", the title track of the most beautiful album as well as a classic of the Lauderdale's Premiata Orchestrina, but it's a cunning and academic attempt, also aligned with the album's extreme mediocrity. As for the rest, total darkness and wasted potential for a mid-tier pop rock, but so middle-tier as to provoke the grimmest indifference, "Can't Be Wrong" with that plastic riff is something embarrassing, sifting through Sheryl Crow's outtakes, one surely finds much better. I've maintained an elegant and calm tone, as is right for a lady like China Forbes, but my state of mind and the feelings experienced during the listening of this album are the same as Richard Benson grappling with "Acoustic Samurai" by Paul Gilbert; yes, this album made me feel bad, this one truly makes me feel bad, but the reality is so evident and inexorable that sugarcoating it would be wrong. China Forbes without Pink Martini? No thanks, while Pink Martini can function perfectly well without China Forbes. Pairing "'78" with a masterpiece like "1969" (the similarity of titles and dates is truly mocking) is a mischief I could have spared myself, I know, but it perfectly conveys the situation, highlighting a misstep, an unfortunate choice, a total disappointment.
Tracklist
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