Track Listing

1. When This Is Over
2. Lovely Day
3. Everybody Needs Somebody
4. One Less Word
5. Gone
6. '78
7. Time on My Hands
8. You Were/I Was
9. I'm Still Talking to You
10. Can't Be Wrong
11. Hey Eugene
12. Easter Sunday

Product Details

• Amazon Sales Rank: #47061 in Music
• Brand: Dig
• Released on: 2008-02-26
• Number of discs: 1
• Dimensions: .12 pounds

Album Description
"Forbes has a fine, velvety voice." -- Stephen Brookes, Washington Post "China Forbes has a clear and precise instrument, the perfect voice to convey cosmopolitan air." -- Nate Chinen, New York Times

For ten years, China Forbes has toured the world as lead singer of the celebrated "little orchestra" Pink Martini. Invited to join the band by Harvard classmate Thomas M. Lauderdale, Forbes set aside a blossoming career as a singer-songwriter to front the ensemble full-time. Praised as "an unpretentious pitch-perfect chanteuse" by John Pareles of the New York Times, Forbes has grown into an accomplished performer and built a devoted, diverse fan base around the globe. On her long-awaited solo album, Forbes dusts off her guitar and returns to her roots, displaying strikingly personal songs in a style all her own. Filled with intimate stories of love, loneliness, friendship, and alienation, Forbes recorded the album in her hometown with producer/drummer Gregg Williams (Sheryl Crow, The Wallflowers, Dandy Warhols). The stolen sessions allowed Forbes to work discreetly when not on the road with Pink Martini, resulting in a true expression of relaxed creativity. While '78 is a noted departure from the sounds of Pink Martini, fans will recognize the autobiographical "Hey Eugene," appearing here as it was originally written. Backed by Gregg Williams and Eric Earley (Blitzen Trapper), with cameos by Eric Matthews and Phil Baker (Pink Martini), Forbes plays a variety of instruments--including guitar, piano, bass, harmonium, and Wurlitzer-- making this record clearly and uniquely hers.

Customer Reviews

A brilliantly crafted album with an intimate, subtle sound.
Her unlikely story started at Harvard. ChinaForbes was studying visual arts with the aim of becoming a painter, and met up with Thomas Lauderdale, a history and literature student who played piano in the Boston clubs.
They both came from multi-racial backgrounds. Forbes had "a black mum and a white French-Scottish dad", while Lauderdale was "adopted, and a mystery Asian - he might be half-Chinese or something, but doesn't want to know".
The duo discovered they had a shared interest in opera. Lauderdale was a classically trained pianist, and at Harvard he would take out Puccini and Verdi arias from the library "and we went into the common room at night, where he would play the grand piano and I would sing in the dark. Nobody was listening but we had this cute bond that was our secret little thing", China explains.
After college, the two parted. Forbes had taught herself to sing not just by practising opera but "by listening to Donna Summer, my first teacher, then Stevie Nicks and Joan Armatrading".
She spent two years as an off-Broadway actress, then became a professional musician. "So I started writing songs and playing guitar in a Sheryl Crow style, and had a band and put out a solo album", she says.
After some time, the chic lounge million-seller PINK MARTINI was born.
But China Forbes never lost her old dreams.
Forbes has now revived her bizarre and brilliant solo career.
After years with Pink Martini, she now strikes a warmer note on this folkish recording, where heatbreak and personal emotions are the recurrent themes.
"She dusts off her guitar and returns to her singer-songwriter roots.
She recorded an album of strikingly personal songs in her hometown of Portland, Oregon with producer/drummer Gregg Williams (Sheryl Crow, The Wallflowers, Dandy Warhols)".
The title track's prosaic rendering of her mother's leaving for New York is the album's best tune--small, poignant details lovingly rendered below Herb Alpert-ish horn riffs and cozy acoustic strumming.
Other highlights include the Sheryl Crow New Wave of "Everybody Needs Somebody Now" and a far more effective version of Pink Martini's "Hey Eugene".
Her take of "Hey Eugene" is much less ironic, more compassionate, appearing here as it was originally written.
While Pink Martini often suffers from trying too hard, the seams in its contrivances showing, China Forbes on her own is almost the exact opposite: relaxed, at ease with herself, natural, even emotional and sentimental at times.
It will be difficult for her adoring fans to accept such a drastic transition.
Gone, this time, are her theatrical, ironically camp aura, her touch of the glamourous diva and the quirky, international loungy sound of Pink Martini.
All in all, this is a lovely, brilliantly crafted album of pop-rock songs, handmade music sung with low-key charm and warmth by the talented, enchanting singer/songwriter.
China Forbes: vocals, guitar, piano, bass, harmonium, Wurlitzer, keyboards
Gregg Williams: drums, percussion, programming
Eric Earley: guitar, bass, banjo, lap steel, drums, Moog, Wurlitzer, piano
Eric Matthews: flugelhorn, valve trombone
Phil Baker: bass

missed opportunity
I saw Forbes perform this album live in Boston before buying the album, and the differences between the two are staggering. Even though this pop/soft rock genre is a departure from the tried-and-true work of Pink Martini, she was still distinctively China Forbes up on stage ... that voice came through strong and clear and confident. Not so on the album. I kept thinking, this sounds like Sheryl Crow ... Forbes is a much better singer than Sheryl Crow. What's going on here? Then I learned that the drummer/producer used to work with Crow, and it all started making sense. So ... '78 is getting 3 stars instead of two because I actually like a few (3 or 4) of the songs, and I'm prepared to give Forbes the benefit of the doubt, that she listened too much to her producer and held back her powerful voice in an attempt to sound more "rock," or something ... thinner and tinny. China, we know you can do better ... looking forward to your next solo venture.

A Real Disappointment
China Forbes, whose marvelous voice is one of the great features of the band Pink Martini, sounds here as if she is just another pop singer. I had no expectations for this release, and certainly did not expect it to be another Pink Martini album. That would have been unfair. But this is an unremarkable solo effort. The arrangements are lackluster, the lyrics insipid and, worst of all, the singing lacks the power, drama and charm that she brings to the concert stage and all her previous contributions to the Pink Martini releases. The opening measures of Amado Mio from Sympathique and the one octave "just like all the others" voice present here are worlds apart. China, what were you thinking?