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It seems like these fellows might have had a better chance of getting noticed 15 to 20 years prior to the release of this 2001 album. Still, as '80s-sounding synth pop goes, this is respectable, primarily because the quirky, sometimes jittery songs are fairly tuneful. While the production is electro-mechanistic, it's minimal enough (perhaps because only Karl Heinz plays any instruments or does any programming) that it's not overbearing. They sing effectively as well, in high voices that bear some influence from soul and disco music, and also (at the foggiest, as on "Antidote") sound something like Robert Wyatt, though the material is quite far from what Wyatt has recorded. Like their name, and indeed the sleeve art of men in suits and sunglasses on the move in fancy cars and airports, the songs reflect a carefree, chic lifestyle, as in their wistful wishes to be a "Boy Toy" (which is actually one of the best songs). It might not be terribly original, but it's not obnoxious, and you could do a lot worse if you want a downmarket Human League or some such equivalent. ~ Richie Unterberger
Deiter Mueller (vocals).
Recorded at The Gentlemen's Quarters, Harbor Island, California.
Personnel: Johann Langlie (sound effects).
Recording information: The Gentlemen's Quarters Harbor, Island, CA.
Photographers: Matthew Fletcher; Mike McGill .
Unknown Contributor Roles: Denny Swofford; Christopher Cooper.
Gentlemen Of Leisure: Karl Heinz (vocals, various instruments, programming);
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Recorded beteen 1971 & 1976. Includes liner notes by Robyn Flanns.
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Pink Martini follow the around-the-world-in-a-dozen-songs thrills of HEY EUGENE! with SPLENDOR IN THE GRASS, a mellower, simpler set of small pleasures. These are relative terms, however; the group's music is still well-traveled, with China Forbes singing in five languages (English, Spanish, Neapolitan, French, and Italian) instead of the six or so on EUGENE!. However, Pink Martini opt for a more unified sound here, one that draws on the more straightforward lounge-pop of their debut, SYMPATHIQUE, and the mellowness of '60s and '70s pop. SPLENDOR IN THE GRASS' first half is especially smooth, opening with the beautifully soft Neapolitan ballad "Ninna Nanna" and the title track, on which Forbes sings "I think we should take it slow" over swooping strings, brass, and piano that resurrect the glory days of AM pop; that feeling is echoed by the cover of Joe Raposo's "Sing," the Sesame Street song that gained popularity when the Carpenters performed it (Emilio Delgado, aka Sesame Street's Luis, duets with Forbes here in Spanish and English). The album's first few tracks are among its most playful, including the slinky yet winking "Ohayoo Ohio" and the French confection "Ou Est Ma Tete?" While Pink Martini gets almost too cute for their own good with "And Then You're Gone" and "But Now I'm Back," a pair of songs about a quarreling couple inspired by Franz Schubert's "Fantasy Piano for Four Hands" and featuring NPR justice correspondent Ari Shapiro on the latter's vocals, SPLENDOR IN THE GRASS' second half is among their finest work. "Over the Valley" is a standout, a ballad so timelessly sweet that ...
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