sábado, 5 de diciembre de 2009

Farian flashbacks: on the launch of Boney M.´s fourth album...Oceans of Fantasy


The four Boney M. albums, today long since pop history, show how from the very beginning Frank Faria kept an eye on the optical side of what he was doing acoustically. All the time, as he says himself, "the eye listens in and the ear looks on...". Love For Sale with the four Boney M.ers fires the erotic fantasy with the visual effects of an almost perfect photo montage.
Of all the Farian albums, Boney M.´s Oceans Of Fantasy comes closest to illustrating the fantastic cosmos meant to be suggested to the listener in Farian´s arrangements are: the free fall into a fantastic world of emotions that we aren´t aware of in normal life, challenging art of all kinds to do service to our dreams.
"Dreams factory" is therefore the most fitting description of Farian´s pop skills.
Frank Farian always visualised his music.
He imagined the exact look of what he planned musically, as, incidentally, all composers do. In this way the ear paints like the eye hears. Right from start Farian added a sort of very un-Germanic, cosmopolitan hue to the musical influences of his ork, trying to give the sound constructions that drove him back and forth between sandich and mixing panel an optical dimension.
At the very beginning of his career the former Ariola head designer Manfred Vormstein and the photographer Didi Zill (pictured above) were an invaluable help in creating the visuals for these images. The designer, the photographer, the record executive Thomas Meisel who dicovered Farian for these images. The designer, the photographer, the record executive Thomas Meisel who discovered Farian for the institutionalised world of music; Hans Blume who adjusted the management of the Hansa record company to Farian´s tune; Boney M. arranger Stefan Klinkhammer and Farian´s chief source of advice at the time Hans-Jörg Mayer; and of course the Boney M.ers themselves, Maizie Williams, Liz Mitchell, Marcia Barrett and Bobby Farrell, the talented solo dancer like a figure from Toulouse-Lautrec´s Lido, they were all directly involved in creating the visuals for the sound which inspired Farian: Illustrating those magical worlds are the fantastic figures who inhabit Farian´s musical universes: painted pieces pawned form the commercial world, fragments from Andy Warhol´s amazing pop-art circus forming a creative collage, the huge whoowphee from Tom Wolfe´s bestseller "The kandy-kolored tangerine-flake streamline baby".
Farian´s total composition out of machine clusters, coloured vocal cords and brightly-coloured fantasy worlds corresponds to the collages he produces at his mixing panel, regardless of whether he produces them himself with the typically husky Farian voice, or has them copied at full or low volume.
In any case the Farian covers are no more than the optical development of his composer drive.

Born in Berlin in 1938, Didi Zill is now one of the legendary star photographers. He also created more than 300 covers. The Boney M. covers, a sensation is Germany at the time, are the product of his photo laboratory.

Hans-Jörg Mayer, born in 1947 and a Saarlander like Farian, was his right-hand man in the FF start phase. Maid-of-all work but also co-writer of the first Boney M. titles such as Do You Wanna Bump...

With Hartmut Pfannmüller, born in 1949, Farian had his first great success. He was the sound master with the hit Rocky and ran the Rosbach studio.

Manfred Vormstein, born in Munich in 1931. He added the optical dimension to Farian´s musical fantasies, which illustrated Farian´s exotic music from the very start...

The first Boney M. arranger, born in Koblenz in 1935. Worked on making Farian´s Boney M. ideas reality, on creating that unmistakable black and white mix...

The recording executive who discovered Farian, born in 1940. The Meisel Verlage in Berlin were Farian´s first commercial home. Meisel founded Farian´s record company Hansa...

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