| Summary: Join the disco outfit Boney M. on their nocturnal journey to Venus. |
No doubt this little group is often surpassed by other larger pop/disco acts at the time, but Boney M. is essentially just as fun and as invigorating as other similar disco performers. Their album Nightflight to Venus is cool, stylistic, experimental and at times even a bit conceptual. This is indeed what gives them a rounded, complete sound and thought-provoking design, setting them apart from other quintessential acts at the time such as Donna Summers, the Bee Gees and alike.
Producer Frank Farian is the architect of this record and indeed the group. His musical influence is noted, but the real sound of the group dwells within the fashionable production of the album. Farian manages to find a suitable equilibrium between spongy walls of sound and wobbling pieces of jelly-like arrangements; each track manages to share this quality in some manner. There is no track without warm bass, dynamic percussion, multi-genre articulations, some sort of clever instrumental lick, or experimental sound effect hook. Farian takes almost any opportunity to fill every space and gap with something attractive. Despite this occupied sound, the record is still completely made of disco candy, and very much something to bop to, rather than to immerse yourself in.
Beginning with the title track, one may be somewhat amused by the rendition of the setting, involving a launch pad and transistor infected voice counting down from 10 to a blastoff. Soon to follow is the stereoscopic drum rhythm that sways between your speakers. The effect rather leaves you hypnotised, before you’re strung seamlessly into the following sequel track, Rasputin, an account of the Russian spiritualist, Grigori Rasputin. The introductory percussion that's signified in the first opening tracks also decorates the album as a whole. This inevitably drives the sound around the disco floor as if it were on a set of rails, and also hardens the candy like arrangements. While the album isn’t amongst classic disco creations of the time, it is of its own importance, and this is showcased in hit single tracks such as the beach party anthem Rivers of Babylon, and the wacky wheeled, brassy Brown Girl in the Ring. Other distinguishable tracks include Voodoochild and Never Change Lovers in the Middle of the Night, both of which are powerfully modelled towards the disco movement itself. Then there is the very guitar driven Painterman, a mix between pop-rock and dance fusion, followed immediately by the very slick and cool sounding He Was a Steppenwolf, reliant on a curving bass line and catchy chorus.
At times the album is a hairs length too viscous, and does become churned in its own achievements a little bit excessively. It isn’t so much that it becomes degrading to the sound, but rather more tedious in its structure. So why is this so bad? Well it isn’t really but it will affect anyone who isn’t used to the motive of the genre itself. This release is certainly not a good introductory album for someone yearning to explore the genre, but it is nonetheless well presented in its own right.
As a whole the piece is thoroughly pleasing, both musically and lyrically (yes lyrically!), and not completely filled with middle-class tracks. They all can be enjoyed, or at least danced to in some way. Nightflight to Venus is one of Boney M’s healthier accomplishments (possibly one of the better disco records to emerge from the late 70’s), and therefore a must for any unyielding disco fan wishing to submerge themselves in the warmth of a multicoloured light display, complete with complementary ear-candy.
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Album Rating: 3.5
The only Boney M. song that I have heard of this album is Night flight to Venus - and it is probably one of the coolest songs I've ever heard.
Great job on the review, I have to find this album and give it a full listen.
Digging: Isis - Oceanic | | |
Quote:
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The only Boney M. song that I have heard of this album is Night flight to Venus
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Yet you rated it?
Also I hate disco, especially Boney M.
Digging: Elliot Minor - Elliot Minor
| | | Album Rating: 3.5
^^
Haha, a lot of people share your hatred. 
Digging: Gustav Holst - The Planets Suite, for orchestra, Op. 32 | | | Album Rating: 3.5
I rated it a 3.5 - The opening song is just that good. The rest of the album could be white noise, and I would still give the album a 3.5. Also, if you 'hate' Disco, why click on a review of a Disco album? Unless it's just to hate.
| | | Album Rating: 3.5
^^
StarClassic was merely just voicing his feeling about the genre in general, which is legal. His comment seems to be initiated by your apparent rating after only hearing one song, which is somewhat discouraged from an objective point of view, but within your own right.
If you are interested, you probably wont find this record within your local store. I certainly didn't unfortunately.
Blah, anyway.
| | | Album Rating: 3.5
Good point.
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Ahh, Disco. I was born after my time I sometimes wonder. xD
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