The Many Masks Of Boris Midney
Reviewed on this page:
Caress - Pinocchio - The Empire Strikes Back - Companion -
Double Discovery - Black Russian
Boris Midney defected from the Soviet Union in 1964 and - after delving into jazz - soon embraced the most decadent expression of Western capitalism: disco. A writer/performer/producer who also photographed his own album covers, Midney was a quintessential behind-the-scenes guy, making up new fake band names for each release, and churning out records during the heady late 70s. He wasn't as popular or prolific as Alec R. Costandinos, but has some of the same virtues: sweeping side-long suites, classical touches, and occasional grandiose concept albums.
Fortunately, Midney is still around to promote his legacy - unlike so many disco mavens - and he's re-released his entire catalog on CD.
(DBW)
Happiness (Russian Jazz Quartet: 1965)
Midney defected with Igor Berukshtis in late 1964, and put together this quartet with drummer Grady Tate and pianist Roger Kellaway. At this point Midney played alto sax and clarinet.
(DBW)
Come Into My Heart (USA-European Connection: 1978)
Midney's first disco production was for a trio of female singers: Leza Holmes, Renne Johnson and Sharon Williams.
The title track was a dance hit.
I believe that's Raymond Earl playing bass on "Baby Love/Love's Coming."
(DBW)
Beautiful Bend (Beautiful Bend: 1978)
The luxurious, eleven-minute "Make That Feeling Come Again" is gorgeous, and I'm looking for the full album.
(DBW)
USA-European Connection 2 (USA-European Connection: 1979)
 Caress (Caress: 1979)
No hits came from this release, but it's a fine opportunity to experience Midney's unique approach. He's never in a hurry to get to the good part, letting the rhythm section pulse for minutes at a time while he builds his moods gradually ("Charmed").
While so much disco applied dense layers of strings to simple melody lines, Midney is more likely to compose lush Romantic themes but then understate them. As a result, he rarely delivers the raw thrills you expect from the genre, but his subtle insistence has its own charms, such as the curiously pensive piano on the opening "Catch The Rhythm." The closing "Love Spell," though, never transcends its simplistic theme.
Midney played all the keyboards and horns, supported by Francisco Centeno on bass, and the Bob DePasquale's String Ensemble: this pattern would hold on future releases. Guest include vocalists Chequita Jackson and Kevin Owens, and guitarist Tom Miller.
(DBW)
 Pinocchio (Masquerade: 1979)
Midney's only full-blown concept album tells the story of Pinocchio, rather loosely. (I can't really figure out what happens after Geppetto brings the thing to life.)
He pushes his "get there when we get there" aesthetic to an extreme, with such sparsely arranged intros, outros and midtros that you sometimes wonder whether Midney forgot we were out here ("Land Of Miracles"). Also, as he generally eschews solos, there are long sections with just the lightest wisps of melody ("L.O.V.E."). The biggest problem, though, is that the individual sections just aren't interesting: "Open The Secret Door" has a nice bass line, and there's a memorable vocal refrain in "I'm Attached To You," but that's about it.
(DBW)
Evita (Festival: 1979)
The dreaded Robert Stigwood recruited Midney to pump out disco versions of tunes from the London (soon to be Broadway) musical, including "Don't Cry For Me Argentina." The first flirtation with Meco-style cover albums.
(DBW)
 The Empire Strikes Back (Boris Midney: 1980)
I believe this was the only LP he ever released under his own name. The second and final flirtation with Meco-style cover albums, this time going right for the Star Wars series, Meco's bread and butter.
Denser arrangements with busier guitar ("Yoda's Theme") takes Midney closer to the disco mainstream, but he still puts his own spin on things: he treats the main theme of "The Imperial March" as an afterthought, preferring to embellish and rework the secondary theme of the piece atop an invigorating funky bass line.
Similarly, he shifts the meter of "Star Wars (Main Theme)" so the listener is kept off-balance. So the album doesn't have any of the camp value of "A Fifth Of Beethoven" or "Night On Disco Mountain" but it's quite enjoyable in its own right. Even the love theme "Han Solo And The Princess" is enlivened by a rare piano solo from the leader.
Guitarist Ray Volpe and drummer Johnny Santana join holdovers Centeno and DePasquale.
(DBW)
Companion (Companion: 1981)
Midney stuck to his guns despite the widely reported demise of disco, and came up with a winner. "This Is A Test" is a tasty confection of Chic-style rhythm guitar and bass synth. "Step On Out" and "Living Up To Love" - with an extended trumpet solo - are rapturous, blending his usual understated classicism with mellifluous themes.
The ballad "There's A Way" isn't at the same level, but it does have a sophisticated, shifting arrangement.
Singer Katherine Meyer co-wrote all the songs (I'm guessing she contributed the lyrics).
(DBW)
Double Discovery (Double Discovery: 1982)
"D-D-D-Dance" is d-d-dated early 80s synth-dance, and it's headache-inducing. Fortunately, the other new tracks are in his classic disco mold: "Thanks For Loving Me" and the lovely "Can He Find Another One?" (co-written by Meyer and someone named J. Burgess), present in two mixes. The LP is padded out with the two best tracks from the second album: "Step On Out" and "Living Up To Love."
(DBW)
 Black Russian (Black Russian: rec. 1983, rel. 1999)
I believe this unfinished concept album about Alexander Pushkin was first released on CD as part of Midney's self-reclamation project. It's not like anything else he's ever released: "Now Is The Time" is a rock song with a guitar line straight from T. Rex's "Bang A Gong (Get It On)." Meanwhile, "Pushkin's Theme" is an amateurish rap with a monotonous bass synth vamp. "Every Kind Of People" is the closest thing to Midney's orchestral disco.
(DBW)
Trancetter (Trancetter: 1999)
Midney broke a silence of almost two decades with this set of electronica.
(DBW)
Can he find another one?
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