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Tutta
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 Posted - 21/09/2017 : 01:17:12
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+IN HOC SIGNO VINCES+
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
Posted - 21/09/2017 : 01:18:35
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Off Topic (Claire Boucher)
Grimes - REALiTi
Grimes - Genesis
Wiki: Claire Elise Boucher
https://en.wikipedia.org/wiki/Grimes_(musician)
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Grimes: 'In my life, I'm a lot more weird than this'
Claire Boucher sighs. It’s the sort of sigh that comes with an eye-roll and exasperated sub-vocal muttering. A sigh that, despite her best efforts,
she can’t quite seem to suppress. She does it the first time when she hears which songs I’ve been allowed to listen to on her closely guarded fourth
album Art Angels, a hyperactively eclectic record that piles up pop and dance tropes into gratifyingly alien forms.
“Oh, whatever, it’s fine,” she smiles, when I ask why she groaned at the mention of California, a faux-saccharine, addictively syncopated
country-meets-K-pop track about the media’s treatment of female musicians. “It’s kind of a shitty song. It’s not a shitty song. OK, I’m already
doing it.” Moments later, when I ask if the PR spiel was correct in its claim that the album title is a reference to archangels, she sighs
again.
“Sort of… The label has all these weird ideas. They wanted to put this corporate graffiti in Paris,” she winces. “They were like, ‘‘It could be
graffiti but it could be Grimes graffiti.’ I was like, ‘No!’” She mimes despair. “Stop!”
With Grimes, 27-year-old Claire Boucher has never made any secret of the fact that what you see is not what you get. When she released her last
album Visions in 2012 – a collection of phantasmal, banging electropop that sounded as if it had been fed through both a rasping old desktop
and the prism of a dream – its rapturous reception took the Vancouver native from cult concern to internet darling (Oblivion, the album’s
best known song, was last year named Pitchfork’s track of the decade so far). At the time, Boucher spoke of Grimes as a business venture – a
sort of Svengali-meets-singer deal in which she played both parts, exploiting her own self for her own ends. It was an idea that highlighted her
creative clout, but it was also a coping mechanism, forming a pop-star proxy to deal with the invasiveness of fame.
Grimes - Flesh without Blood/Life in the Vivid Dream
“There are things I would never say in interviews that are my opinions. I’m way more political than I am publicly – significantly more
extreme,” Boucher tells me when I ask how the Grimes persona manifests itself on occasions such as this (that is, being asked questions by
a stranger while perched on the bed of a London hotel room). “There’s lots of people I hate,” she says. But Boucher is struggling to keep
up anodyne appearances.
And it’s not just the sighing. See also: her views on bombastic live shows (her upcoming Ac!d Reign tour will apparently be a pared-down affair).
“I’m like, ‘Do you understand how fucking bad it is for the environment for everyone to be having 20,000 lbs of lights and this giant fucking fake
set of New York?’ U2 had that giant crab – that’s fucked up.” She pauses. “I’m not shitting on U2.”
Of PC Music, the London collective whose uncanny valley take on the top 40 of their childhoods provides a contextual touchstone for Art Angels,
she says, “It’s really fucked up to call yourself Sophie and pretend you’re a girl when you’re a male producer [and] there are so few female producers,”
she begins, before trailing off again. “I think it’s really good music. I probably shouldn’t have said that…”
As an enterprise, Grimes has always seemed like a scuffle between creative abandon and calculated moves: what happens when a highly inventive mind
attempts to construct a consumer product. The Grimes aesthetic – discordantly multi-coloured hair, not-quite-trendy clothes, album art that looks
as if it was done on the inside of a ringbinder during double maths – I’d already describe as pretty unselfconscious-seeming. But Boucher insists her
visuals are designed to appease the public.
“In my life, I’m a lot more weird than this,” she explains. “Grimes is more palatable for humans. If it was up to me maybe I’d wear a moustache
or something,” she continues, as I start seeing her less as a hipster making bleeding-edge pop, more a kindred spirit of Vic Reeves.
“I try to make it digestible to a degree.” Why? “That’s what I’m interested in seeing. I create a thing that I wish existed in the world, versus
my own full unabashed creative expression.”
In Art Angels, Boucher has produced something that manages to be both more jarringly bizarre and viscerally accessible than Visions ever was:
wild ideas and incongruous references distilled into layered and irresistibly danceable pop songs.
Visions was a record Boucher has said was born from a panicked, sleep-deprived fortnight. “My management was really crappy at the time and he’d
set a release date before I’d even recorded the album. He was like, ‘The album will be coming out at this date,’ and I was like, ‘Are you fucking
kidding me? I have no album!’ And he was like, ‘Well, you better get to it!’”.
Art Angels, meanwhile, was made in controlled and leisurely conditions. “This time I made tons and tons of music and handpicked what I liked.
I need unlimited time to make as much crazy shit as I want and then work backwards.” The album sounds like something that has had time lavished
upon it, too, not least because of its mind-bending range.
Grimes - Oblivion
Boucher has always claimed to be “post-internet” – of a generation whose fluid genre-identity was made possible by free web downloads – but
has also claimed that Grimes was a more traditional pop project. I’m curtly informed that is no longer the case: “Pop is just another genre.
Some of my songs are influenced by pop music. Some of them are not.” Now, she says, “the whole purpose of Grimes is that it’s genreless.
Trying to constantly put a genre label on it makes no sense and then you are always eating your words two months later. So, why bother?”
She says the thread that binds her work together is not genre but her own authorship. “People keep trying to be like, ‘We’re trying to pin down
the Grimes style.’ If you haven’t realised by now, you’re never going to be able to.”
Still, I’m tempted to categorise Art Angels as belonging to my favourite genre: music that makes your eyes water, your heart beat faster, and
prompts feelings of mild concern for everyone involved. “I like music that might make me feel uncomfortable the first time I listen to it,” she
agrees. “I think that’s good, that’s important; sometimes it never gets better but sometimes it gets great.”
Nowadays, when music has begun to imitate fashion’s tendency to reconstruct itself out of a relentlessly remembered past – dredging up the
most hideously uncool trends, those being the ones that feel most refreshing (and Art Angels contains more than a hint of the Eurodance aped
by the aforementioned PC Music) – how do you go about genuinely disconcerting people? “There’s no fully new sound, I think,” she says. “All music
right now is seeing how crazy you can get with the genres. I feel like so many people are focused on the 70s to now. I’m curious about music
in the year 1100. I think that’s really interesting – combining that with electronic stuff.” That might sound like a pursuit worthy enough to
warrant a government grant, but with Grimes you imagine it would genuinely be great.
Boucher has other means of locating roads never travelled, too. One tactic is to transform dance music’s parasitic tendencies themselves.
“In the early days I was like, ‘I love Burial – what if it was an intentional vocal instead of samples?’” she says. “I’ll hear some totally fucking
crazy remix and I’m like, ‘But what if it wasn’t a remix? What if there were people actually making music like that and it wasn’t a Mariah Carey vocal
being sampled?’” For Art Angels, Boucher blocked out all popular music for a year. “I just don’t want to sound current. If I sound current, it’s because
I made the new current.”
Boucher’s oblique approach to songwriting is partly a result of her coming to the world of music from the sidelines. She attended a school that
specialised in creative subjects, but studied art and avoided music completely. “My mom had me do a violin lesson, and the lady told her, ‘Claire
will never be able to play the violin, she’s too bad.’” It wasn’t until university in Montreal, when she was hanging out with friends – they were
in bands, and one coerced her into singing backing vocals – that she began to suspect her music teacher might be wrong. “It was much easier than I
thought to hit the notes. Later on I got one of my friends to show me how to use Garageband so I could start recording myself.” Out of those sessions
came her 2010 Dune-referencing cassette-only debut Geidi Primes, released via Arbutus Records, the label that formed a cornerstone of the Montreal
synthpop scene in which Boucher had been socialising. By 2011 she had released a second album and toured with Swedish singer Lykke Li, before signing
to British indie 4AD in 2012 and releasing Visions.
Despite being managed by Jay Z’s entertainment corporation Roc Nation since 2013, Boucher did pretty much everything on Art Angels herself. It was
a decision partially motivated by the treatment she receives in the male-dominated world of recording studios, but she also wants to draw attention
to a more insidious male influence in the music industry.
“It’s of interest that we never hear anything where no men were involved,” she says. “But we hear things where no women were involved. [My album] was
mixed and mastered by a man. There’s one mastering engineer who is a female, Emily Lazar. I don’t know any female mixers,” she says.
“The whole record was produced, engineered, written, performed by a woman, which is pretty rare. I don’t know if I ever heard a record like
that, fully, with vocals on and stuff.”
Even so, Art Angels doesn’t need all-female production to qualify as one of the most innovative and interesting records of the decade so far:
it looks as though Grimes will be among the most brilliant musicians of her generation regardless. Sigh.
Grimes - Go ft. Blood Diamonds
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+IN HOC SIGNO VINCES+
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Edited by - Tutta on 21/09/2017 01:22:59 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
Posted - 21/09/2017 : 01:20:08
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Grimes - Vanessa (Official Video)
Grimes - Crystal Ball (Live from a Mexico City's rooftop)
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+IN HOC SIGNO VINCES+
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Edited by - Tutta on 21/09/2017 01:32:38 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
Posted - 21/09/2017 : 12:34:55
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Claudja Barry - Sweet Dynamite (1976)
Claudja Barry, (born 1952, Jamaica) was raised in Toronto,
Ontario and later based in Germany, is a singer and actress
who has performed in the European versions of the stage musicals
Hair and Catch My Soul.
Claudja Barry - Boogie Woogie Dancin' Shoes - ( Alta Calidad ) HD
Claudja Barry - When Life Was Just A Game
 ......
Claudja Barry - Down By The Water (1978)
Claudja Barry - I wanna be loved by you (1978)
 ........
Wiki: Claudja Barry
https://de.wikipedia.org/wiki/Claudja_Barry |
+IN HOC SIGNO VINCES+
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Edited by - Tutta on 29/10/2017 23:25:27 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
Posted - 21/09/2017 : 12:39:29
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Claudja Barry
(Claudja Barry with the cast of "Hair" (fourth from the left))
BIOGRAPHY
Jamaican-born Claudja Barry moved to Toronto with her family as a child. She began taking vocal lessons at age 15. Her gift of mixing dance rhythms into
an intoxicating visual image landed her spots on various local tv shows while still in school, which in turn led to headlining various shows as
well.
After graduation, she left for New York, and moved to Europe where she eventually got a role in the hit musical "Hair," and then "Catch My Soul." In the
spring of 1975 she lived in Geramany and had several jobs as a session vocalist where she met Frank Farian, who'd just had a European hit with "Baby Do
You Wanna Bump?" under the name "Boney M," the hero of an Australian TV series.
Because of the success of the record, there was a demand for live appearances so Claudja Barry, along with 3 other girls and 1 guy were hired. This line-up
did only dancing, lip synching and press appearances. Claudja, however, quickly left when an opportunity to record as a solo artist came along. She signed
with an independent German label Hotfoot in 1975. The song was entitled "Reggae Bump" and was backed by the title "How Could You Do It Again." The cover
featured a biography of 23-year-old Claudja but does not mention her brief role in Boney M. While on a brief European tour she met another young record
producer named Jürgen Korduletsch. Claudja Barry began working on her debut as a solo performer with Korduletsch, who was setting up Lollipop Records.
Her first record was the single "Nobody Loves Me Like You Do" backed with the track "Disco Love." The single was followed by "Sweet Dynamite" and "Love
For The Sake Of Love" which soon became underground German club hits.
She returned part-time to Canada and subsequently set up a distribution deal with Salsoul Records. The five tracks were remixed and added to five new
tracks. "SWEET DYNAMITE" was released in the spring of 1977. A major hit in the European dance clubs, the album also showcased her range with the
soulfully haunting song "Love For The Sake Of Love." "Why Must A Girl Like Me" and the gr"Sweet Dynamite" were a Euro-disco mix of soul and funk. The
record also contained the instrumental "Live A Little Bit," a sort of pseudo-African beat with a reggae twinge. Thanks to 12" singles, the title track,
"Sweet Dynamite" and "Dance, Dance, Dance" were top ten club smashes and made the album an international hit. She was also featured on label-mate Ronnie
Jones' debut that year, doing a cover of the classic Marvin Gaye / Kim Weston duet "It Takes Two."
Returning to Munich, Germany's Arco Studios, Barry and Korduletsch decided to broaden her appeal. The result was the 1977 album "The Girl Most Likely".
In Canada and in the USA, the songs were remixed by Tom Moulton and was issued, simply entitled "Claudja". Somewhat confusing to those who viewed
her as strictly a disco-diva, it showcased her versatility, with such tracks as her remake of the Gladys Knight & the Pips classic "Every Beat Of My Heart"
and the raucous Motown classic remade three years earlier by the Doobie Brothers "Take Me In Your Arms" which was also issued on single, backed with
the non-LP cut "Wanna Win Your Love Back". But it was the success of the club mixes of "Dancin' Fever" and "Johnny, Johnny Please Come Home" that ensured
Claudja her second gold record. "Johnny, Johnny" was recorded after recording sessions had first been concluded and replaced the song "I'll Be Dancing No
More". Claudja also succeeded in getting a record deal in the UK where a selection of the best songs from her two albums were released on the LP
"Claudja Barry".
Korduletsch now decided to release the next record on his own Lollipop label with a Canadian distribution deal, the end result being "CLAUDJA BARRY" later
the same year. It containted what would turn out to be her most commercially successful record, the 12" version of "Boogie Woogie Dancin' Shoes" that would
set the dance floor on fire, fast becoming an import hit when Chrysalis Records snatched up the U.S. rights, just in time to see it become an instantgold smash.
The original also contained a short version of "I Just Wanna Be Loved By You", the infamous Marilyn Monroe hit, the full version of which was only available
on the B-side of the "Boogie Woogie Dancin' Shoes" 12" single. However when Chrysalis bought the rights they decided against including "I Wanna Be Loved By You",
"Down By The Water" (a German single which was very reminiscent of Boney M.'s mega-hit "Rivers Of Babylon") or "Love Of The Hurtin' Kind." Retitled BOOGIE
WOOGIE DANCIN' SHOES, they did include another track from those sessions not on the original album, "Forget About You." Straying from her 'hard-core disco
image', both versions also included a rendition of the Staple Singers' "Heavy Makes You Happy". 1978 also saw Claudja in the running for two Juno Awards, but
lost most promising female vocalist to Lisa Dalbello, and was runner up for female vocalist, won by Patsy Gallant.
Next up was FEEL THE FIRE, hitting the shelves a year later. Disappointment rang throughout the offices at Chrysalis, as aside from the track "You Make
Me Feel The Fire", nothing charted and nothing seemed to catch the attention of a now-changing dance club scene. Partly due to the interference and tampering
of the big label, the album seemed to lack the spunk of some of her earlier works. "Stop, He's A Lover" and "One Night Queen" kept her Euro-disco
sound alive, but things seemed to be becoming more mechanical, although "Love Seemed So Easy Without You" is a pleasant R&B/pop ballad, showing the
range she was capable of.The sessions also yielded a cover version of "Sweet Sensation" which was issued as the B-side of "Stop He's A Lover". Polygram
also released a greatest hits package that year (add: with 12" versions of , You Make Me Feel The Fire, Boogie Woogie Dancing Shoes, Johnny Johnny,
Dancing Fever, Boogie Tonight, and Sweet Dynamite, all segued together for a non-stop medley). Again Claudja found her way to the ballot at that year's
Junos, winning this time for most promising female vocalist.
An interesting German compilation LP was issued, entitled "Profile". It wasn't a typical "Greatest Hits" compilation since it only contained four singles "Boogie
Woogie Dancin' Shoes", "Why Must A Girl Like Me", "Down By The Water" and "Dancin' Fever" but it included several non-album tracks, some previously unreleased,
and some previously only released on single B-sides: "Who Gave Me Love", "American Hearts", and cover versions of "Ti Amo" (a huge Italian hit by Umberto Tozzi),
and "Without You" plus the singles
B-sides: "Summertime" (the B-side of some pressings of "Dancing Fever"), "Sweet Sensation" (B-side of "Stop He's A Lover"), "Sunshine Love" (B-side of "Boogie
Tonight"), and the full-length version of "I Wanna Be Loved By You" (B-side of "Boogie Woogie Dancin' Shoes" 12" single).
By 1981 disco was on it's last leg and Claudja Barry was caught in the middle of the musical crossroads, having a tough time getting North American distribution.
She released the 12" single of "Radio Action" that year on the Canadian arm of the Polydor label, scoring a hit on the gay club circuit. MADE IN HONG KONG
produced the title track hit as well as the more moderately tempoed "Love Control." However the lack of American distribution impeded it's potential
success and it remained a hit in underground circles only. That year she was again featured doing a duet with Lollipop-mate Ronnie Jones, "The Two Of Us",
from his 1980 album "Video Games". The European releases featured another duet "United We Stand", adding to the lengthy list of Claudja Barry B-sides. When
Handshake released "The Two Of Us" stateside the following year (including a 8:24 remix), it was backed with a Ronnie Jones B-side "Southside Philly" instead.
1982 saw much of the same - Claudja Barry trying to shed the nearly-taboo by this time 'disco queen' image while not straying far from the sound that
brought her to the dance. A dance version of the Harry Belafonte classic "Banana Boat (Day-O)" on a 12" and Atlantic Records released "If I Do It To You",
then "Up All Night". TSR Records stepped in that summer and and released "Work Me Over" backed with the remake of "I Will Follow Him", Peggy March's 1963
hit. Oddly though, a full album didn't follow. 1983 saw her form a short term alliance with Personal Records, releasing interesting remakes of The
Yardbirds' "For Your Love", and The Cerrones' "Trippin' On The Moon" a year later, which featured a censored version of her German Playboy cover from '79.
Two different 12" singles of "Born To Love" also from 1984 were released, as was the 5-track mini-album NO LA DE DA - Part 2 which also featured Aldo Nova.
After appearing on Bobby 0's "Whisper To A Scream" in '85, she landed a small role in the Mario Van Peebles movie "Rappin'" that same year. 1987 saw Barry ink
a deal with Epic Records, releasing a 12" with two versions of "Down and Counting", a smash hit in the clubs. This made its way to the I, CLAUDJA album later
that year. 3 other singles were cut, but "Secret Affair", "Hot To The Touch" and "Can You Feel My Heart Beat" failed to pack the same punch. "Dead Or Alive",
spurred on by the pop group of the same name was also featured on the record.
1990 saw Miami-based Hot Productions convince Claudja to collaborate with one of their signees, electronica-group S.I.N. in 1990 for "Good Time". A 1991 deal
with RCA saw the release of "Love Is An Island", yet another 12" club hit, while Hot Productions issued Claudja's first CD-release, "The Best Of Claudja Barry",
covering all her greatest hits from 1976 - 1987. Two more independent singles "Summer Of Love" and "Can We Dance" made their way to vinyl in 1992, and in 1993
Hot Productions issued Claudja's three first albums on CD with the title and track selection as they were originally released in Germany: "Sweet Dynamite",
"The Girl Most Likely" and "I Wanna Be Loved By You". "Feel The Fire" and "Made In Hongkong" followed in 1994, and in 1995 the 1979 "Greatest Hits" album
with the medley of extended mixes was also released on CD under the new title "Disco Mixes".
In 1994 she lent her talents to German rave artists General Base for "Poison". 1995 saw Claudja demonstrate her range at the utmost, releasing a Christmas
album entitled DISCO ROUND THE CHRISTMAS TREE shortly after Lollipop and Hot Productions issued another 'best of' package called DISCO MIXES. She signed
a deal with Critique Records the following year, releasing a 12" single "Ain't Gonna Miss You". Korduletsch meanwhile was beginning to work with other
artists as well, producing CALL ON GOD by gospel group The Brower Brothers in '97, of which Claudja was part of the choir.
In May 2006, Claudja returned to the Billboard charts with "I Will Stand" released on Donna Jean Records. By July the single had reached the Top 10 of the
Hot Dance Music/Club Play chart, peaking at #4 before the end of the summer. An album is due to be released soon.
DISCOGRAPHY
 ...... ...... ......
SWEET DYNAMITE (1977) + CLAUDJA (1978) + CLAUDJA BARRY (1978) + BOOGIE WOOGIE DANCING SHOES (1979)
 ...... ...... ......
GREATEST HITS (1980) + FEEL THE FIRE (1980) + MADE IN HONG KONG (1981) + NO LA DE DA part 2(1983)
 ...... ...... ......
I CLAUDJA (1987) + I WANNA BE LOVED BY YOU (1988) + BEST OF CLAUDJA BARRY (1990) + THE GIRL MOST LIKELY (1993)
 ........................................
DISCO MIXES (1995)(USA only) + DISCO ROUND THE CHRISTMAS TREE (1995)
....................................................................................................................................................................................................................................................................................................................................................................................
 .
....................................................................................................................................................................................................................................................................................................................................................................................
12" SINGLES
 .................... .................................... ..........
JOHNNY JOHNNY (1977) + TAKE ME IN YOUR ARMS ((Germany only)/1977) + TAKE ME IN YOUR ARMS (1977) + DOWN BY THE WATER (1978)
 ........................................ ........................ .......................
STOP! HE'S A LOVER (Germany only/1980) + BANANA BOAT (Germany only/1980) + WORK ME OVER (Germany only/1982) + DOWN AND COUNTING (1987)
 ......
LOVE IS AN ISLAND (1991) ++++++ I WILL STAND (2006)
http://www.claudjabarry.com/ |
+IN HOC SIGNO VINCES+
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Edited by - Tutta on 29/10/2017 23:21:24 |
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Tutta
Advanced Member
Germany
32400 Posts
Member since 19/02/2010 |
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Topic |
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OLDIES FOREVER / MUSIC / CARS / MOVIES & Chicas!
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