Vasile Ernu

În viaţă există lucruri mult mai îngrozitoare decît moartea BR Anna Ahmatova

În viaţă există lucruri mult mai îngrozitoare decît moartea
Anna Ahmatova
Rock in URSS

Cum cinta ukrainenii primavara

Daca tot a venit primavara iata una din cele mai iubite trupe din Ukraina si hitul lor Primavara. Trupa Vopli Vidoplyasova este un soi de Zdob si Zdub, care valorifica la greu folclorul slav.

9 March, 2008
Niciun comentariu



VA prezint una dint tipele tari ale muzicii ruse de azi.

Zemfira Talgatovna Ramazanova (Russian: Земфира Талгатовна Рамазанова, born 26 August 1976 in Ufa) is the leader and lead vocalist of the Russian rock group “Zemfira” (Zемфира, formerly Земфира). The group was formed in 1998 and has been immensely popular in Russia and other former Soviet republics.

An ethnic Tatar, she was born to a typical middle-class family – her mother is a doctor, and her father a history teacher. At the age of 4, Zemfira became interested in music, entering a music school the following year (where she studied piano performance and voice) and writing her first song when she was seven years old. Her older brother Ramil introduced her to rock music, which became a real passion – she listened to Black Sabbath, Nazareth and Queen, learning to play the guitar. In the 7th grade, Zemfira split her time between music and basketball, becoming the captain of the Russian Girls’ Junior Basketball Team by 1990. She began to lose interest in classical music, preferring instead to hang out with friends in the streets of Ufa and covering songs by Russian rock groups such as Kino, Nautilus Pompilius and Aquarium (who reached the peak of their popularity in the early 1990s).

At the urging of her mother, Zemfira stuck with piano studies and graduated music school with honors. In her last year of high school, basketball competed with school work, and the singer abandoned the sport in favour of music. She took the entrance exams for the Ufa College of Fine Arts (Уфимское училище искусств) on a whim, and was admitted into the second year, studying vocal performance. During college, she performed jazz and rock-n-roll standards in various local bars and restaurants with the accompaniment of her friend and saxophone player, Vlad Kolchin. She graduated with honors, and in 1996 took a job as a sound engineer at the Ufa subsidiary of the radio station “Europe Plus” (Европа +).

For the next couple of years Zemfira spent her days making advertisement recordings at the station and her nights on a computer, where she recorded the songs that would become singles: Why (Почему), Snow (Снег), Weatherman (Синоптик). In early 1998 Zemfira invited Rinat Akhmadiyev, Sergei Sozinov, Sergei Mirolyubov, and Vadim Solovyov to join Zemfira. Their first professional gig took place on June 19, 1998 as part of a festival celebrating the anniversary of a local radio station “Silver Rain Ufa.” Shortly after Zemfira sent out promo tapes to multiple Moscow producers, one of whom (Ilya Lagutenko, leader of Mumiy Troll) was smitten with the material, and invited the band for some sessions in Moscow.

Recording and production work on the debut album took place until May 10, 1999, when the debut was finally released. The promotion of Zemfira prior to the release included heavy rotation of singles AIDS (СПИД), Arrivederchi (Aриведерчи), and Rockets (Ракеты) as well as the video clips for those songs. The band immediately went on tour, starting a tradition of celebrating their beginnings with a summer concert in Ufa while recording their second album Forgive Me My Love (Прости Меня Моя Любовь). The group enjoyed immense popularity from the start, in part because of heavy rotation on radio and television, and in part because a female rocker is a fairly new and unusual concept for the Russian music scene (which to this day is dominated by scantily-clad female pop singers).

After the release of PMML (Russian abbreviation for Forgive Me My Love) in March of 2000, what can only be described as “Zemfiromania” swept the country. Searching (Искала) and Ripe (Созрела) became instant hits, and the group was invited to headline the festival MAXIDROM. Constant touring wore down on the band, and after the release of 14 Weeks of Silence the band took a break.

In September 2004 Zemfira began studies towards a degree in Philosophy at Moscow State University, releasing her 4th album Vendetta to much hype and rave reviews in 2005.

In May and June 2007 Zemfira embarked on a short concert tour titled “Déjà Vu”, with performances held in smaller venues (clubs and small theatres). The tour culminated with a Moscow performance at the Green Theatre. The tour program focused on stylish remakes of the singer’s top hits, often reworked is styles such as jazz, ska, bossa nova, and blues. A new album (as yet untitled) is in the works, with two new songs – “B000000000y” and “Friday, Moscow” – having received extensive attention at the concerts and on the Internet.[1]

Private Life
Sometimes moody, self-assured, lovely & beautiful, enigmatic and flamboyant, Zemfira has found herself an object of constant obsession by the Russian media and paparazzi. She added to the furor by limiting her contact with the media after an initial avalanche of invasive and libelous publicity. Multiple Russian “yellow” news outlets had speculated about the singer’s sexual orientation, drawing largely on references found in her song lyrics, and for the last couple of years romantically linking her with actress, director and screenwriter Renata Litvinova. The singer herself never discussed her private life.

Professional Collaborations
Aside from having contributed music for films such as “Goddess”, Zemfira has extensively collaborated with Rammstein, as well as with the band Clawfinger.

Zemfira (Земфира) (1998)
Forgive Me My Love (Прости Меня Моя Любовь) (2000)
14 Weeks of Silence (14 Недель Тишины) (2002)
Vendetta (Вендетта) (2005)
Zemfira.Live (2006)

Snow (Снег) (1999)
Goodbye (До Свидания) (2000)
Traffic (Трафик) (2001)

Goddess: How I Fell In Love (Богиня: Как я полюбила)(2004)

9 July, 2007
2 comentarii

Vladimir Vysotsky

Vladimir Vysotsky
From Wikipedia, the free encyclopedia

Vladimir VysotskyVladimir Semyonovich Vysotsky (Влади́мир Семёнович Высо́цкий) (January 25, 1938 – July 25, 1980) was a great Russian singer, song-writer, poet, and actor, whose career has had an immense and enduring effect on Russian culture. The multifaceted talent of Vladimir Vysotsky is often described by the word bard that acquired a special meaning in the Soviet Union, although he himself spoke of this term with irony. He thought of himself mainly as an actor and writer, and once remarked, “I do not belong to what people call bards or minstrels or whatever.” Though his work was largely ignored and suppressed by the official Soviet cultural establishment, he achieved remarkable fame during his lifetime and to this day exerts significant influence on many of Russia’s popular musicians and actors who wish to emulate his iconic status.



Vladimir Vysotsky as HamletVladimir Vysotsky was born in Moscow. His father was an army officer and his mother a German language translator. His parents divorced shortly after his birth, and he was brought up by his stepmother of Armenian descent, “aunt” Yevgenia. He spent two years of his childhood living with his father and stepmother at a military base in Eberswalde in the Soviet-occupied section of post-WWII Germany (later GDR). In 1955, Vladimir enrolled in Moscow Institute of Civil Engineering but dropped out after just one semester to pursue an acting career. In 1959 he started acting at the Aleksandr Pushkin Theatre where he had mostly small parts.

Vysotsky’s first wife was Iza Zhukova. He met his second wife, Ludmilla Abramova, in 1961. They were married in 1965 and had two sons, Arkady and Nikita.

(El nu s-a intors din razboi)

In 1964, on invitation of director Yuri Lyubimov, who was to become his paternal friend, he joined the popular Moscow Theatre of Drama and Comedy on the Taganka. He made headlines with his leading roles in Shakespeare’s Hamlet and Brecht’s Life of Galileo. Around the same time he also appeared in several films, which featured a few of his songs, e.g., Vertikal (“The Vertical”), a film about mountain-climbing. Most of Vysotsky’s work from that period, however, did not get official recognition and thus no contracts from Melodiya, the monopolist of the Soviet recording industry. Nevertheless, his popularity continued to grow, as, with the advent of portable tape-recorders in the USSR, his music became available to the wide masses in the form of home-made reel-to-reel audio tape recordings and later on cassette tapes. He became known for his unique singing style and for his lyrics, which incorporated social and political commentary into often humorous street vocabulary. His lyrics resonated with millions of Soviet people in every corner of the country; his songs were sung at house parties and amateur concerts.

Living in divorce, Vysotsky fell in love with a French actress (of Russian descent) Marina Vlady, who was working at Mosfilm on a joint Soviet-French production at that time. Marina had been married before and had 3 children, while Vladimir had two. Fueled by Marina’s exotic status of a Frenchwoman in the USSR, and Vladimir’s unmatched popularity in his country, their love was passionate and impulsive. They were married in 1969. For the 10 years the two maintained a partially long-distance relationship, while Marina made compromises with her career in France in order to spend more time in Moscow, and Vladimir’s friends pulled strings in order for him to be allowed to travel abroad to stay with his wife. Marina eventually joined the Communist Party of France, which essentially gave her an unlimited-entry visa into the USSR, and provided Vladimir with some immunity to prosecution by the government, which was becoming weary of his covertly anti-Soviet lyrics and his odds-defying popularity with the masses. The problems of his long-distance relationship with Vlady inspired several of Vysotsky’s songs, including “07” and “She Was In Paris.”

(Ea a fost la Paris)

By the mid-1970s Vysotsky had been suffering from alcoholism for quite some time and was also struggling with morphine (and other opiates) addiction. Many of his songs from the period deal – either directly or metaphorically – with alcoholism, insanity, mania and obsessions. This was also the height of his popularity, when, as described in Vlady’s book about her husband, walking down the street on a summer night, one could hear Vystotsky’s recognizable voice coming literally from every open window. Unable to completely ignore his musical phenomenon, Melodiya did release a few of his songs on disks in the late 1970s, which, however, constituted but a small portion of his creative work, which millions already owned on tape and knew by heart.

At the same time, Vysotsky gained official recognition as theater and film actor. He starred in a hugely popular TV series Mesto Vstrechi Izmenit’ Nel’zya about two cops fighting crime in late 1940s Stalinist Russia. In spite of his successful acting career, Vysotsky continued to make a living with his concert tours across the country, often on a compulsive binge-like schedule, which, it is believed, contributed to the deterioration of his health. He died in Moscow at the age of 42 of heart failure, which was possibly triggered by a drinking binge or a drug overdose.


Vysotsky’s graveVysotsky’s body was laid out at the Taganka Theatre, where the funeral service was held. He was later buried at the Vagankovskoye Cemetery, Moscow. Thousands of Moscow citizens left the stadiums (as it was the time of the Olympics) to attend the funeral. Although no official figure was released, it was later estimated that over one million people attended Vysotsky’s funeral [1], almost as many as that of Pope John Paul II in 2005. The Soviet authorities, taken aback by the unexpected impact on the masses of the death of an underground singer, and agonized over the country’s image during the already highly controversial Olympics, ordered troops into Moscow to prevent possible riots. In the years to come, Vysotsky’s flower-adorned grave became a site of pilgrimage for several generations his fans, the youngest of whom were born after his death. His tomb stone too became the subject of controversy, as his widow had wished for a simple abstract slab, while his parents insisted on a realistic gilded statue. Although probably too serious to have inspired Vysotsky himself, the statue is believed by some to be full of metaphors and symbols reminiscent of the singer’s life. One of the more obvious symbols is the angel-like wings that wrap the statue’s body. The angel wings are supposed to symbolize Vysotsky’s importance to all oppressed peoples; they are wrapped around his body to represent the fact that he was never allowed to fully spread his talent and flourish during his lifetime due to the oppressive regime.

Shortly after Vysotsky’s death, many Russian bards wrote songs and poems about his life and death. The best known ones are Yuri Vizbor’s “Letter to Vysotsky” (1982) and Bulat Okudzhava’s “About Volodya Vysotsky” (1980).

Every year on Vysotsky’s birthday, festivals are held throughout Russia and in many communities throughout the world, especially in Europe. Vysotsky’s impact in Russia is often compared to that of Bob Dylan in America.

Years after her husband’s death, urged by her friend Simone Signoret, Marina Vlady wrote a book about her years together with Vysotsky. The book gives tribute to Vladimir’s talent and rich persona, yet is uncompromising in its depiction of his addictions and the problems that they caused their marriage. The book was written in French and translated into Russian in tandem by Vlady and a professional translator. It is widely read in Russia by fans seeking to understand the man who gave them so many beloved songs.

The asteroid 2374 Vladvysotskij, discovered by Lyudmila Zhuravleva, is named after Vysotsky (orbit image).

(Gimnastica de dimineata)

The poet accompanied himself on a Russian guitar, with an intense voice singing ballads of love, peace, war, and every-day Soviet life. He had the ring of honesty and truth, with an ironic and sometimes sarcastic touch that jabbed at the Soviet government, which made him a target for surveillance and threats. In France, he has been compared with French singer Georges Brassens. In Russia, however, he was more frequently compared with Joe Dassin, in part because they were the same age and died in the same year. Vysotsky’s lyrics and style greatly influenced Jacek Kaczmarski, a Polish songwriter and singer who touched similar themes.

(Vinatoarea de lupi – ultima filmare a lui Vysotsky)

The songs—over 600 of them—were written about almost any imaginable theme. The earliest were Street songs. These songs were based either on the city romance of Moscow (criminal life, prostitution and extreme drinking) or on life in the Gulags. Vysotsky slowly grew out of this phase and started singing more serious, though often satirical, songs. Many of these songs were about war. These war songs were not written to glorify war but to expose the listener to the emotions of those in extreme, life threatening situations. Most Soviet veterans would say that Vysotsky’s war songs described the truth of war far more accurately than more official “patriotic” songs.

Nearly all of Vysotsky’s songs are in the first person, but almost never as himself. When singing his criminal songs, he would borrow the voice of a Moscow thief and when singing war songs he would sing from the point of view of a soldier. This created some confusion about Vysotsky’s background, especially during the early years when information could not be passed around very easily. Using his acting talent, the poet performed his role play so well that until told otherwise, many of his fans believed that he was indeed a criminal or war veteran. Vysotsky’s father said that “War participants thought the author of the songs to be one of them, as if he had participated in the war together with them.”

Many film soundtracks, especially those featuring the singer, incorporated Vysotsky’s songs. One of the most notable examples is Vertikal.

Not being officially recognized as a poet and singer, Vysotsky performed where and whenever he could – in the theatre, in the university, in village clubs and under open air. It was not unusual for him to have several concerts per day. He used to sleep little, using the night hours to write. In his last years, he managed to perform outside the USSR and held concerts in Paris, Toronto and New York City.

During his decline due to age, Breshnev made a big censorship slip and allowed Vysostsky to preform life on Soviet television. This was the first time something or someone so cynical was allowed on TV. The most infamous songs he played was “I do not like”, where he not so subtly lists those things he does not like about the Soviet Union. He would later perform the song on American television in an interview with 20/20, but he never made any verbal political stance against the USSR.

With some exceptions, he had no chance to publish his recordings with “Melodiya”, which held a monopoly on the Soviet music industry. His songs were passed on through amateur recordings on magnetic tapes, resulting in an immense popularity; cosmonauts took his music on tape cassette into orbit. — His writings were all published posthumously.

Musical Style

Musically, virtually all of Vysotsky’s songs were written in a minor key, and tended to employ from three to seven chords. Vysotski composed his songs and played them exclusively on the Russian seven string guitar, often tuned a tone or a tone and a half below the traditional Russian “Open G major” tuning. This guitar with its specific Russian tuning makes a slight yet notable difference in chord voicings than the standardly tuned six string Spanish guitar, thus it became a staple of his sound. Because Vysotsky tuned down a tone and a half, his strings had lesser tension, which also colored the sound.

His earliest songs usually were written in C minor (with the guitar tuned a tone down from DGBDGBD to CFACFAC), using the following chord shapes:

(Na Bolishoi Karetnii)

Chord name Fret numbers (bass to tenor string)
C minor [0 X 3 3 2 3 3]
A sharp 7 rootless [X 0 5 5 3 5 5]
A major [X 5 5 5 5 5 5]
E major [X X 6 X 5 6 7]
F 7 rootless [X X 7 7 5 7 7]
D minor [X 0 8 8 7 8 8]
F major [2 2 2 2 2 2 2]

Songs written in this key include “Stars” (Zvyezdi), “My friend has left for Magadan” (Moi droog uehal v Magadan), and most of his songs about criminals.

At around 1970, Vysotsky began writing and playing exculsively in A minor (guitar tuned to CFACFAC), which he continued doing up to his death. The main chord shapes he based his songs on were:

Chord name Fret numbers (bass to tenor string)
A minor [X X 0 4 4 3 4]
A major [X X 4 4 4 4 4]
D minor [X X 5 5 4 5 5]
E 7 [X X X 4 3 2 2]
F major [2 2 2 2 2 2 2]
C major [X X X 0 2 3 4]
A 7 rootless [X X 4 4 2 4 4]

Vysotski used his fingers instead of a pick to pluck and strum, as was the tradition with Russian guitar playing. He used a variety of finger picking and strumming techniques. One of his favorite was to play an alternating bass with his thumb as he plucked or strummed with his other fingers.

Oftentimes, Vysotsky would neglect to check the tuning of his guitar which is particularly noticeable on earlier recordings. According to some accounts, Vysotsky would get upset when friends would attempt to tune his guitar, leading some to believe that he preferred to play slightly out of tune as a stylistic choice. Much of this is also attributable to the fact that a guitar that is tuned down more than 1 whole step (Vysotsky would sometimes tune as much as 2 and a half steps down) is prone to intonation problems.



1959 — Sverstnitsy (Сверстницы) – Mosfilm; Director: V. Ordynskii
1961 — Karyera Dimy Gorina (Карьера Димы Горина) – M. Gorkii Studio Director: F. Dovlatyan & L. Mirskii
1962 — 713-ii Prosit Posadku (713-й просит посадку) – Lenfilm; Director: G. Nikulin
1962 — Uvolneniya na bereg (Увольнение на берег) – Mosfilm; Director: F. Mironer
1963 — Shtrafnoi udar (Штрафной удар) – M. Gorkii Studio; Director: V. Dorman
1963 — Jyvyi i mertvyi (Живые и мёртвые) – Mosfilm; Director: A. Stolper
1965 — Na Zavtrashnei Ulitse (На завтрашней улице) – Mosfilm; Director: F. Filipov
1965 — Nash Dom (Наш дом) – Mosfilm; Director: V. Pronin
1965 — Stryapuha (Стряпуха) – Mosfilm; Director: E. Keosyan
1966 — Ya rodom iz detsdva (Я родом из детства) – Belarusfilm; Director: V. Turov
1966 — Sasha-Sashenka (Саша-Сашенька) – Belarusfilm; Director: V. Chetverikov
1967 — Vertikal (Вертикаль) – Odessa Film Studio; Director: Stanislav Govorukhin & B. Durov
1967 — Korotkie vstrechi (Короткие встречи) – Odessa Film Studio; Director: K. Muratova
1967 — Voina pod kryshami (Война под крышами) – Belarusfilm; Director: V. Turov
1968 — Interventsyya (Интервенция) – Lenfilm; Director: Gennady Poloka
1968 — Hozyain taigi (Хозяин тайги) – Mosfilm; Director: V. Nazarov
1968 — Slujyli dva tovarischya (Служили два товарища) – Mosfilm; Director: E. Karyelov
1969 — Opasnye gastroli (Опасные гастроли) – Odessa Film Studio; Director: G. Yungvald-Hilkevich
1969 — Belyi Vzryv (Белый взрыв) – Odessa Film Studio; Director: Stanislav Govorukhin
1972 — Chetvyertyi (Четвёртый) – Mosfilm; Director: A. Stolper
1973 — Plohoi horoshyi chelovek (Плохой хороший человек) – Lenfilm; Director: I. Heifits
1974 — Yedinstvennaya doroga (Единственная дорога) – Mosfilm & Titograd Studio; Director: V. Pavlovich
1975 — Yedinstvennaya (Единственная) – Lenfilm; Director: I. Heifits
1975 — Begstvo mistera McKinley (Бегство мистера Мак-Кинли) – Mosfilm; Director: M. Shveitser
1976 — Skaz pro to, kak tsar Pyetr arapa jenil (Сказ про то, как царь Пётр арапа женил) – Mosfilm; Director: A. Mitta
1977 — Ök ketten (Они вдвоём) – Mafilm; Director: M. Mészáros
1979 — Mesto vstrechi izmenit nelzya (Место встречи изменить нельзя) – Odessa Film Studio; Director: Stanislav Govorukhin
1980 — Malenkie tragedii (Маленькие трагедии) – Mosfilm; Director: M. Shveitser

Wladimir Wyssozki. Aufbau Verlag 1989 (DDR) : Zerreißt mir nicht meine silbernen Saiten….
Vysotsky, Vladimir (1990): Hamlet With a Guitar. Moscow, Progress Publishers. ISBN 5-01-001125-5
Vysotsky, Vladimir (2003): Songs, Poems, Prose. Moscow, Eksmo. ISBN
Vysotsky, Vladimir / Mer, Nathan (trans) (1991): Songs & Poems. ISBN 0-89697-399-9
Vysotsky, Vladimir (1991): I Love, Therefore I Live. ISBN 0-569-09274-4
Vlady, Marina (1987): Vladimir ou Le Vol Arrêté. Paris, Ed. Fayard. ISBN 2-213-02062-0 (Vladimir or the Aborted Flight)

Влади М. Владимир, или Прерванный полет. М.: Прогресс, 1989.
Vlady, Marina / Meinert, Joachim (transl) (1991): Eine Liebe zwischen zwei Welten. Mein Leben mit Wladimir Wyssozki. Weimar, Aufbau Verlag. ISBN


[edit] Lifetime
Алиса в стране чудес / Alice in Wonderland (1977) [2 vinyls]
Musical play, an adaptation of Alice in Wonderland,
with Klara Rumyanova, Vladimir Vysotsky, V. Abdulov.
Lyrics and music: Vladimir Vysotsky

Post mortem

Le Monument (1995) [CD]
Le Vol Arrêté (2000) [CD]

Wir drehen die Erde (1993) [CD]
Lieder vom Krieg (1995) [CD]

На концертах Владимира Высоцкого / At Vladimir Vysotsky’s concerts
01, 02, 03, … 16 (1986–1990) [12″ vinyl]
Marina Vlady / Vladimir Vysotsky (1996) [CD] [Melodiya]
MP3 Kollektsiya: Vladimir Vysotsky [SoLyd Records]
Concert and Studio recordings
Disk 1
Disk 2
Disk 3
Disk 4 (period 1979–1980) (2002) [CD: MP3 192 kBit/s]
Platinovaya Kollektsiya: Vladimir Vysotsky (2003) [2 CDs]

20 November, 2006
7 comentarii

Nautilus Pompilius

Nautilus Pompilius (band)
From Wikipedia, the free encyclopedia
(Redirected from Nautilius Pompilius)

(Nautilus Pompilius – Vzglead s ekrana/Privirea din ecran unul din hiturile perestroikai)

Nautilus Pompilius (Russian: Наутилус Помпилиус), sometimes abbreviated as Nau (Russian: Нау), was a prominent Russian rock band formed in Sverdlovsk (now Ekaterinburg) and active between 1983 and 1997. They were an influential band in the post-punk, New Wave wing of Russian rock music. Some of their early hits are popularly associated with the Perestroika period. Their songs accompanied the movie Brother (Брат). Since the group disbanded, lead singer and front man Vyacheslav Butusov has launched a successful solo career.

Il’ya Kormiltsev was a key contributor as a songwriter and producer.

(Nautilus Pompilius – Guliati po vode / Plimbarea pe ape)

They released close to 20 albums.

Among their most well-known songs are: “Walks on water” (“Прогулки по Воде”), “Farewell letter (Прощальное письмо)” (“Goodbye, America! (Гудбай, Америка)”), “The look from the screen” (“Взгляд с экрана”), “Khlop-khlop” (“Хлоп-хлоп”), “The khaki sphere” (“Шар цвета хаки”), “Bound by one chain” (“Скованные одной цепью”), “I want to be with you” (“Я хочу быть с тобой”), “On the shore of the nameless river” (“На берегу безымянной реки”), and “Tutenkhamun” (“Тутанхамон”).

“Nautilus pompilius” is the scientific name of a species of cephalopod commonly known as the Chambered Nautilus.

(V.Butusov – Devushka / Fata … scos dupa ce a inceput sa cinte solo)

1 November, 2006
2 comentarii

DDT – Chto takoe oseni?

DDT – Chto takoe oseni?
DK mi-a recomandat aceasta melodie… Chto takoe osen/ Ce este toamna, unde Sevciuk e impreuna cu Butusov si Kincev…
DA, e foarte buna…

30 October, 2006
4 comentarii


DDT (band)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses: see DDT (disambiguation).

DDT, 1987DDT (or ДДТ in Cyrillic) is a popular Russian rock band founded by its permanent lead singer, Yuri Shevchuk (Юрий Шевчук), in Ufa in 1981.

The original band comprises:

Yuri Shevchuk – vocals, guitar
Vladimir Sigachev – keyboard
Rustem Asanbayev – guitar
Gennadi Rodin – bass
Rustam Karimov – percussion

(DDT/ Osenniaja/ Cintec de toamna/ Un clip unde vedeti si Lenigradul/Petersburgul)

In 1982, Komsomolskaya Pravda declared a competition for young music performers called Zolotoy Kamerton (Golden Tuning Fork). DDT sent three compositions, “Inoplanetiane” (Aliens), “Chernoe solntse” (Black sun), and “Ne streliay” (Don’t shoot).

During the long-running competition, the group published their first album (on tape), Svinya na raduge (A pig on a rainbow). The album contained elements of rock and roll, blues and country music. At this time Russian popular music was divided between sanctioned official performers, granted entrance to the musicians union and official patronage, and unofficial artists. Unofficial artists were often highly trained musicians but had other jobs. Complex tape trading networks evolved in the 1980s and unofficial artists music could receive wide distribution (without artists receiving royalties) in this manner [see also samizdat]. Such “underground” artists often became widely known and their unofficial albums were even sometimes mentioned or tracked in the press. DDT in the 1980s is the story of a band skirting between underground and sanctioned status, more unsanctioned.

DDT’s submission to Zolotoy Kamerton passed through to the finals and the group was invited to perform in a concert at Moscow’s Orlyonok complex, together with the other finalist band, Rok-sentiabr (Rock-September) from Cherepovets. DDT and three members of Rock-September, Viacheslav Korbin, Yevgeniy Belozerov and Andrei Maslennikov, soon after recorded and published an album (on tape), Monolog v Saigone (Monologue in Saigon).

After recording the album, Sigachev and Shevchuk returned to Ufa. Sigachev distanced himself from the group, while Shevchuk collected new members including Rodin, drummer Sergey Rudogo, guitarist Rustam Rezvanov and keyboard player Vladislav Strochillo.

In May 1983, DDT successfully performed at the Luzhniki Stadium in Moscow, as part of a three-day, sanctioned festival, “Rok za mir” (Rock for peace). Their performance, however, was cut out of the television program about the event.

(DDT- Konveer)

The new formation published the album Periferia (Periphery), recorded in April 1984. After recording the album, some members of the group began to be watched and contacted by the KGB.

Shevchuk spent some time in Sverdlovsk (present-day Yekaterinburg), performing with the group Urfin Juis.

In November 1985, DDT recorded the album Vremia (Time) in Sverdlovsk.

In 1986, Shevchuk moved to Leningrad (present Saint Petersburg) with his wife, son and mother.

In 1987 he rebuilt DDT. The members included:

Nikita Zaitsev — guitar
Vadim Kurylev — bass
Andrei Vasiliev — guitar
Igor Dotsenko — drums
Andrei Muratov — keyboard
Mihail Chernov — saxophone
In June 1987, DDT performed at a Saint Petersburg rock-club festival. DDT performed second-to-last and in front of a crowd of 3,000, even though the venue’s capacity was 1,000.

In the summer of 1988, DDT toured across the USSR, and they record a new album, Ottepel (Thaw).

In 1989, DDT went on another tour with the group Alisa, performing also at a rock-festival in Hungary.

In 1990, DDT performed several concerts in the U.S. and Japan. They also performed as part of a concert in honor of Viktor Tsoy.

In 1991, DDT released another album, Plastun (Scout). The next album followed in the spring of the same year, Aktrisa Vesna (Actress Spring).

Then the group changed its performance strategy by adding programmes to its repertoire: well-prepared, conceptually linked concerts. During December 1992 and January 1993, DDT presented its first programme, Chyorny Pyos Peterburg (Black Dog Petersburg), and toured widely in CIS countries.

On 27 May 1993, the anniversary of Saint Petersburg, DDT performed a free concert onDvortsovaya Square. 120,000 people attended.

During the summer of 1994, DDT took part in the rock festival White Nights of Saint Petersburg in Berlin. That autumn, the group was awarded the prestigious Ovatsiya award (Ovation) for Best Rock Group of the Year. Yuri Shevchuk was also named Best Rock Musician of the Year.

In the beginning of 1995, a new album, Eto vsyo… (That’s all…). was recorded. In January, Shevchuk went on a mission of peace to Chechnya, where he performed in 50 concerts for the Russian troops and Chechen citizens alike.

On 25 June 1995, DDT performed a solo concert in Petrovskiy stadium, which attracted tens of thousands of fans.

Afterwards, the group toured with its next programme, Ot i do (From start to finish). In the end of the winter of 1995-1996, the group worked in the USA. In February-March 1996, the group recorded a new album, Lubov (Love), at Long View Farm in Massachusetts with new musicians: bassist I. Tihomirov (from the group Kino) and keyboard player D. Galitskiy.

Transliterated title Original title Translation Year of release
Svinya na raduge Свинья на радуге Pig on a Rainbow 1982
Kompromiss Компромисс Compromise 1983
Periferiya Периферия Periphery 1984
Vremya Время Time 1985
Ya poluchil etu rol Я получил эту роль I’ve got this role 1988
Ottepel Оттепель Thaw 1990
Plastun Пластун (Hard to translate neologism; literally: Someone who creeps) 1991
Aktrisa Vesna Актриса Весна Actress Spring 1992
Chyorny pyos Peterburg Чёрный пёс Петербург Black Dog Petersburg 1993
Eto vsyo Это всё This is Everything (or: That is All) 1994
Lyubov Любовь Love 1996
Rozhdyonny v SSSR Рождённый в СССР Born in USSR 1997
Mir nomer nol (Single) Мир номер ноль World number zero 1998
Mir nomer nol Мир номер ноль 1999
Prosvistela Просвистела (Hard to translate, refers to something which flies by very quickly and with a whistle; a bullet, for example) 1999
Metel avgusta Метель августа Snowstorm of August 2000
Yedinochestvo I Единочество I (Hard to translate, a kind of neologism got by merging “unity” and “loneliness” ) 2002
Yedinochestvo II Единочество II. Живой. Yedinochestvo II: Alive. 2003
Pesni Песни Songs 2003
Gorod bez okon. Vkhod. Город без окон. Вход. Town with no windows. Entrance. 2004
Gorod bez okon. Vykhod. Город без окон. Выход. Town with no windows. Exit. 2004
Propavshiy bez vesti. Пропавший без вести Vanished without a trace 2005

(DDT – Rasstrelialy rassvetamy)

26 October, 2006
4 comentarii



Va prezint trupa Auktion care este poate una din cele mai complexe trupe exsovietice. Informatiile ce urmeaza sint de pe site-ul oficial

(Cintecul Daroga/Drumul)

AUKTYON – the unique phenomenon on the contemporary music scene of Russia: in contrast to the majority of genre-challenged and as a rule stylistically within the framework of contemporary canons, this group draws its inspiration from such remote sources as ska, reggae, new-jazz, ethnic music of North Africa and Middle East, beat- and pop-music of the 60’s; in spite of the eternally present messianic idea in Russian rock and its inherited didacticism, this group did not teach as much as it entertained, which apparently resulted in it being the only representative of Russia on the European club scene.

In different forms and under different names, the group exists approximately since 1978, however, its current name, AUKTYON received only in May of 1983, when it was granted a membership in the Leningrad Rock Club, and its present appearance, style, and core musicians were formed in spring of 1986, when the group was triumphant on the stage of the 4th Leningrad Rock Club Festival in the following line up: Leonid Fedorov (guitar, vocal), Oleg Garkusha (dance, vocal), Sergei Rogozhin (vocal), Victor Bondarik (bass), Dmitriy Ozerskiy (keyboards, vocal), Nikolai Rubanov (saxophone, flutes), Nikolai Fedorovich (saxophone), and Igor Cheridnik (drums). In one year, AUKTYON was repeatedly successful in the 5th festival, after which Sergei Rogozhin left the group for the pop-band FORUM, while the percussionist Pavel Litvinov strengthened the rhythm section. The second guitarist – Dmitriy Matkovksiy from the cult band of the early 80’s MANUFAKTURA – joined AUKTYON that fall. During that period, the group attained acknowledgement on the scale of the whole country, performing at the rock-festivals in Kiev, Ekaterinburg, Vilnyus (“Lituanika-8”), and taking part in the cultural program of Moscow International Film Festival.

In 1988 AUKTYON recorded an album “Return to Sorrento”, which has not been professionally released until now; Igor Cherednik, who left for IGRY, was replaced by a hard-rock drummer Boris Shaveinikov; and the visual image of the group had acquired a new quality, when a gifted dancer Vladimir Veselkin joined the group. A significant role in formation of the image of AUKTYON during this period was played by a famous avant-garde artist from St. Petersburg Kirill Miller, who was responsible for the covers of the first albums: in particular “How I Became a Traitor” (1989), released in France by Voyla Productions, and “All Quiet in Baghdad” (1990), recorded in Russia at “Melodiya”.

(Este un concert/spectacol din 1988 dedict celor 70 de ani ai Kimsomolului. Se numeste Bombardati si astazi e greu de crezut ca asa ceva putea avea loc atunci)

In 1990 AUKTYON took part in grandiose ecological action “Rock of Clear Water”, and along with other participants went down the river Volga, giving concerts in Volga cities.

From the late 80’s AUKTYON began to regularly travel to Europe: in the last ten years they have had several hundred concerts in France, Germany, Denmark, Switzerland, Austria, Holland, and Check Republic. In the 90’s new work continues to appear: “Asshole” (Erio, 1990), “Hangover” (SNC, 1991), “Bird” (Dyadyushka Records, 1994), “Best Of” (SNC, 1996). Furthermore, AUKTYON discography also contains two collaborations with the Parisian artist, poet, and bard Aleksey Khvostenko: “Teapot of Wine” (1992) and “Mountaintop Dweller” (SNC, 1995 – based on the verses of the poet and language reformer Velemir Khlebnikov).

(Melodia My Love din 1991)

After the period of relative stability, in May of 1992, Vladimir Veselkin left AUKTYON, who began a relatively successful solo career (in 1991 his album “Impossible Love” was released by FeeLee), and in November of 1995, Dmitriy Matkovskiy has played his last concert with the group. Almost at the same time AUKTYON has invited a tuba player Mikhail Kolovskiy. The main creative force of the group – guitarist and singer Leonid Fedorov. His songs (which are usually written to the lyrics of the colleagues – Dmitriy Ozerskiy and Oleg Garkusha) have a characteristic melodic language, in which jazz and ethnic intonations neighbor with a straightforward “hit”-like key phrases, and where the rhythm allows you to stretch the most “unfit for the voice” phases.

For the extent of its biography, the group appeared in various films and documentaries: “Burglar” (Lenfilm, 1986), “Half-Official”(Germany, 1987), “Rock” (LSDF, 1987), “Let’s rock-n-roll!”(Germany, 1988). The main movie star of AUKTYON is Oleg Garkusha, who played in “Presumption of Innocence” (1998), and “Khrustalev! Get the car!” (1996). He regularly appears and reads his poetry and is an author of two collections of poems.

The many-sided and experienced musicians, the members of AUKTYON regularly participate in recordings and multiple projects – Rubanov and Litvinov together and separately played in JUNGLE, ADDIS-ABEBA, MARKSCHEIDER KUNST; Rubanov played in BEES AND THE HELICOPTER, TIME TO LOVE, and METAMORPHOSIS; Kolovskiy and Rubanov play in Z-ENSEMBLE and UNION OF COMMERCIAL AVANTGARDE; Fedorov played and recorded with Nizhniy-Novgorod bard Aleksey “Colonel” Khrynov; Shaveinikov played with Yuri Naumov, TIME TO LOVE, and METAMORPHOSIS; Matkovskiy recorded a series of albums of his minimalist experiments called “Hunting of …”

(Fragment din concertul Deny pobedi/Ziua biruintei)

15 October, 2006
3 comentarii


Astazi va prezint trupa Akvarium si cel care a devenit unul din “taticii” rockului sovietic si cel rusesc Boris Grebenshchikov (BG).

(iata un clip/fragment din filmul ASSA care are coloana sonora facuta de Akvarium. Melodia a devenit una din cele mai faimoase piese de dragoste a anilor 80: Gorod/Orasul)

From Wikipedia, the free encyclopedia

(piesa Trenul in flacari. O puteti gasi tradusa in cartea mea. Traducerea este facuta de Mihail Vakulovski)

Andrei Romanov, BG, Billy Bragg, 1989Aquarium [Аквариум] is a Russian rock group, formed in Leningrad in 1972 by Boris Grebenshchikov, then a student of Applied Mathematics at Leningrad State University, and Anatoly “George” Gunitsky, then a playwright and absurdist poet.

In the 1970s and early 1980’s, rock and roll was banned in the Soviet Union (exception was given only to a few government-approved artists), and Aquarium’s usual concert venues were private apartments. These concerts were a unique Soviet phenomenon, created by underground musicians. They were usually “unplugged”, as noise would cause the neighbors to alert the authorities. The limited space fostered an atmosphere of intimacy between the group and its audience, listening with bated breath, with perhaps someone recording it on a simple tape recorder. This was similar to the concepts of the Russian bards, however Aquarium were (admittedly) much more influenced by Western music, particularly by The Beatles, Bob Dylan, David Bowie, progressive rock acts Jethro Tull, King Crimson and Roxy Music and also reggae. Thus their compositions were considerably more complex and their lyrics covered a broader range of topics, showing Grebenshchikov’s notable erudition in Celtic and Indian cultures, among other things.

Until 1987 Aquarium recorded all of their albums in a self-assembled underground studio (several members had engineering education) disguised as a “Young Technicians Club” (for the album Radio Africa (1983) a government-owned mobile studio was secretly used, after bribing a technician). Despite those hard conditions, the recording quality was rather high and Aquarium’s albums between 1980 and 1987 are considered by most fans as their best.

The advent of Glasnost in 1985 brought many underground Russian rock musician to public recognition and Aquarium became one of the most popular acts. They were allowed to play in large concert halls, appeared on the state-owned television and recorded soundtracks for several films, most notably ASSA[1]. In 1987 they recorded their first album for the state-owned Melodiya record label. With official backing and legalized distribution the album was a huge hit in USSR, selling well over a million copies within a few months. This was, however, the last album recorded by this Aquarium line-up and the band broke-up shortly afterward. Grebenshchikov released two albums in English and toured with several different backing bands. In 1991 after the break-up of Soviet Union he released under the name BG-Band The Russian Album, a collection of melancholic folk songs influenced by his travels all over Russia and demonstrating a return to his Russian roots. Shortly afterwards BG-Band was renamed Aquarium although most of the musicians were different. This band continued to release more albums and touring extensively all over former Soviet Union and Eastern Europe and also appearing before Russian immigrant communities in Germany, Israel and United States.

Although often criticized for departure from their original style and constant line-up changes which make Aquarium essentially a Grebenshchikov solo project, the group still enjoys huge success in Russia – their songs, old and new, get a lot of airplay, they albums sell well, and they tour constantly. Aquarium today consists of Boris Grebenshchikov, Boris Rubekin (keyboards), Andrei Surotdinov (violin), Vladimir Kudryavtsev (bass), Albert Potapkin (drums), Oleg Shar (percussions).

Studio albums:

Sinii Albom (The Blue Album), 1981
Treugolnik (Triangle), 1981
Elektrichestvo (Electricity), 1981
Akustika (Acoustic), 1982
Tabu (Taboo), 1982
Radio Africa, 1983
Ikhtiologia (Ichthyology), 1984
Den’ Serebra (The Day of Silver), 1984
Deti Dekabrya (The Children of December), 1985
Desyat’ Strel (Ten Arrows), 1986
Ravnodenstvie (Equinox), 1987
History of Aquarium. Archive Volume 3, 1991
Russkii Albom (Russian Album), 1991 (under the name BG-Band)
Lyubimie Pesni Ramzesa IV (Favorite Songs of Rameses the IV), 1993
Babylon Library. History of Aquarium. Archive Volume 4, 1993
Kostroma Mon Amour, 1994
Peski Peterburga (Sands of Petersburg), 1994
Navigator, 1995
Snezhnii Lev (Snow Lion), 1996
Hyperborea, 1997
Kunstcamera, 1998
Lilit (Lilith), 1997 (under the name BG and The Band – several members of The Band played on the album; released in the United States under the name Black Moon)
Psi, 1999
Akvarium. Territoriya (Aquarium. Territory), 2000
Sestra Haos (Sister Chaos), 2002
Pesni Ribaka (Fisherman’s Songs), 2003
Zoom Zoom Zoom, 2005
Bespechny Russkiy Brodyaga (Carefree Russian Tramp), 2006

(clipul care mie imi place / Shto tolku biti saboiu)

11 October, 2006
3 comentarii

De la Est vine UNDERGROUND-ul

joi, 12 octombrie de la ora 18.00 in Club A

De la Est vine UNDERGROUND-ul

Vasile Ernu aduce in Club A la “poeticile
cotidianului” lumea lui minunata. Autorul
volumului “Nascut in URSS” deschide
sezonul intilnirilor din Club A cu o seara in care a
promis ca va aduce muzici si filmulete made in URSS.

Kino, Akvarium, Auktion, DDT, Zvuki Mu, Nautilus
Pompilius sint citeva din trupele la care va umbla
scriitorul Vasile Ernu in aceasta editie a

Incepind de azi va voi prezenta cite o trupa sovietica (unele activeaza si astazi).
Astazi va prezint una din Legendele rockului sovietic KINO si Viktor Tsoi.

(Iata un clip intr-un limbaj surdo-mut)

Kino (band)

From Wikipedia, the free encyclopedia

Kino (Russian: Кино́, often written uppercase, pronounced key-no’) was a Russian rock band headed by Viktor Tsoi. They were one of the most famous Russian rock groups of the 1980s.

The band was formed in the summer of 1981 in Leningrad, USSR (now St. Petersburg, Russia) as a punk rock band Garin i giperboloidy (after a novel of Aleksei Nikolaevich Tolstoi Giperboloid inzhenera Garina, published in English as Engineer Garin and His Death Ray) by Tsoi, Aleksei Rybin and Oleg Valinskiy. A year later the name of the band was changed to Kino (Russian for ‘cinema’). Since rock music was considered “anti-Soviet”, Kino, like the other rock bands, performed only in semi-underground clubs and at musicians’ apartments (so-called kvartirniks).

In the summer of 1982, Kino’s first album 45 (according to its length in minutes) was recorded together with the musicians of the band Aquarium. The album was slowly distributed through underground channels and gave an apparent fame to the group.

The bands first real hit was the album Noch (Russian for ‘night’) released in 1986; the six songs from the album were included in the Red Wave: 4 Underground Bands from the USSR compilation disc released in the U.S. in 1986.

Due to the beginning of the Perestroika era the band came out of the underground, and the 1988 album Gruppa krovi (Russian for Blood Type) together with the movie Igla (Russian for The Needle) starring Tsoi brought the band to the pinnacle of popularity.

During the next two years the band released another album and did shows in the USSR and abroad, attracting enormous audiences, until August 15, 1990, when Tsoi died tragically in a car accident near Riga. The tape with the vocal track for the new album survived the accident. The album was completed by the rest of the band and released in 1990 without a title, though it is always cited as Chornyy albom (Russian for The Black Album) since it has a wholly black cover.

The band’s popularity in the Soviet Union was so extraordinarily high that after Tsoi’s death, many fences, rocks and walls throughout the country became covered with the words “Цой жив!” (Russian for Tsoi lives!) and “КИНО”. Writing these words became a kind of a memorial ritual among the fans of the band and even now new writings appear from time to time.

Most Kino songs were written by Viktor Tsoi. The ideas of liberty and democracy were often present (though they were called “anarchy”), as well as profound thoughts about life, death and love. Social symbols, such as the elektrichka were used as themes, too, for instance in the case of the Elektrichka song. Another example of a Kino song is Song with no Words written by Tsoi for the album The Star Called the Sun (Zvezda po Imeni Solntse; 1989).

The music of Kino has often been compared to contemporary English-language bands such as The Smiths, The Cure, Depeche Mode and Joy Division. It is likely that these bands were a direct influence on the band. Kino’s music also drew heavily on the Russian poetic songwriting tradition of singers such as Vladimir Vysotsky (see Bard).

(clipul din anii 80 Videli Notch pe care noi il cunoastem in varianta interpretata de Zdob si Zdub)

(clip care arata perfect situatia anilor 70-80 cind existau interdictii de a cinta in “Casele de cultura” iar solutia era fie apartamentele, fie garajele sau subsolurile blocurilor)

10 October, 2006
3 comentarii