Grebenshchikov luchshie pesni torrent download

The Ural region extends from north to south and has mineral and oil deposits. Siberia is sparsely populated but rich in natural resources. Caucasia is an enormous steppe that extends northwards from the Caucasian mountains between the Black Sea and the Caspian Sea.

Finally, the Central Asian region consists of deserts, mountains and steppes. Russians comprise 82 percent of the population. There are over other nationalities, of whom the most populous are Tatars 4 percent , Ukranians 3 percent , Chuvash and Bashkirs 1 percent each. After the revolution, the Bolshevik communist regime set up the Union of Soviet Socialist Republics that retained most of the territory of the Tsarist Empire but gave nominal autonomy to 15 non-Russian republics including Ukraine, Belarus and Kazakhstan.

However, Russia remained the largest by population and the dominant republic. Popular Music before Under the Tsarist regime urban popular music took a variety of forms. Vaudeville, derived from French comic opera, was a mixture of comedy routines, popular song and the latest dance fashions.

Music publishers disseminated European-style schlagers popular ballads. Many restaurants and bars employed gypsy bands. The most renowned performer of blatnaya pesnya was Alexander Vertinskiy, who left the country in , returning in to help the war effort by giving charity performances. By the early s, the latest trends from the United States had reached Russia, partly through gramophone records: the first disc manufacturing plant was set up in St Petersburg in Military bands played ragtime and cakewalk tunes.

Popular Music Soviet Policy In , a national Centrotheater organization was set up to license and control variety shows and vaudeville. The Moscow Soviet assumed power over all entertainment venues and performances in the city. Centrotheater was superseded by Gosestrada the state variety agency in The subsequent fortunes of the various forms of popular music were closely linked to the different political and economic phases of USSR history.

In , the New Economic Policy brought about some relaxation in state control as it permitted small-scale private enterprise to operate in all industries including entertainment. This policy was sharply reversed in with the announcement of the first Five Year Plan. State control over music making was re-asserted, private music publishers were nationalized and only ideologically-correct music was to be given official approval.

The possession of US jazz or dance music records was criminalized. The political purges and the Moscow Trials of the late s encouraged actions against US-inspired elements in popular music, including the deportation to labor camps of foreign-born or Jewish musicians. The alliance with the United States during World War II caused that policy to be reversed, but the postwar deterioration in international relations brought another swing of the pendulum.

Folk Songs As music of the people, folk music performance was actively fostered by the Soviet regime. Houses of Culture under the control of trade unions and Houses of Folk Art were established to encourage artistic activities among the workers and peasants. There were star folk performers such as Lidia Ruslanova, a peasant singer from a small village near Saratov.

Professional folk ensembles were also encouraged. The ensembles often combined newly composed revolutionary lyrics with material derived from traditional sources. They were early examples of agitmuzyk agitprop songs derived from chastushki folk songs.

By the s, the newly composed mass songs were linked to films and jazz-influenced melodies. During World War II, new mass songs were composed by patriotic amateurs inspired to contribute to the war effort. These wartime songs and many written soon after often expressed loss, longing, love, friendship and martial heroism connected with this enormous tragedy.

Many remained enormously popular among even very young Russians. Military music played an equally large role and, even in peacetime, it featured strongly in the Soviet soundscape by accompanying large-scale parades.

The band was soon given an onstage role in a musical show directed by Vsevolod Meierhold. These bands inspired the formation of local bands in Russia and the Ukraine, notably the First Concert Jazz Band of Leningrad pianist Leopold Teplisky, who had gained official support to visit the United States to hear jazz and collect scores. After a period of official disapproval swing bands emerged in the cities, often playing at restaurants. The fox trot caught on in the late s, as did the Charleston, tango and black bottom.

Factories provided free fox trot lessons for their workers. A Leningrad- based jazz orchestra led by classically trained Yakov Skoromovsky appeared in Soviet films, and several bands recorded for the state record company. In , an official guide to the organization of song and dance and jazz orchestras was published. In Moscow, jazz bands played between shows at movie theaters. While Utesov adapted foreign influences to national tastes and styles, Tsafsman adopted those influences to create a cosmopolitan, Westernized music Starr , Many jazz scores were sent to the USSR from the United States and the swing musician Eddie Rosner, a German-born refugee from Poland, made the Belarus state jazz orchestra the most admired in the country.

In , the Moscow authorities confiscated all saxophones and many musicians were arrested and sent to the gulags. Pop, Folk and Jazz since The death of Stalin in was followed by a slow liberalization of cultural policy. In particular, jazz re-emerged and the first modern jazz group, The Eight, was founded by Igor Berukshtis in Moscow. A few years later, officially tolerated jazz clubs were opened, and the first Moscow Jazz Festival took place in Despite some policy swings back towards anti-Americanism notably a speech by party leader Kruschev condemning modernism in the arts , jazz in Russia developed steadily in the s and, by the s,there were bands in all the big cities.

Later trends included folk jazz, jazz-rock and free jazz. Officially sponsored professional folk music and dance ensembles remained central to Soviet music policy after In reaction against the continued homogenization of folk culture, a return to authenticity and diversity was pioneered by Dmitry Pokrovsky, who formed his own choir in Moscow in Pop ballads estrada dominated the airwaves and the record stores in this era.

Under the Soviet system, the Union of Soviet Composers had given some bands licenses to give concert performances, while others were restricted to restaurants and dances. This two-tier system crumbled away during glasnost and, after the imposition of free market economic policies, a commercial music industry quickly sprang up.

Foreign multinational record companies either opened branches in Moscow or set up joint ventures with Russian labels. MTV established a Russian-language service.

Rock since Russian rock was shaped within the confines of the multiethnic Soviet Union. Non- Russian republics, such as the Westernized Baltic states of Estonia, Latvia, Lithuania, and the republics of the Caucasus region, particularly Georgia and Armenia, became breeding grounds for rock music. Rock festivals and rock bands flourished in these republics, creating an atmosphere in which Russian rock musicians could develop their craft.

Prior to the death of Stalin, Soviet youth did not have music of its own, and did not have pop culture or fashion fads. The first Soviet youth fad began in when stiliagi the ones with the style appeared in Moscow, dressed like s Western zoot-suiters. Although this fad mostly involved dressing in a contemporary Western style, stiliagi created a milieu hungry for its own new music.

US jazz became the first music of choice. In the early s, fashionable Moscow girls and boys went to dance halls and skating rinks to dance and skate to the tunes of Duke Ellington, Louis Armstrong and, above all, Glenn Miller. Even though stiliagi were often ridiculed in the Soviet press and harassed in the street by orthodox minded citizens, the movement spread across the Soviet Empire, became more and more sophisticated and produced its own musical stars such as saxophone player Alexei Kozlov and band leader Latsi Olakh.

A further break in the isolation of Soviet youth from the West occurred at the Seventh International Festival of Youth and Students that took place in Moscow in the summer of Its purpose was to show the international youth and students who gathered in Moscow the successes, achievements and superiority of the Soviet system and to instill in these foreigners a desire to struggle against capitalism and imperialism in their own countries.

After this unexpected breath of fresh air, there was no going back to the dreariness of the Stalinist cultural and musical landscape. Russian youth was ready for the creation of its own distinct culture. History The history of Russian and Soviet rock can be broken into four basic periods: 1. Cover Versions approximately 2. Search and Struggle approximately 3. Struggle and Victory approximately 4. They used electric guitars from Czechoslovakia, and a homemade bass with piano wires used for strings.

In , at the age of 13, he sang his first concert at the International Club of Moscow State University, accompanied by a Polish student band called Tarakany The Roaches.

It was followed by Sokol Falcon , which existed from to , basing its act on covers of songs by the Rolling Stones and, later, the Monkees. This was a period of the adaptation of Western rock genres and styles that, in the beginning, was limited to performing covers of Western songs and learning the required musical techniques. During this time, Soviet authorities did not view this new music with a great degree of suspicion, seeing nothing wrong in kids playing some foreign songs with undecipherable lyrics at school dances, and in clubs and cafes.

Gradsky felt strongly that Russian rock had to be performed in the native tongue, and wanted to introduce original compositions in Russian, while the rest of the band believed, as did many other Russian rock musicians of the time, that their language was not suitable for rock songs and that such compositions were doomed for failure.

As a result of this debate, in , Gradsky creates his own band, Skomorokhi Jesters , that became the first Russian group to play original songs in Russian.

Since , Skomorokhi has performed only in Russian, becoming a trailblazer and developing a very enthusiastic following in Moscow and throughout the country. Borrowing from the rich national treasure-trove of musical traditions, bards blended music elements drawn from Russian folk song, urban romances, gypsy tradition, classical song, cabaret, jazz and more.

Under their influence, and in the process of searching for their own musical identity, Gradky and other bands that were working in Russian, such as the Moscow band Vetry Peremen The Winds of Changes , moved down the path of fusing Western rock with musical elements drawn from their own national tradition. The growing Soviet rock community found itself under increasing pressure from the authorities.

First, the authorities tried to subvert musicians with money by recognizing them as professionals. Amateur musicians, including the majority of Soviet rock musicians, did not enjoy the right to legally earn money for their performances. However, many talented musicians who learned to play as amateurs chose this means of earning money, abandoning with it real rock music, and producing only a very deluded version of it. Amateur bands that did not want to sell out found it increasingly difficult to secure space for rehearsals and venues in which to perform.

The much more conservative and cautious new General Secretary of the Communist Party, Leonid Brezhnev, who governed until , is remembered for creating in the Soviet Union an atmosphere of cultural and economic stagnation, a period free of brutal Stalinist excesses, but a period also of tight ideological control over all aspects of Soviet life. This was a period of the intensification of anti-Western propaganda, the escalation of the Cold War, and of a severe clamp down on the political dissenters, artists and musicians who deviated from the Party line.

For young people the Brezhnev era, which spanned the entire s, was marked by a tragic isolation from their Western peers and by a hopeless feeling of boredom. This decade resulted in probably the most uninteresting and insignificant music ever produced by Soviet rock musicians. There is a variety of reasons for this: first of all, the authorities made it increasingly difficult for amateur bands to play, and especially to perform publicly.

To receive a permit to perform was becoming increasingly difficult. And the punishment for unsanctioned performances could be quite heavy. Student rock musicians could be expelled from their universities for such offenses, and with that loose their draft deferment. Not too many were eager to join the ranks of the military. Obtaining quality equipment was often a problem. An important role in this relative musical stagnation was also played by the kind of Western music that was listened to and that was very popular among the elite cadre of Soviet rock devotees who were shaping the national rock scene.

By far the most influential types of Western at this time were British and European art rock, techno rock and progressive rock.

To make such music within the confines of an apartment was impossible, though Soviet rock musicians attempted to play deep, overblown, philosophical art rock. The general direction that Soviet rock took at this time can be characterized as following the traditions and attempting to approximate the stylistic features and techniques of Western progressive rock bands.

This constituted an international rock trend that remained very influential in the Soviet Union during the s. Classically trained vocalist and composer Alexander Gradsky remained a musical guru and a moving force in Russian rock throughout this period.

He was one of a very few musicians who managed to bridge the gap between his own artistry and the realm officialdom, retaining his iconoclastic underground status, but at the same time producing work that appeared on records issued by the government record label Melodiya, and being occasionally played on the radio, as well as writing music for a popular Soviet film.

Several other important bands of the s also traversed the gap between official and unofficial music. To avoid the tight ideological control musicians were subject to in Moscow, the band accepted professional status in the provincial city of Kaliningrad, from where it traveled around the country relatively unharassed. Never becoming an official Soviet VIA, Mashina Vremeni nevertheless was allowed to perform to large audiences, had recordings made on the Melodiya label and recorded music for several movies.

The band gave close to concerts per year in the late s. One of the most significant events on the underground scene during the s was the creation in by Leningrad singer-songwriter, guitarist and composer Boris Grebenshchikov of his enormously popular perennially cult band Akvarium Aquarium.

Throughout the s, Akvarium went through a very intensive period of self discovery and experimentation, flirting with jazz, art and hard rock, reggae, Baroque music and Celtic and Russian folk music, and working entirely with either acoustic or purely electric sound.

All this initial work paid off in the s when Akvarium emerged as a leader of Soviet rock. The arrival of punk rock was initially received by the Soviet rock community without enthusiasm. The liberating power of punk was not evident to them at first. There were very few punk bands. Leningrad punk rocker Svin Swine -- aka Andrey Panov -- and his Sex Pistols-like -- though far less energetic -- band Avtomaticheskie Udovletvoriteli Automatic Satisfiers were one of the few exceptions. The appearance of this paradoxical phenomenon is closely associated with Leningrad rocker Boris Grebenshchikov and Akvarium.

As Alexander Gradsky was the music guru of Soviet rock through the s and s, Boris Grebenshchikov became the new guru for the s and the most influential and recognizable voice of Soviet rock of that period. In , at the Noginsk II festival in Moscow and in at the Tbilisi festival in Georgia, Akvarium introduced Soviet audiences to new wave, setting off a Soviet new wave explosion.

This was as close to punk as the majority of Soviet bands ever came. The first five years of the decade were not an easy time for Soviet rock musicians in terms of the ideological control and the endless restrictions that the Party cultural apparatus imposed upon them. After his death in , a new leader came to power -- Kostantin Chernenko -- whose short reign was probably the most brutal period in the history of Soviet rock.

The persecutions of rock musicians reached an all time high during this period. In , Chernenko was succeeded by reformer Michail Gorbachev, and the process of the liberation of Soviet culture began. Rock music benefited from this liberalization as no other art form in the Soviet Union. And as no other art form with the possible exception of literature , it contributed to the final ideological disintegration of Soviet doctrine and the collapse of the Soviet Union.

Despite the restrictions on and persecution of rock music that occurred during the Brezhnev-Andropov-Chernenko period -- or possibly because of this -- Soviet rock experienced an enormously creative period during the early s.

Thus, in , the Leningrad Rock Club was established. It united the majority of Leningrad amateur bands, giving them a legal venue in which to perform. The Leningrad Rock Club was known in the Soviet Union for its lively atmosphere, relative liberalism and rich and varied rock scene.

For many bands it became a vehicle towards professionalism, giving them a place in which to practice and polish their skills. Slower to react to new trends and more ideologically controlled, Moscow followed in by establishing the Moscow Rock Laboratory, which from the beginning suffered from a dubious reputation, being perceived by many independent-minded rock musicians -- who treated it with suspicion -- as an instrument of control and subversion.

The most important bands to come out from Leningrad, aside from Akvarium, were: Kino, lead by charismatic Viktor Tsoy; Alisa, an aggressive new wave band with tendencies towards heavy metal and a sound with intense drive; Televizor Television , created in by keyboard player and vocalist Mikhail Borzykin; and Strannye Igry Strange Games , one of the most original and creatively daring Leningrad bands of early s. Kino was formed in , and immediately became a cult band. It was known for its cool new wave sound, detached performance and melancholy lyrics praising youthful bohemianism.

Alisa was formed by its bass player, Slava Zadirii, in It catapulted to fame in the Soviet Union due to the talent of its lead singer and song writer Konstantin Kinchev, known for his ritualistic conceptualist projects and magnetic stage presence. Televizor was known for its new wave sound and high level of social criticism. Mikhal Borzykin is credited for single-handedly abolishing the system of ideological censorship according to which every Soviet band was required to submit its lyrics to a panel of censors for approval.

During the fourth festival of the Leningrad Rock Club in , Barzykin refused to submit his lyrics to censors. Remarkably, this action led to no negative consequences for the band. After this, the whole institution of rock censorship collapsed. This occurrence had an effect reaching far beyond the rock scene, and led to a further weakening of the power of the Soviet cultural watch dogs.

Formed in , Strannye Igry incorporated into its music elements of ska, an ironic stage show and philosophical lyrics from translated French poets. This was unusual for Soviet rock.

In its music this band used elements from a variety of traditions: jazz, military marches, tango and rock.

Rather than a band, it was a conceptual project, with a very strong penchant for absurdity and satire. Pianist, composer and producer Kurekhin, was creator of Populiarnaia Mekhanika, was its only permanent member and driving force.

Populiarnaia Mekhanika was known to include on stage scores of musicians, to utilize army choruses and official Soviet pop stars who were unsuspecting of pranks. Its stage show was absurd, funny and provocative, and its music was a pastiche of music styles and genres, blended by classically trained Kurekhin into a tapestry of sophisticated nonsense. Kurekhin also worked as a keyboard player with Akvarium and, later, until his untimely death in , developed in the West an acclaimed career as a new age composer and keyboard player.

An artist with a wide range of talents and interests, Kurekhin was known as a cultural provocateur, an extremist not only in his art but also in his political views. One of his last post-Soviet antics was his open support of the extremist neo-right National Bolshevik party. Kurekhin was also an acclaimed jazz musician and film actor.

One of the brightest stars of the early s single-handedly responsible for the rock music education of generations of young Russian rock musicians who came after him was Michail Mike Naumenko, who came to prominence in the Leningrad rock scene around while working with Boris Grenenshchikov. In the s, many young musicians, particularly in the provinces, were already learning to play, not by using Western examples as was the case through the s and s, but by using songs recorded by Naumenko during his solo career or his career with Zoopark.

His appeal, based upon extraordinary sincerity, simplicity and the timeliness of his songs, was enormous. No other musician before Naumenko managed to achieve such a high degree of accessibility, intimacy and honesty. He managed to re-create in his songs the most striking and realistic images of the good and bad sides of Soviet life.

He died in August at the very end of Soviet era, the bard of which he had become. Grazhdanskaia Oborona was established in Omsk in by Egor Letov, one of the most charismatic leaders of Russian nationalist rock, a composer and poet of extraordinary talent who is responsible for combining a punk-infused coarseness of sound with traditional Russian bard-rock influenced tunefulness, hard-core aggressiveness, folkish melancholy and biting irony.

Grazhdanskaia Oborona and its fans consider the band to be punk. However, this is again manifest mostly in matters of attitude and style. The main thing about Grazhdanskaia Oborona is that it is a Russian band.

During the Soviet era, Letov was very critical of what the Communists were doing to his beloved Russia. For these views, Letov suffered endless persecution at the hands of the Soviet authorities, was confined in a psychiatric clinic, spent many months on the run, traveling as vagabond but performing at every opportunity. While using a variety of Western musical idioms, Letov has often been very critical of Western cultural influences on Russia. It has retained a very strong affinity for Siberia and the hard-working, suffering provinces of Russia.

In the s, Moscow did not produce an array of bands as illustrious as that of Leningrad. Nevertheless, there were some important bands in Moscow, some of them among the most influential Soviet bands of the time. Only one Moscow band can claim popularity equaling that of Akvarium, Zoopark or Kino. This band is a singular and unique phenomenon in Russian rock, its influence on Soviet culture reaching far beyond the realm of rock music.

In a way, Zvuki Mu has become a symbol of Russian culture of the period, a metaphor of the entire Soviet way of life. Created in as an experimental project by singer-songwriter Petr Mamonov and his brother guitarist Aleksei Bortnichuk, it first performed in but was disbanded by Mamonov in after reaching the height of its Soviet and international success.

After successfully touring the United States and Western Europe, Mamonov disbanded Zvuki Mu due to irreconcilable differences between band members. Another influential Moscow band was Tsentr Center , formed in by singer- songwriter and bass player Vasily Shumov. Since , Shumov has lived in California, where he has worked in electronic music. He has continued to be an important presence on the Russian scene. Nikolai Kopernik Nikolai Copernicus , a very influential avant-garde band, was also established in Its founder, Yuri Orlov, formerly a member of the progressive instrumental rock band Dzhungli Jungle , underwent spiritual training with a shaman in Khakassia, an autonomous region on the border with Mongolia, and derived from there a strong interest in the musical heritage of the aboriginal peoples of Siberia.

Until this time, Russia had little familiarity with world musics. Nochnoi Prospekt Night Avenue , which first performed in , was created by well- known Russian composer, arranger and keyboard player Ivan Sokolovsky. He left the band in to begin an illustrious solo career. Nochnoi Prospekt was one of the strongest Moscow promoters of new wave, and was known for its tongue-in-cheek satirical lyrics.

Sokolovsky often performed as a duet with guitarist Alexei Borisov, with a background provided by a pre-recorded tape. Two singer-songwriters with similarly tragic fates, a similar cult status, and having an important influence on the shaping of the Russian rock tradition came to Leningrad and Moscow from the provinces, ending there their lives in suicide, then to be catapulted to the pinnacle of the Russian rock pantheon.

Alexander Bashlachev, considered to be the most talented rock poet of Russia, was also a strong tunesmith and a very powerful, even ecstatic performer of his own songs. He played alone, accompanying himself on acoustic guitar. In , he committed suicide by throwing himself out of a tenth-story window. Her act was mostly acoustic. However, she was occasionally accompanied by a drum. Having grown up in Siberia, she was very familiar with the harshness of the Soviet reality.

While in Moscow she drowned her self in and joined Bashlachev at the pinnacle of Soviet rock. Through the s, a number of important and talented bands appeared in the Russian provinces. Nautilus Pompilius, a pop-rock band from the city of Sverdlovsk in the Ural Mountains was one of the most prominent bands to come from the provinces.

Sverdlovsk also produced Nastia Poleva, who started as a vocalist for Nautilus Pompilius and later pursued her own career fronting her band Nastia. Vostochnyi Sindrom, from the remote and far eastern region of Magadan was a quintessential Siberian band, tough and uncompromising. Kalinov Most Kalinov Bridge from Novosibirsk became well known for its heavy, almost metallic version of folk rock. Their humor and irony hijacked the national discourse, seeping even into the language of television and the major newspapers.

Towards the end of the Soviet Union and into the s rock musicians emerged as the most uncompromising and respected leaders in the country where the struggle for culture was concerned. In , they emerged triumphant, together with the forces of Russian democracy.

Rock musicians suddenly lost their role of spiritual leadership, and from being glorious rebels they turned into simple entertainers, subject to the forces of a free market. No longer was it enough to be a professional hero: in the post-perestroika period the requirement was to be a professional musician.

Music and musicians were now judged, not upon their social relevance and their ability to scandalize authorities, but upon their craftsmanship, their artistic achievements. Rock musicians found it hard to adapt to the new mafia-capitalist reality.

They went searching for new enemies. Thus, some rock musicians went back to the underground, re- establishing their rebellious identity. This was the route taken by Egor Letov of Grazhdanskaia oborona and Sergei Kurekhin, two of the most illustrious and popular leaders of perpetually dissenting Russian rock. In the early s, it became possible to see major trends developing in Russian rock after perestroika.

The cosmopolitan rock movement has been defined primarily by the fact that the musical, poetic and ideological reality of Russian life have been mostly quite conspicuously absent from its songs. The world depicted in the songs of cosmopolitan musicians has been utterly international and can be found in almost any modern country. This music is westernized. It is slightly ironic and detached form of cool rock, with a somewhat monotonous but highly polished and well produced sound.

This music lacks any reference to Russian traditions, both with regard to Russian pop music and Russian folk music. The songs are usually highly danceable. Cosmopolitan rock is also performed by Blast, one of the emerging bands that perform only in English and for English-speaking audiences.

Two elements of importance stand out where nationalist rock is concerned: its anti- Western sentiment this is why Russian nationalist rock frequently does not sound like Western rock , and its carnivalesque conceptualization. Amateurism here becomes a form of protest against Western rock perceived as soulless, overproduced and corporate.

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