Bashlachev's most famous song. The recording of the concert in the Leningradsky recreation center Ilyich is one of Bashlachev’s few performances shot on camera. You can see it completely here .
Probably, the highest achievements of the Bashlachev-musician-his whitish songs, works longer than ten minutes, in which the dance, and crying, and the Russian fate are fitting. This is a version of Vanyushi from a concert in a communal apartment, where the leader of the Aquarium Boris Grebenshchikov lived then in May 1986. (This performance is also available on Yetube as a whole .)
Another root, completely shamanic thing Bashlachev. The video sequence - excerpts from the film by Peter Soldatenkov "Monologists on the background of red brick."
Bashlachev managed to record not so many songs - but worked in a variety of genres, including a satirical feuilleton. The “exploration feat” is the infrequent case when the parallels with Vysotsky are really appropriate.
This fragment of Bashlachev’s speech at the festival of the Leningrad Rock Club in 1987 was shot for the documentary of Alexei Teacher Rock.
One of the good examples of how Bashlachev developed folk melodics and poetics: in the end, his songs are perhaps the true Russian folk.
In 1984, shortly after moving to Leningrad from Cherepovets, Bashlachev got a job as a stoker in a boiler room on Bolsrinskaya Street-the very famous “stoker”, where many rock musicians worked: this did not fall under the law on parasitism and have a lot of free time. Viktor Tsoi worked in the boiler room - he is also on this video, and Sergey Bugaev, who played the main role in the film by Sergey Solovyov, “Assa” sits between Bashlachev and Tsoi. There is also a recording of a joint concert of Bashlachev and Yuri Shevchuk, published under the name “Kochegar”, but it was not recorded in the boiler room.
Bashlachev did not have many songs about love - but he also knew how to write about it sharply and accurately.
One of the main Russian theatrical experimenters of the last decades, now heads of the Stanislavsky Electrotheater, in the late 1980s prepared the performance “Observer” about the rock musician-and as part of this training recorded the best interview with the existing ones. The musician here is extremely frankly and deeply expresses his view of his tongue, music and the country where he had to be born. That rare case when Bashlachev’s voice can be heard outside the songs.
An ominous thing about Russian history; The version from one of the last concerts of Bashlachev - he played it a month with a little until his death, January 9, 1988 in the Moscow recreation center MAI. A more complete version of this performance is here .
A kind of Bashlachev auto -capital is usually considered the song “On the Life of Poets” - but “everything will be fine” approaches this role no worse: it, in general, about relations with her own gift, and this gift with the world.
Alexander Gorbachev