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Sockin’ittoeminSamarkandForeign radio stations and the tape recorder are the main resources of the would-be rock music listener in tho USSR. The BBC World Service. Voice of America and, for those fortunate enough to be in a border area, the neighbouring country’s radio or television station (you can sometimes see 'Match of the Day' in Leningrad or Estonia—via the Finnish television service) are the major suppliers. Overtly political radio stations from abroad like Radio Liberty (financed by the American government) are usually jammed and useless tor mis purpose. There is even one request programme to Soviet radio which plays music from all round the world. People remain glued to this programme because one British or American pop tune of the Simon and Garfunket variety is usually included.A determined listener can keep pretty well up to date, at little cost, except of course that it is illegal to listen to foreign radio stations and one can get into trouble. This candistributor, there is a chance to buy an official copy for one rouble—50fj—the normal price for an LP in Russia).Also in this category are Creodence. The Soviet record producers even brought out their own debased and even worse than the original version of 'Yellow River'. A curious choice in view of their relations with the Chinese. As one might expect, Joan Baez and Pete Seoger are both officially available, as is a so-called famous American singer who receivedalmost the full groupie treatment on his recent tour of the USSR, a gentleman by the name of Dean Read. No, I've never heard of him either.But perhaps the most up to date Russians 3re those such asdiplomats, who have travelledabroad. For example, one recently asked a foreign diplomat if he could arrange for three records to be sent to him. What did he choose? Machine Head by Deep Purple, The Slider, and the latest Black Sabbath LP. The foreign friend, an old-school professional diplomat,v«s horrified to think that such (to him) rubbish could be prized as good examples of contemporary British culture. “What about the London Symphony Orchestra and the Royal Ballet? he exclaimed.Oh, we already have all that in Moscow, was the reply.Thus, in various ways, tha problems of access to Western music can be overcome. Live performance, however, is a much more difficult matter. Small groupstake the form of a summons to explain one's action to the local perty committee or to a Comrade's Court, the outcome usually being an entry on one's file that one is a potential counter-revolutionary bourgeois—just for taping Floyd or the Stones.But the taste for rock is not confined to penniless teenagers with second-rate tape recorders. The elite also feel that they have to show that they are people of the world and, having large sums of money with which they can do little In the USSR because there is not a great deal worth buying, they dabble in the black market to obtain actual records. The prices paid for records aro fantastic. For example, when I was there, the Concert For Bangle Desh (just released) was changing hands for 100 to 120 roubles (£«*60). a Hendrix double album tor 80 roubles (£40). Zeppelin III or IV at 60 roubles (£30) and so on. But don't immediately rush off to Moscow with a suitcase full of T Rex and David Bowie because this trade is highly illegal and can land perticipants in very serious trouble, end in any event you cannot exchange the money you make for hard currency nor con you take it out of the Soviet Union.The black market is. however, quite a good guide to taste. The heavier tho bettor was the general rule 12 months 3go. Zeppelin and Hendrix were kings but their power was fading. At present Deep Purple and T Rex seem to be well on the way to establishing a new supremacy. For the less avant garde listener Simon and Garfunkel are popular (but they are now available on a Czech label and, for those on good terms with their local recordfolk songs—I suppose 'Kaiinka' or 'Moscow Nights' and *We Shall Overcome' ore the most popular of these two types. But thore are also protest songs of a strictly Russian origin. Out of this tradition has arisen the folk-ainger Bulat Okushava. He is the greatest artist to have arisen from the Soviet pop-folk underground. Ho has a very rough but expressive voice, something like the early Dylan. His appeal lies in tho themes of his( songs rather than in any vocal melodiousness. Secretly circulated tapes of his songs about political prisons and other forms of government repression are popular among students. He also sings official music which enables him to keep one jump ahead of the law and to disclaim responsibility for his more outspoken songs. Incidentally, those of you who have seen 'W.R.-Mysteries of the Organism' may recall the harsh love song he sings at the beginning and end of the film.In the circumstances it is not likely that any other kind of artist of hote can arise in Soviet music of this son. All that an Okuzhava needs is his creative talent, a guitar and a handful of Iriends to listen to him. For a group, organisation, performances, expensive electronic equipment aro essential and these cannot be obtained without attracting the attention of the authorities. So Russian pop music remains wholly dependent on British and American sources, as, of course, does German, Dutch. Swedish and so on. But whereas all these countries have the possibility of developing their own artists, their own stylistic variations, the Russians have to be content with making replicas. There is no likelihood of any immediate changes m this respect, but nor is it possible for the government to reverse the clock end wipe out interest in Western culture. Rock and folk express rebellion, protest, and dissent and ore critical of the status quo in the Soviet Union as much as here despite the government's harsh measures towards criticism. But even these cannot completely isolate the country.Interest in experimental art of all kinds, abstract painting, electronic music, kinetic art, has survived the most ruthless attempts at repression in the past. With modern media (especially radio and records) plus an increasing amount of business and tourist travel and a greater exchange of scientific information, the movement which is now well established can only grow stronger.Fred Kuznetzovof vocalist, electric guitarist or two, drummer and pianist play in all Soviet hotels and large restaurants. Their normal mode of production is a loud, tuneless, slightly rhythmic noise, a kind of inferior-imitation of an imitation of The Shadows, with a layer of raucous vocals poured over the Top. The standard is depressingly similar from Petrozavodsk to Tibilisi, from Vlabimir to Vilnius, from Samarkand to Sochi. However, more than one of these groups is able to perform a quite different repertoire when out of the public eye.I remember one group in a town in Soviet Central Asia which could do quite a good imitation of Zeppelin and the Stones which they played by ear. They would only play a few bars because they were afraid that their playing would sound very inferior to wo foreigners who knew the real thing. Despite our assurances that they were excellent they would not be persuaded to play rroro. They, and other groups I met. were interested to know what was popular in England and Amorica. I tried to bring them up to date but I had myself been away so long that the scene was entirely different when I returned and I have not yet caught up with Marc Bolan and David Bowie.Acoustic guitars and tolk-club style singing are also alive and well among Russian students. In Leningrad at the time of the White Nights Festival In June, when the city enjoys what is practically a midnight sun, students wander up and down the beautiful embankments of the river Neva, in groups of fifteen or twenty playing and singing Russian and AmericanXL 5©
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Kensington Tharunka
Kensington, New South Wales, AU
Wed, Jun 06, 1973
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CZ 27 May 2024
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