Dmitry Karasyuk, Leonid Porokhnya

Vsevolod Arashkevich, Sergei Borisov, Yuri Gavrilov, Viktor Zaitsev, Nikolai Zemlyakov, Dmitry Konstantinov, Alexander Korotich, Alexander "Ezh" Osipov, Bogdan Polyakov, Oleg Rakovich, Andrey Tokarev and Alexander Shishkin for the illustrations provided for this edition.

Dmitry Karasyuk

"Nautilus Pompilius". We entered this water once

“They are one and the same group with different lineups.

The essence of the music remained the same. "

Viacheslav Butusov

1988 poster

1

Why Slava Butusov, a tenth grader from Surgut, entered the Sverdlovsk Architectural Institute in 1978, he himself told in the film Sickle and Guitar ten years later: “My peasant grandfather wanted his son to become an engineer, he thought it was a step up. My grandfather bequeathed that his grandson, that is, I, should step up, that is, become an architect. Therefore, after the last call, dad took me warm and took me to Sverdlovsk to the architectural institute, where I passed the exams. "

Vyacheslav Butusov as a student, 1970s

The educational institution, which was young at that time, had a vibrant musical history. Musical groups appeared in SAI even before its formal formation. For several years it existed as a branch of the Moscow Architectural Institute and only in 1972 became an independent university. The newborn SAI from the cradle began to claim the title of the most creative institute of the city. Arch was a place where ideas just flew in the air. Theatrical and film premieres were discussed, everything seemed important. “The Komsomol leaders were young, and the adult leadership of the institute consisted mainly of war participants. They were completely independent, and they didn't give a damn about the decisions of the CPSU. That is, formally, they obeyed them, hung out all sorts of slogans, but in their hearts they were independent, and from this came the independence of the entire Arkh, ”says Oleg Rakovich, a graduate of the institute.

Many newspaper publications describe the touching story of the emergence of the group "Nautilus Pompilius": in 1978, two freshmen, Butusov and Umetsky, met on a student potato, and decided to create the best rock group in the country. In fact, they met, but nothing more. We knew each other by name, gathered root crops in the neighboring furrows in the village of Mamino, like dozens of other architecture students. Dima Umetsky became close friends with a completely different guy - Igor Goncharov.

Dmitry Umetsky Photo by Dmitry Konstantinov

By the time he entered Arch, Igor Goncharov was already an experienced musician, he often played drums on the dance floors of his native Chelyabinsk. Sverdlovsk resident Umetsky also had a performing baggage: “I played drums in a school ensemble. The installation was "proprietary" - without a barrel, one snare drum with torn plastic, an ax-shaped cymbal, so bent, you hit it with a stick - the stick in two halves at once. " It was this couple who suddenly hit the tower - to play together.

Right on the farm, two drummers began to share virtual instruments. The drums were won back by the experienced Goncharov, and Dima got the bass: “Immediately after picking the potatoes, I began to cut out an electric guitar for myself. I bought spare parts from Tonika in Yuno Tekhnika, made a piece of wood and began to torment it. "

Slava Butusov studied in a neighboring group. He played the guitar himself well, but at first he preferred to study music individually. His classmate Aleksandr Korotich recalls seeing Slava for the first time: “In the dormitory, a very thin guy with long bangs was sitting on the floor and jingling something from Led Zeppélin on his guitar, clearly imagining himself as both Plant and Page at the same time”.

On a common musical basis, Butusov, Umetsky and Goncharov agreed only in the second year. A construction brigade, whose fighters were future rock stars, helped with the tools - for 900 rubles he bought Esko drums and amplifiers. The youth wanted to rehearse in the student club, but the authoritative "Serpent Gorynych Band" was based there. Goncharov agreed on a rehearsal room in the new Arkha hostel on Vostochnaya, 11. “All winter they played something like 'crimson' in the hostel,” Umetsky recalled, “although, to be honest, there was no smell of“ crimson ”here. All this came from another of our then accomplice, the guitarist Sergei Babushkin, a man of an obviously manic mind, who had gone crazy at the Beatles in his time. And it all ended with the fact that they came from the Komsomol committee and sent us all away: there is nothing, they say, guys, I’m getting on with you. ” The quartet moved to a kindergarten, where Babushkin worked as a watchman, and continued to rehearse there. Another classmate, Viktor "Pifa" Komarov, sometimes began to play along on the piano. For the time being, music-making was on a purely amateur level.

Viktor "Pifa" Komarov, 1979. Photo by Oleg Rakovich

Something changed in June 1981, when the City Rock Festival for the SAI Prize was held. The best groups in Sverdlovsk were preparing for it. One of them - the homeless "Urfin Deuce" Alexander Pantykin - was sheltered by the SAI club. The windows of the club, opened on the occasion of the coming summer, looked directly onto the "sachkodrom", the traditional place of Arkhov's smokers and truants, who listened with bated breath to the music of "UD". Among others, third-year student Slava Butusov enjoyed it: “We clearly heard what kind of 'Rubinstein' was going on there: terrible riffs and an absolutely fantastic voice. I had no idea what this great and terrible Pantykin looks like ... We just stood in awe and looked forward to ... "

Correspondent of the wall newspaper "Architect" V. Butusov. Photo by Oleg Rakovich

Butusov was a member of the editorial board of the wall newspaper "Architect", and this publication was one of the driving forces of the festival. What he saw on June 6 at the Avtomobilist Palace of Culture made a strong impression on Slava and Dima. Umetsky was especially struck by "Trek": "We realized that if people living in the neighboring streets can sing like that, then it means that we are capable of something similar. It was an event that turned our lives upside down. " Slava was also addicted to two interviews, which he took for the "Architect" with the festival heroes - Sasha Pantykin and Nastya Poleva. “Slava immediately drew a friendly cartoon,” Nastya recalls. - He said that he also has a group that they are going to perform. We became friends".

The feeling that they themselves can become no worse than all these "urfins" and "tracks" gave the students a new impetus. Attempts to collaborate with professional musicians began. We turned to guitarist Yevgeny Pisak: “Slava and Dima loved Led Zeppelin and wanted to put their energy into our music, presenting it in their own way. They offered me to be their lead guitarist. Slava lived across the yard from me, and we spent whole evenings with me, coming up with something. We couldn't move on because of the drummer. Tried one thing, the other doesn't work. We tried to play a slow one - it seemed to work out, but you can't build the whole program only from slow music ... I said that we needed a different drummer, more rhythmic, collected, but for them at that time friendship was stronger than music ”.

In the fall of 1982, Butusov - Umetsky - Goncharov, along with fellow guitarist Andrey Sadnov, decided to record their own compositions. Seven songs, recorded on tape by Andrei Makarov, later spread around the city under the name "Ali Baba and the Forty Thieves."

Butusov's singing then did not resemble the voice from which millions of fans would burst into tears five years later. In 1982, Slava screamed so much that the veins on his neck swelled. An unnamed group tried to break into the student club SAI, which at that time was hosted by the "Serpent Gorynych Band", which performed covers of "Led Zeppelin" very close to the original, but with a female voice. During the Butusov chant, the ZGB musicians rushed out in horror into the corridor, pinching their ears: “Oh, these young people! Lord, who is coming to replace us! " The future "Nautilus" were not allowed into the club, they had to rehearse in the hostel, where their first seven songs were recorded.

A compilation of naive hardeshniks and ballads would hardly have been able to interest at least someone, but the Arkhovites found the right way to the very heart of the Sverdlovsk rock party. Glory and Dima were able to charm Pantykin, who turned out to be a wonderful promoter and introduced everyone to everyone with their debut recording. Reviews were discreet. But two guys (one with a shrill voice, and the other with a mustache) slowly began to be considered their own.

Writer Andrei Matveev, three years after he got acquainted with this film, recalled: “Their first album was nothing more than a feeling that the time will come and these guys will be able to soak! I myself, at least, bet on them even then, and if I regret anything, I didn’t “buy up the shares” of the group at the root ... The high, sensual voice of Butusov, full of some kind of loss, instrumental post-hard porridge with elements of hard , surreal texts that can be called both luxurious and moronic, in general, all this seemed more than just interesting. Only a few heard it, although one hit from the album dragged all decent rockers along, I don't remember its name, I only remember the lines from it: "Where are you, bird, penguin bird, on which deserted shore?" This is a brilliant parody of Soviet love hits, and an amazing version of absurdist textual games in rock. " The creators themselves were not very happy with their first child. “We baked it ourselves and simply combined the best things with the second album,” Umetsky said.

F # Hm
In the last month of summer
A
I met you
Hm
In the last month of summer
A
You became mine.
Hm
In the last month of summer
A
River water
Hm A
She also kept the warmth of the July rains.

D Hm
G A

D Hm

G A

First love was blind
First love was like a beast;
I broke my fragile bones
When she foolishly pounded the open door.

And we entered this water once,
Which cannot be entered twice.
Since then I drank from a thousand rivers
But he could not quench this thirst.

In the last month we
We said goodbye to you.
In the last month we
They could not forgive.
In the last month of summer
Cruel children
They know how to fall in love
They don't know how to love.

And we entered this water once,
Which cannot be entered twice.
Since then I drank from a thousand rivers
But he could not quench this thirst.
F # Hm
In the last month of summer
A
I met you,
Hm
In the last month of summer
A
You became mine.
Hm
In the last month of summer
A
River water
Hm A
More kept warm July rain.

D Hm

G A

D Hm

G A

First love was blind,
First love was like a beast;
Break their fragile bones,
When lomilas foolish in the open door.

And we went in the water once,
In which you can not enter twice.
Since then, I drank out of a thousand rivers
But I could not quench this thirst.

In the last month we
Goodbye to you.
In the last month we
Not been able to forgive.
In the last month of summer
Violent children
They know how to fall in love,
Do not know how to love.

And we went in the water once,
In which you can not enter twice.
Since then, I drank out of a thousand rivers
But I could not quench this thirst.

Vsevolod Arashkevich, Sergei Borisov, Yuri Gavrilov, Viktor Zaitsev, Nikolai Zemlyakov, Dmitry Konstantinov, Alexander Korotich, Alexander "Ezh" Osipov, Bogdan Polyakov, Oleg Rakovich, Andrey Tokarev and Alexander Shishkin for the illustrations provided for this edition.

“They are one and the same group with different lineups.

The essence of the music remained the same. "

Viacheslav Butusov

1988 poster

Why Slava Butusov, a tenth grader from Surgut, entered the Sverdlovsk Architectural Institute in 1978, he himself told in the film Sickle and Guitar ten years later: “My peasant grandfather wanted his son to become an engineer, he thought it was a step up. My grandfather bequeathed that his grandson, that is, I, should step up, that is, become an architect. Therefore, after the last call, dad took me warm and took me to Sverdlovsk to the architectural institute, where I passed the exams. "

Vyacheslav Butusov as a student, 1970s

The educational institution, which was young at that time, had a vibrant musical history. Musical groups appeared in SAI even before its formal formation. For several years it existed as a branch of the Moscow Architectural Institute and only in 1972 became an independent university. The newborn SAI from the cradle began to claim the title of the most creative institute of the city. Arch was a place where ideas just flew in the air. Theatrical and film premieres were discussed, everything seemed important. “The Komsomol leaders were young, and the adult leadership of the institute consisted mainly of war participants. They were completely independent, and they didn't give a damn about the decisions of the CPSU. That is, formally, they obeyed them, hung out all sorts of slogans, but in their hearts they were independent, and from this came the independence of the entire Arkh, ”says Oleg Rakovich, a graduate of the institute.

Many newspaper publications describe the touching story of the emergence of the group "Nautilus Pompilius": in 1978, two freshmen, Butusov and Umetsky, met on a student potato, and decided to create the best rock group in the country. In fact, they met, but nothing more. We knew each other by name, gathered root crops in the neighboring furrows in the village of Mamino, like dozens of other architecture students. Dima Umetsky became close friends with a completely different guy - Igor Goncharov.

Dmitry Umetsky Photo by Dmitry Konstantinov

By the time he entered Arch, Igor Goncharov was already an experienced musician, he often played drums on the dance floors of his native Chelyabinsk. Sverdlovsk resident Umetsky also had a performing baggage: “I played drums in a school ensemble. The installation was "proprietary" - without a barrel, one snare drum with torn plastic, a cymbal in the form of an ax, so bent, if you hit it with a stick, the stick fell into two halves at once. " It was this couple who suddenly hit the tower - to play together.

Right on the farm, two drummers began to share virtual instruments. The drums were won back by the experienced Goncharov, and Dima got the bass: “Immediately after picking the potatoes, I began to cut out an electric guitar for myself. I bought spare parts from Tonika in Yuno Tekhnika, made a piece of wood and began to torment it. "

Slava Butusov studied in a neighboring group. He played the guitar himself well, but at first he preferred to study music individually. His classmate Aleksandr Korotich recalls seeing Slava for the first time: “In the dormitory, a very thin guy with long bangs was sitting on the floor and jingling something from Led Zeppélin on his guitar, clearly imagining himself as both Plant and Page at the same time”.

On a common musical basis, Butusov, Umetsky and Goncharov agreed only in the second year. A construction brigade, whose fighters were future rock stars, helped with the instruments - for 900 rubles he bought Esko drums and amplifiers. The youth wanted to rehearse in the student club, but the authoritative "Serpent Gorynych Band" was based there. Goncharov agreed on a rehearsal room in the new Arkha hostel on Vostochnaya, 11. “All winter they played something like 'crimson' in the hostel,” Umetsky recalled, “although, to be honest, there was no smell of“ crimson ”. All this came from another of our then accomplice, the guitarist Sergei Babushkin, a man of an obviously manic mind, who had gone crazy at the Beatles in his time. And it all ended with the fact that they came from the Komsomol committee and sent us all away: there is nothing, they say, guys, I’m getting on with you. ” The quartet moved to a kindergarten, where Babushkin worked as a watchman, and continued to rehearse there. Another classmate, Viktor "Pifa" Komarov, sometimes began to play along on the piano. For the time being, music-making was on a purely amateur level.

Viktor "Pifa" Komarov, 1979. Photo by Oleg Rakovich

Something changed in June 1981, when the City Rock Festival for the SAI Prize was held. The best groups in Sverdlovsk were preparing for it. One of them - the homeless "Urfin Deuce" Alexander Pantykin - was sheltered by the SAI club. The windows of the club, opened on the occasion of the coming summer, looked directly onto the "sachkodrom", the traditional place of Arkhov's smokers and truants, who listened with bated breath to the music of "UD". Among others, third-year student Slava Butusov enjoyed it: “We clearly heard what kind of 'Rubinstein' was going on there: terrible riffs and an absolutely fantastic voice. I had no idea what this great and terrible Pantykin looks like ... We just stood in awe and looked forward to ... "

Correspondent of the wall newspaper "Architect" V. Butusov. Photo by Oleg Rakovich

Butusov was a member of the editorial board of the wall newspaper "Architect", and this publication was one of the driving forces of the festival. What he saw on June 6 at the Avtomobilist Palace of Culture made a strong impression on Slava and Dima. Umetsky was especially struck by "Trek": "We realized that if people living in the neighboring streets can sing like that, then it means that we are capable of something similar. It was an event that turned our lives upside down. " Fame was also addicted to two interviews, which he took for the "Architect" with the festival heroes - Sasha Pantykin and Nastya Poleva. “Slava immediately drew a friendly cartoon,” Nastya recalls. - He said that he also has a group that they are going to perform. We became friends".

The feeling that they themselves can become no worse than all these "urfins" and "tracks" gave the students a new impetus. Attempts to collaborate with professional musicians began. We turned to guitarist Yevgeny Pisak: “Slava and Dima loved Led Zeppelin and wanted to put their energy into their music, presenting it in their own way. They offered me to be their lead guitarist. Slava lived across the yard from me, and we spent whole evenings with me, coming up with something. We couldn't move on because of the drummer. Tried one thing, the other doesn't work. We tried to play a slow one - it seemed to work out, but you can't build the whole program only from slow music ... I said that we needed a different drummer, more rhythmic, collected, but for them at that time friendship was stronger than music. "