Together with "Russian Field..." This is probably my most beloved, responsible, hard-won, unthinkable and dear to me work. Having created this thing, I again "went beyond the flags", my own, in any case, flags. I am especially referring to the title opus. The song about the fool is mostly made up of fragmentary images, phrases and lines that I wrote down semi-unconsciously, wallowing in encephalitic fever, which treacherously and authentically visited me after another trip to the Urals. The connecting link was a somewhat revised Old Russian death spell.
"The dead man walks in a circle,Looks
for the dead deader than himself."
The poem "Night", being written on the night of May 9-10, is breathtakingly and gratefully dedicated to Alexander Vvedensky, a poet and colleague.
This is a very important and dear album for me. These are, perhaps, my cheerful last and desperate patrons. And a song about a fool, and about a teddy bear (a song for Yanka), and about a mouse and reeds, and about worms, and about a squad that did not notice the loss of a fighter, and about a jump-jump undertaken from red-hot steel into monstrous distances...
Pepper, salt and sugar.
Yegor Letov, September 1990, Official albumography of GrOb-rekordz
Comments on songs:
PRO DURACHKA (take 4), zap. 09.07.1990Written
a couple of hours before the start of the broadcast of the 1990 World Cup final, Germany - Argentina. Initially, a much larger number of vocal parts were conceived, but, unfortunately, this turned out to be impossible for technical reasons. At the same time, I came up with an electric version of this song, which for the same reasons was not realized, but later recorded and included in "Solntsevorot".
ON HOLINESS, MOUSE AND REEDS (double 1), zap. July 1990It so happened that at that time I led a purely nocturnal lifestyle - the song appeared in the morning somewhere in the forest under the strong influence of psychostimulants. I play all the instruments. (double 4), zap. 20.06.1990 The song was written at night at the dacha by the fire of drafts. (take 4), zap. end of May 1990. on "On Holiness..." NIGHT (take 5), zap. May 1990 (TAKE 1), zap. 12.06.1990 Originally written for the album "Chronicle of a Dive Bomber" by the band "Communism", but it turned out to be somehow too sloppy. Jeff, who happened to be passing through my house from the Barnaul festival, played a guitar solo, by the way, the only one on the entire album. For the rest - I.ONCE (take is the only one), zap. 13.07.1990PRO (take 2), zap. 05.05.1990The song was composed simply as a gift for Yanka. There are early, raw acoustic versions with very strange words. (take 1), zap. May 1990 (take 2), March 1991 Appeared as a spontaneous improvisation in one of the sessions of "One Hundred Years of Solitude". Then it was perceived as a curiosity. Originally it was called "Push Beer", because at the end of each square Kuzma shouted in a wild voice. Dedicated to Zheka Kolesov - he then lived in Germany and from time to time sent very pleasant and useful gifts. Of course, it was not included in the original version of "Jump-Jump" - it appeared as a bonus for one of the later releases on CD and was absurdly titled "About Holographic Nightingales" (I don't remember why). It is also included in the newly assembled and remixed album "Grace" of the "Communism" project. Kuzma – lead guitar, tambourine; Jeff – bass, tuning fork; I'm an acoustic guitar, drums. (take 2), zap. June 1990 A cheerful brief excursion into Castaneda's mythology. It was recorded during the Jump-Skokov sessions, as well as many other things that have never been published. take 2), zap. The song was written in 1988 for the mini-album of the project ENEMY OF THE PEOPLE "Do with Us, Do As We Do Better Than Us", after which it wandered for a long time through all sorts of semi-collections, undeservedly not getting into any album. I decided to fix it, but since I couldn't find the original, I simply played it again and sang it. It's a pity that there is no solo. But then in "Jump-Jump" there was such a concept - not a single solo at all. (take 2), zap. end of May 1990. commentary on "The Little Prince". west. 16.07.1990My main thing of that time. It was conceived as a multi-hour happening using tape rings and a continuous monotonous riff. Something like "The Human Factor in Action" from the album "Satanism". In the draft version, the text is simply endless — for more than an hour, probably. Subsequently, bis compressed to an acceptable option. To some extent, this is bringing to logical perfection what was previously traced in "Insects", "Conspiracy", "Meat Hut", "New Truth", etc.
