User:Danusyaspage/Banana Islands

"Banana Islands" is one of the cult Soviet rock albums. Produced by Yuri Chernavsky and Vladimir Matetsky, and recorded by the band "Funny guys", in late 1982 — early 1983. The official release date of the album is February 20, 1983. Included in the summary "100 magnetic albums of Soviet rock" Alexander Kushnir.

The album includes eight songs, including 1980s hits such as "Hello, banana boy!» I-robot.» After the release of the album, the first song became a kind of "calling card" of Yuri Chernavsky, and for many — a kind of musical symbol of the decade

history of invention
The album was conceived by Yuri Chernavsky and recorded with the help of Vladimir Matetsky, musicians of the group "Funny guys": Sergey Ryzhov, Yuri Kitaev, Alexander Buinov, Alexei Glyzin and other musicians at the rehearsal base of the group in Moscow for two months in December 1982 — February 1983. Date the end of the records — 20 February 1983.

The idea of the name "banana" belongs to Sergey Ryzhov and Yuri Chernavsky: "Chernavsky, having come in the morning to Ryzhov's hotel room, asked: "old Man, I again about bananas. I came up with such a teeny boy who lives in the handset and making Tu-Tu-Tu. What do you think his name is?"Ryzhov turned his nose in his sleep and, without opening his eyes, muttered: "Ban." Turned to the wall and fell asleep again…»

(From the memoirs of Yu. Chernavsky.) In the early 1980-ies of the multi-channel technique for recording in Russia was practically absent. As rightly noted by A. Troitskiy, the recording of the album "Banana Islands" was made on two antediluvian two-track tape STM (production of Hungary), but on a special technology and a clear plan: Record:

— more than a week I spent rehearsing for setting up microphones, acoustic and guitar special effects, recording console, etc.…

— then, for the entire period of recording the instrumental phonogram, I blocked the recording console — I did not touch any fader or handle on it.

— for about 10 days the band recorded the main material of the arrangements.

— then during the week the band improvised on the basis and in the style of the main arrangements.

— all this was written on the tape. Film not spared. Every sound from the Studio was recorded.

— then I carefully listened to the recorded music and edited it into a single stereo track.

In some sangah (such as Banana Islands) number of banknotes of the tape reached 50-70 adhesions to the song.

Overlay I:

— at the installation session, I tried to perfectly adjust the stereo track to the volume level of the real playing group. This stereo track I also tightly blocked on the remote.

— the equipment was rebuilt for new sessions. Pieces of the finished track were transmitted to the recording room through headphones as a rhythmic and emotional reference point for recording solo instruments, second voices and vocal background. Next on the same system — the performance of the material, improvisation — all in one recording mode.

— then I chose the best versions and carefully built it into the General context of the previous track.

Overlay II:

— The recording of the solo voice and the missing solo synthesizers and saxophone were written on the technology of the 1st overlay. And again careful installation of.

Final cut:

And after that I sat down for 2 weeks for a purely jewelry final installation.

In the first, the most recent track was montirovalos musical phrase so that neither party was exposed to more than one overwrite. And in instrumental episodes the original sounded. The quality was above all expectations (due to the lack of phase distortion inherent in multi-channel recording).

As a result, in the process of recording the album was produced more than a thousand (!) mechanical gluing tape. About 15 kilometers of magnetic tape "AGFA"were used for recording. This is the price for the technical underdevelopment of the state... (for Example, in Hollywood at that time there were hundreds of studios equipped with 24-48 channel tape recorders, and in the USSR only one Studio for "Melodies" and one in "Ostankino", but we with such music there was "not told to let go»:))

And our Goal was — like all professionals — to achieve the impression that the music is recorded easily, in one breath. Clean, no noise and audible tie-ins episodes. Without feeling of the current Sewerage in so-called "Studio", etc. "Firm" quality, the sun would be desirable…

Such a technically virtuoso project, in such anti-conditions, could be carried out only with stable and highly professional musicians, fans of their art. I was lucky to work with them.

Later I suggested to his friends, eminent engineers: — Well, determine where bonding? (It is clear that the installation should be). No one heard. So... three-four... Ha-h…

(From the memoirs of Yu. Chernavsky)

Response to album release
The music and lyrics recorded on the album were contrary to the trends of the time. As a result, the album was criticized by the press and governing bodies of the country. The album was banned — official release it was not possible until the collapse of the Soviet Union. But the musicians formed their professional opinion:"…...I was not in Moscow for some time, — Chernavsky recalls. — Upon returning home, I went to visit Makarevich and from the doorway said, 'Well, what now the country is breathing?'What Makarevich, without thinking twice, said: 'the Country listens to 'time Machine' and 'time Machine' listens to 'Banana Islands“…»""...released the album 'Banana Islands'. As soon as I heard this work, I literally fell into a trance. In this album I was amazed by everything. And the sounds, and the perfect arrangement, and ingenious reefs of guitars and synthesizers, and almost mechanical accuracy of the rhythm section... And what did the vocalist, seemingly completely unable to sing - it was not clear. Just no one understood what note he is currently taking. The freedom with which the vocals intertwined in the music, amazed and did not give themselves to understand…"Chernavsky is a man-trick. He came up with this word, just as, for example, he came up with "Tender may" — in relation to the Russian stage, he cultivated it. And, like the Robot from the album, though 127 — it documents, but looks Chernavsky in BO — all 220 volts! After she this clever and unexpected trick, sometimes, in fact, died without finding a decent harlequins and Pierrot in the background Rogozina, Allegrova and newly VitaSol. Why officials from the stage was so disgusted with "Banana island", which immediately brought them to the registry of banned performance albums and groups? Simply, they saw in them a path that could go the then VIA and other team — the way of the fun, genuine and witty fun and awesome, overflowing joie de vivre and informative…

...Damn it, I miss them. I miss them... I miss the tales of the era of NTR — that's what they called BO in the days of ona and were absolutely right. I was listening to this album today and suddenly realized — all the way while listening to my face bloomed completely unrelated to the rest of my life smile. Forty minutes of endless, prolonged, joyful and admiring smile — you will agree, this is already a lot.

And I still do not understand and am amazed: how did he, this boy banana, still managed to sit in the phone and do "Tu-Tu-Tu"?!! And I'm not ashamed of my ignorance, by God!

..."However, I always exaggerate»…

— Sergey Chelyabinsk (Muzick.Ru, 11 January 2007)

The fate of the album
Banana Islands

Album By Yuri Chernavsky

Release date February 20, 1983

Recorded December 1982 —

February 1983

Genre Rock, rock and roll, funk rock, art rock, new wave

Producer Yuri Chernavsky, Vladimir Matetsky

Professional reviews

Kushnir A. 100 magnitoalbom Soviet rock

Chronology Of Yuri Chernavsky

Speaker I|Speaker (band)#Record albums "Speaker I" and "Speaker II"|Speaker I

Speaker II|Speaker (band)#Record albums "Speaker I" and "Speaker II"|Speaker II

(1982)" "Banana Islands»

(1983) "Automatic set»

(1984)

"Banana Islands" is one of the cult Soviet rock albums. Produced by Yuri Chernavsky and Vladimir Matetsky, and recorded by the band "Funny guys", in late 1982 — early 1983. The official release date of the album is February 20, 1983. Included in the summary "100 magnetic albums of Soviet rock" Alexander Kushnir.

The album includes eight songs, including 1980s hits such as "Hello, banana boy!» I-robot.» After the release of the album, the first song became a kind of "calling card" of Yuri Chernavsky, and for many — a kind of musical symbol of the decade.

History of creation

The album was conceived by Yuri Chernavsky and recorded with the help of Vladimir Matetsky, musicians of the band "Funny guys": Sergey Ryzhov, Yuri Kitaev, Alexander Buinov, Alexei Glyzin and other musicians[1] at the rehearsal base of the group in Moscow for two months in December 1982 — February 1983. Date the end of the records — 20 February 1983.

The idea of the name "banana" belongs to Sergey Ryzhov and Yuri Chernavsky:

"Chernavsky, having come in the morning to Ryzhov's hotel room, asked: "old Man, I again about bananas. I came up with such a teeny boy who lives in the handset and making Tu-Tu-Tu. What do you think his name is?"Ryzhov turned his nose in his sleep and, without opening his eyes, muttered: "Bana-n-Nan." Turned to the wall and fell asleep again…»

(From the memoirs of Yu. Chernavsky.[2])

In the early 1980-ies of the multi-channel technique for recording in Russia was practically absent. As rightly noted by A. Troitskiy, the recording of the album "Banana Islands" was made on two antediluvian two-track tape STM (production of Hungary), but on a special technology and a clear plan:

Record:

— more than a week I spent rehearsing for setting up microphones, acoustic and guitar special effects, recording console, etc.…

↵— then, for the entire period of recording the instrumental phonogram, I blocked the recording console — did not touch any fader or handle on it.

↵— about 10 days the band recorded the main material of the arrangements.

↵— then during the week the band improvised on the basis and in the style of the main arrangements.

↵— all this was written on the tape. Film not spared. Every sound from the Studio was recorded.

↵— then I carefully listened to the recorded music and edited it into a single stereo track.

↵In some song (for example Banana island), the number of banknotes of the tape reached 50-70 adhesions to the song.

↵Overlay I:

↵— at the installation session I tried to perfectly adjust the stereo track to the volume level of the real playing band. This stereo track I also tightly blocked on the remote.

↵— equipment was rebuilt for new sessions. Pieces of the finished track were transmitted to the recording room through headphones as a rhythmic and emotional reference point for recording solo instruments, second voices and vocal background. Next on the same system — the performance of the material, improvisation — all in one recording mode.

↵— then I chose the best versions and carefully built it into the General context of the previous track.

↵Overlay II:

↵— The recording of the solo voice and the missing solo synthesizers and saxophone were written on the technology of the 1st overlay. And again careful installation of.

↵Final installation:↵

↵And after that I sat down for 2 weeks for a purely jewelry final installation.

↵First, the most recent track was montirovalos musical phrase so that neither party was exposed to more than one overwrite. And in instrumental episodes the original sounded. The quality was above all expectations (due to the lack of phase distortion inherent in multi-channel recording).

As a result, in the process of recording the album was produced more than a thousand (!) mechanical gluing tape. About 15 kilometers of magnetic tape "AGFA"were used for recording. This is the price for the technical underdevelopment of the state... (for Example, in Hollywood at that time there were hundreds of studios equipped with 24-48 channel tape recorders, and in the USSR only one Studio for "Melodies" and one in "Ostankino", but we with such music there was "not told to let go»:))

↵And our Goal was — like all professionals — to achieve the impression that music is recorded easily, in one breath. Clean, no noise and audible tie-ins episodes. Without feeling of the current Sewerage in so-called "Studio", etc. "Firm" quality, the sun would be desirable…

Such a technically virtuoso project, in such anti-conditions, could be carried out only with stable and highly professional musicians, fans of their art. I was lucky to work with them.

↵Later I suggested to his friends, eminent engineers: — Well, determine where bonding? (It is clear that the installation should be). No one heard. So... three-four... Ha-h…

(From the memoirs of Yu. Chernavsky[3])

Response to album release

The music and lyrics recorded on the album were contrary to the trends of the time. As a result, the album was criticized by the press and governing bodies of the country. The album was banned — official release it was not possible until the collapse of the Soviet Union. But the musicians formed their professional opinion:

...I was not in Moscow for some time, — Chernavsky recalls. — Upon returning home, I went to visit Makarevich and from the doorway said, "Well, what now the country is breathing?"What Makarevich, without thinking twice, said: "the Country listens to "time Machine" and "time Machine" listens to "Banana Islands"..."[4]

...released the album "Banana Islands". As soon as I heard this work, I literally fell into a trance. In this album I was amazed by everything. And the sounds, and the perfect arrangement, and ingenious reefs of guitars and synthesizers, and almost mechanical accuracy of the rhythm section... And what did the vocalist, seemingly completely unable to sing - it was not clear. Just no one understood what note he is currently taking. The freedom with which the vocals were woven into the music was astounding and did not make itself clear...[5]

Despite the official ban, the album was copied by samizdat and sold millions of copies throughout the country. Songs like "Hello, banana boy!"and "Robot" appeared on the pages of the charts of the Central Newspapers. Boy banana became the Central character of the famous film "AssA" (1987). The extraordinary musical structure of the album and the bewildering lyrics teeming with abstract images and irony had a strong influence on the thinking of rock musicians of the 1980s, leaving a mark in the development of Russian rock music, but the authors of "Banana Islands" had no direct followers.

Chernavsky is a man-trick. He came up with this word, just as, for example, he came up with "Tender may" — in relation to the Russian stage, he cultivated it. And, like the Robot from the album, though 127 — it documents, but looks Chernavsky in BO — all 220 volts! After she this clever and unexpected trick, sometimes, in fact, died without finding a decent harlequins and Pierrot in the background Rogozina, Allegrova and newly VitaSol.

Why officials from the stage was so disgusted with "Banana island", which immediately brought them to the registry of banned performance albums and groups? Simply, they saw in them a path that could go the then VIA and other team — the way of the fun, genuine and witty fun and awesome, overflowing joie de vivre and informative…

...Damn it, I miss them. I miss them... I miss the tales of the era of NTR — that's what they called BO in the days of ona and were absolutely right. I was listening to this album today and suddenly realized — all the way while listening to my face bloomed completely unrelated to the rest of my life smile. Forty minutes of endless, prolonged, joyful and admiring smile — you will agree, this is already a lot.

And I still do not understand and am amazed: how did he, this boy banana, still managed to sit in the phone and do "Tu-Tu-Tu"?!! And I'm not ashamed of my ignorance, by God!

↵ ↵..."However, I always exaggerate»…

— Sergey Chelyabinsk (Muzick.Ru, 11 January 2007)

The fate of the album

There were many different opinions about why "Banana Islands", with the unique popularity of this album, did not appear on TV and were not included in the approved repertoire of the group "Funny guys" (where at that time all the participants of the album recording worked). But here's how Anatoly Aleshin describes this situation in an interview — one of the famous artists who once worked a lot with Slobodkin and Matetsky:

↵V. Marochkin: Strange thing happened with the "Banana Islands" Yuri Chernavsky. After all, this was a new word, and if Slobodkin had taken this music into service, he would again have overtaken Granov and Malikov.

↵A. Aleshin: Of Course! But he perfectly understood that as soon as Chernavsky will leave collective, he won't be able to continue this line. Because, as a musician, he did not understand how it was done, and he could not attract someone else to do the same as Chernavsky. And for Lesha Puzyrev and Valera Durandin, who have long worked with Pasha as arrangers, this style was alien, they did not accept such music in principle. And so Pasha agreed with Volodya Matetsky and developed further the line proposed by Matetsky. Together they reviewed the situation and decided that the signature person submitting VIA "Jolly fellows", should be Glyzin. Thus, by the decision of Chernavsky's partners, the fate of new music in the USSR was decided. ".And who knows, that would happened, leave this album on disc. He did not have a little happiness..." — recalled this later in an interview with V. matetsky.

With the spread of cassette "albums", "BO" is widely sold throughout the USSR[source not specified 257. Now this album can be downloaded from numerous Internet sources.