9 Best Songs by Vladimir Vysotsky

Contents:

• «Lukomorye is no more»
• «Ships»
• «The hum died down, I went out onto the stage…»
• «Dialogue in front of the TV»
• «Letter to a Friend, or a Sketch about Paris»
• «Everything is behind us - both the pre-trial detention center and the trial»
• «I have traveled almost half the world through evil battles»
• «Life flew by»
• «After the World Championship football. Conversation with my wife"

"Lukomorye is no more"

Vysotsky is not only a musician, but also an outstanding poet. His first poem appeared when he was in the eighth grade. During his life, he created about 600 songs and more than 100 poems. Joseph Brodsky, a recognized master of words, called Vysotsky the greatest poet of his time and noted that he would prefer his work without musical accompaniment, focusing on poetry. He especially liked the structure of Vysotsky's lyrics, including unique compound rhymes. Vysotsky's work occupies a significant place in Russian culture and continues to inspire new generations.

Brodsky isn't the only one who admires Vysotsky's work—he is supported by many professional philologists. Scholarly studies of Vysotsky's poetry are available online, analyzing themes, poetic devices, vocabulary, and other elements common to poets who didn't use guitars. Vladimir Semyonovich's poetic world encompasses a wide range of topics: from sports and war to love and childhood, as well as fairy-tale characters and folklore. Vysotsky created a unique poetic cluster that continues to inspire researchers and readers.

Vladimir Vysotsky called himself neither a bard nor a singer, but a poet. In her book "Vladimir, or the Interrupted Flight," his wife, Marina Vlady, notes that he considered Pushkin his idol. Vysotsky often reread his works, recited them by heart, and kept a portrait of the poet on his desk. He also brought flowers to the Pushkin monument, emphasizing his deep respect and admiration for the work of the great Russian poet. Vysotsky left a significant mark on Russian culture, and his poetic legacy continues to inspire many generations.

Vladimir Semyonovich Boyarshinov engaged in a dialogue with the work of Alexander Pushkin by composing the song "Lukomorye No More." This composition is an anti-fairy tale, reflecting a reimagined approach to Pushkin's famous motifs.

In this pastiche of the preamble to the poem "Ruslan and Lyudmila," Vysotsky uses satire to reimagine familiar childhood images. In the story of the adventures of Chernomor, the thirty-three heroes, and the cat, he conceals a critique of the decline of communist ideals, the philistinism of the party and literary elites, and also touches on the deportation of the Crimean Tatars. Vysotsky masterfully combines elements of folklore with current social issues, creating a profound and polysemantic text that remains relevant in the modern context.

"Ships"

Vysotsky became one of the most famous figures in the Soviet Union, although he was outside the official entertainment industry. Soviet critics noted signs of decadence and the promotion of antisocial sentiments in his songs. His compositions were rarely played on radio and television, and he did not receive the title of People's Artist. Nevertheless, the people's true love for him was evident in the growing number of tape recordings that were popular in every communal apartment. Vysotsky left an indelible mark on the musical culture of the USSR, despite the official rejection of his work.

Despite the lack of official information, Vladimir Vysotsky was known to everyone. His popularity peaked in 1980, when he died. More than one hundred thousand people came to the Taganka Theater to pay their respects to the beloved poet and actor, and the line of those wishing to express their condolences stretched for nine kilometers. Vysotsky will forever remain in the hearts of his fans, his work continues to inspire new generations.

During Vladimir Vysotsky's lifetime, his poems and songs were not published in a separate collection, although some of the texts appeared in print: one of them was published in a collection of Soviet poets, and another in the magazine Chemistry and Life. Vysotsky refused to make changes to his works as required by state censorship. This led to his work not receiving the recognition it deserved in print during his lifetime.

Vysotsky was not an opportunist. He did not support dissidents in the public arena, did not make negative statements about the USSR during his trips abroad, and did not leave the country, despite having the opportunity to do so. Nevertheless, the content of his songs often contradicted the official line of Soviet art. This created tension between his work and the ideological framework of the time. Vysotsky expressed feelings and experiences that reflected the reality of people's lives, which made his songs relevant and resonant with a wide audience, despite pressure from the authorities.

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Comedies of the Soviet period occupy a special place in the world of cinema. They not only entertained viewers, but also reflected the realities of life, sometimes with irony and satire. This ranking features the 20 best Soviet comedies, rightfully considered classics of the genre. These films captivate audiences with their witty dialogue, memorable characters, and subtle humor. Soviet comedies often explored important social themes, allowing viewers to not only laugh but also reflect on life. The films are complemented by vibrant performances that remain etched in the memories of film fans. Many of these films have become cult classics and remain popular, evoking nostalgic feelings in viewers of all generations. Each of the featured comedies has its own unique atmosphere and plot that can make even the most sophisticated viewer laugh. These films demonstrate the mastery of Soviet screenwriters and directors, who skillfully combined humor and real-life realities. They not only entertain but also educate, making them valuable for generations to come.

Today, as comedies become more diverse, Soviet films remain popular for their sincerity and unique style. They are worth revisiting to rediscover their sparkling humor and insightful observations about life.

Vladimir Vysotsky's lyrics were often used in various projects without attribution. For example, his songs, including "Ships Will Stand Still," became part of Alexander Stein's play "The Last Parade." When the play was officially published in 1969, the author's name was not indicated. This highlights the issue of copyright compliance and the importance of recognizing creators' contributions to cultural heritage. Vysotsky, as one of the most significant poets and singers, deserves due recognition for his works.

The song "Ships" first appeared on Vysotsky's album "Ballads and Songs" in 1978. After Vladimir Semyonovich's death in 1980, the composition acquired a special mystical meaning thanks to the lines "Not even half a year will pass - / And I will appear, / To leave again / For six months." Vysotsky, born on January 25, passed away on July 25, exactly six months later. Every six months, on his birthday, the memory of the musician and actor comes to life. His songs and films continue to be heard on television, radio and the Internet, and stories are made about him. Thus, cyclically, every six months, Vysotsky leaves and returns to us again, maintaining interest in his work.

"The roar died down, I stepped onto the stage…"

Vysotsky was an outstanding actor, primarily a theater actor. At the Taganka Theater, he performed the roles of Hamlet, Galileo, Svidrigailov, Lopukhin, and Khlopusha. In Soviet theatrical Moscow, it would be difficult to find a more suitable place for the freedom-loving Vysotsky: director Yuri Lyubimov staged experimental and unconventional performances, practically without sets or costumes. These productions were often censored, either edited or cancelled, and then Lyubimov created new ones. The theater acquired a reputation as a forbidden place, seemingly on the brink of state repression, and visiting it became a kind of sacrament for the brave and dissenting. Vysotsky and the Taganka Theater became symbols of creative freedom amid strict censorship, attracting audiences thirsting for true art.

One of Vladimir Vysotsky's most significant roles was Hamlet. For any actor, performing this role is the highlight of their career. Vysotsky and Shakespeare's character have much in common, particularly in their love of freedom and critical perception of reality. The performance began with Vysotsky's appearance onstage, where he performed Boris Pasternak's poem "Hamlet" to the accompaniment of a guitar, with the lines "The roar died down, I stepped onto the stage..." This powerful interpretation emphasized the inner struggle and deep emotions of both Vysotsky himself and his character, making the performance unforgettable for the audience.

Boris Pasternak, a prominent writer and translator of Shakespeare, was a victim of repression by the Soviet regime. He was persecuted for sending his novel Doctor Zhivago abroad and for winning the Nobel Prize. His poem about freedom and courage of self-expression resonated with both the fate of Hamlet, who was misunderstood and betrayed by those close to him, and with Pasternak's own personal story, who faced betrayal of his homeland instead of being a source of pride. This theme also resonates with the fate of Vladimir Vysotsky, who experienced similar trials. Pasternak and Vysotsky embody the desire for freedom of speech and creative expression in the face of severe restrictions, making their works relevant and significant even in today's context.

The play "Vysotsky," staged by Lyubimov after the death of its lead actor, was withdrawn. This decision sparked widespread public outcry and debate in theatrical circles. Despite high praise from critics, the play did not manage to gain popularity with audiences, which ultimately led to its withdrawal.

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"Dialogue on TV"

Ridiculing Soviet politicians in public was impossible, so Vysotsky's irony appealed to ordinary Soviet citizens. The objects of his satire, however, were not the "zombified" intelligentsia, but workers and peasants—those idealized by the authorities and exploited by propaganda. Vysotsky skillfully emphasized the contradictions between official ideology and real life, which allowed him to resonate with a wide audience.

In Vladimir Vysotsky's songs, the proletariat has lost its progressive consciousness but acquired a number of flaws, many of which were the result of Soviet rule. Alcoholism, irresponsibility, stupidity, and philistinism became characteristic traits. At the same time, the poet did not condemn those who lived better—for example, directors and bosses. He ridiculed envious people, like the Sharikovs, who envy these bosses, a phenomenon clearly evident in works such as "Song of the Envious" and "Anti-Semites." Vysotsky keenly observed social problems and human weaknesses, which makes his work relevant to this day.

Vysotsky's song "Dialogue in Front of the TV" is one of the most famous in his work. It features a conversation between ordinary people, a married couple, who, commenting on what is happening on the TV screen, react to various scenes and characters, such as clowns and parrots. During their conversation, petty quarrels and reproaches towards each other arise, which adds realism and depth to their dialogue. An integral part of the song was the famous expression "Where is the money, Zin?", which became a symbol of everyday worries and financial issues. This composition reflects not only the ordinariness of life, but also the relationships between people, making it relevant and memorable.

"Letter to a Friend, or a Sketch about Paris"

Vladimir Vysotsky first visited Europe as a child, when his father, Semyon Vladimirovich, was transferred to serve in the East German city of Eberswalde. As he grew older and became famous, Vysotsky showed a Western orientation and an interest in foreign culture. He became the third person in the USSR to buy a Mercedes, after Leonid Brezhnev and Sergei Mikhalkov. With the Taganka Theater, Vysotsky toured such countries as Bulgaria, Hungary, Yugoslavia, France, Germany, and Poland, which strengthened his international reputation and popularity.

Vladimir Vysotsky often visited Paris, where his wife, Marina Vlady, a French actress of Russian origin, lived. They met when Vlady came to Russia on tour. In 1973, having received permission from the party authorities for a return visit, Vysotsky and Vlady traveled by car across Europe from Moscow to Paris. This journey became an important event in their lives, strengthening their relationship and allowing Vysotsky to experience the cultural atmosphere of France.

Vysotsky visited Paris several times a year, sometimes traveling to the United States, Canada, and Mexico. He lived in Marina Vlady's spacious house, recorded records, appeared on television, and socialized with famous personalities such as Gérard Depardieu and Mikhail Baryshnikov. Vysotsky enjoyed life as a true representative of Parisian bohemia, immersing himself in an atmosphere of art and creativity.

Although on the outside he seemed fully integrated into this new world, on the inside he felt like an outsider. In the song "Letter to a Friend, or a Sketch about Paris," Vladimir Vysotsky sings: "I myself started an affair with a Frenchwoman, / Now my friends are Pierre and Jean." However, his words are filled with bitter self-irony: "You and I are needed in Paris - like skis in a Russian bathhouse!" This phrase emphasizes the absurdity of the situation and the feeling of discomfort a person experiences when surrounded by people who cannot truly understand him. Vysotsky masterfully conveys the emotional complexity of adapting to a new culture and finding one's place in it.

"It's all behind us—both the pretrial detention center and the trial."

Growing up and living in the Soviet Union was impossible without encountering prison poetry. People who returned from the camps after the 1953 amnesty became an integral part of everyday life. Vysotsky's songs, reflecting prison and courtyard themes, are inextricably linked to this cultural reality. They can be combined into a single block, emphasizing the influence of the prison experience on creativity and public consciousness. Prison lyrics became an important element of artistic expression, reflecting the difficult fates and experiences of people who encountered a repressive system.

Vladimir Vysotsky emphasized that his criminal songs should be called urban romances. It was in these works that he developed his poetic skills. However, in 1964–1965, Vysotsky decided to stop writing them.

Researchers of the criminal song note that Vladimir Vysotsky's work is distinguished by its humaneness compared to traditional blatnyak, and his works can be considered a stylization of this genre. At the same time, there is an opinion that Vysotsky created genuine courtyard songs that expressed sympathy for the criminal world. His musical legacy continues to generate controversy among experts, which underscores its uniqueness in the context of criminal culture.

Vysotsky rarely used fenya — thieves' words appear in his songs only a few times, mainly to create atmosphere. Nevertheless, there are rare exceptions, such as the song "Tattoo," which is difficult to understand without knowledge of specific vocabulary. This underscores the uniqueness of his work and the need for in-depth analysis of the lyrics for a full understanding.

Vysotsky masterfully integrated elements of criminal songs into his lyrics, which gives his work a special depth and expressiveness. In the work "Everything is behind us - both the pre-trial detention center and the trial," he touches on the theme of maternal pain, when a mother worries about the fate of her son, who is being sent to a penal colony. In this context, the images of the devilish figures of government officials - prosecutors and judges - are also vividly described, which intensifies the tragedy and hopelessness of the situation. Vysotsky creates a powerful emotional charge that resonates with many listeners, highlighting social issues and human suffering.

"I've walked almost half the world through cruel battles"

Vysotsky witnessed the events of the Great Patriotic War as a child. As the son of a serviceman, he remembered the atmosphere of the home front and the experiences of people during that difficult time. It is not surprising that the theme of war occupies an important place in his work. The lyrical heroes of his songs are often depicted as ordinary soldiers, reflecting the suffering and hopes of those who fought at the front. Through music, Vysotsky conveyed not only the tragedy of war, but also fortitude, which makes his works relevant to this day.

Vladimir Vysotsky's lyrics about the war are filled with pathos and reflect the spirit of official art. He masterfully described heroism and selflessness, national grief and the unity of the country. His works portray war as a sacred duty and a matter of honor, where soldiers, awaiting battle, "burrowed into the earth and snow." These songs brought tears to veterans and goosebumps to those who did not survive the events of war. Vysotsky managed to convey the depth of human emotions and memories, making his texts relevant and touching for different generations.

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In his songs, Vysotsky touched on difficult and often ignored aspects of war, unspoken and uninspiring. He addressed those who suffered in the shadows of events: the disabled beggars on trains, veterans who had sunk to the bottom, penal battalions, street children, and war prisoners. These compositions were not performed at public performances or audience meetings, which only emphasizes their profound social significance and tragic nature. Vysotsky boldly raised topics that many would prefer to keep out of sight.

The song "I've Almost Half the World Through Evil Battles..." isn't intended for large venues. In it, the lyrical hero returns from the front, having brought his country a long-awaited victory. However, his personal life was devastated: no one was waiting for him at home, and his wife had cast in her lot with another man. This composition deeply touches on the themes of loss and loneliness, emphasizing the tragic fate of a soldier who, despite his achievements, faces the bitterness of betrayal and loss.

The song "Don't Go to Kill" (also known as "They Stirred Up the Old Evil in the Lair") is a striking example of Vladimir Vysotsky's pacifist work. There is no lyrical hero in this work, and Vysotsky himself addresses a soldier with a warning that he can become a puppet in the hands of politicians and the military. He urges people not to sacrifice their lives for disputed territories or fleeting glory, emphasizing that a killed soldier is simply a dead man. Important ideas embedded in the song also concern the survivors: war will not increase the birth rate in one's home country, and violent interference in other people's affairs will not lead to happiness for the local residents. Vysotsky asks the question: "What do you need in a country where no one is waiting for you?", thereby emphasizing the senselessness of war and the need to seek peaceful solutions to conflicts.

"Life Flew"

When discussing the lyrics and life of Vladimir Vysotsky, it is impossible to ignore the topic of alcohol, which occupies a significant place in his work. The poet himself suffered from alcoholism, and his characters also often resorted to alcohol. Vysotsky's songs mention not only people, but also mythical creatures, as well as personifications of various holidays. For example, the wood goblin enjoys alcoholic drinks in a cafe, New Year's Eve drinks champagne, and the muse and the devil indulge in cognac. Fate, in turn, cannot do without a glass for a single day. Vysotsky's characters often convince themselves and others that alcohol can save or ease their suffering. This theme permeates his work, reflecting the realities of life and the inner experiences of both the poet himself and his characters.

Vysotsky depicted the daily lives of his alcoholic characters in detail, paying attention to details such as the price of vodka and the names of alcoholic cocktails, including their potentially dangerous ingredients. This creates an atmosphere similar to the poem "Moscow - Petushki," where alcohol becomes an integral part of the characters' lives.

In the song "Life Flew," the lyrical hero describes how he and his friends used various synthetic substances, even risking their lives. These moments deeply reflect the reality of a man who grew up in poverty and constantly changing hard jobs. His life is an endless struggle for survival, and alcohol becomes for him a means of escaping the harsh reality, an attempt to "cheat the foolish bullet."

"After the World Cup. Conversation with my wife"

From an early age, Vysotsky was actively involved in artistic gymnastics, which became the basis of his physical training. His interests spanned a wide range of sports, including alpine skiing, diving, boxing, and swimming. He even performed his own stunts in films, demonstrating his skills. His athletic training helped Vysotsky maintain excellent physical fitness even during difficult periods in his life, when alcohol and drugs had a devastating effect. One of his most famous and popular songs is dedicated to morning exercises. In a video for Soviet television, Vysotsky demonstrates various acrobatic feats, such as handwalking and headstands, highlighting his physical agility and talent.

Vladimir Vysotsky's passionate way of performing songs was ideal for works about sports, giving them a special pathos. He created about 30 songs dedicated to sports themes, each of which is distinguished by attention to detail, like a documentary report. Thanks to his work, we have the opportunity to better understand how the 1970 FIFA World Cup was held. Vysotsky masterfully conveyed the spirit of struggle and overcoming, which makes his songs relevant to this day.

Vysotsky emphasized that he did not support specific clubs, but gave preference to the national team. His song "After the World Cup. A Conversation with My Wife" was written following the 1970 World Cup in Mexico, which he closely followed despite being busy with his theater work. In his work, Vysotsky highlighted the tournament's highlights: the impressive play of Byshovets, who scored four goals, the scandal with the Englishman Moore, who was accused of theft, and Pele's dominance over his opponents. Listening to this song is like reading an old newspaper from those years, but with the addition of irony and humor.