"A Star Called Sun" Album Story

Contents:

• Beginning: "The Needle" and the Lost Demo
• Recording: Leontiev's Studio and Pop Sound
• Release and Further Fate
• How Was the Album Receivable?

Beginning: "The Needle" and the Lost Demo

In the fall of 1987, Viktor Tsoi took part in the filming of Rashid Nugmanov's film "The Needle." This film achieved enormous success and won the people's love. While working on the film, Tsoi lived with Nugmanov and played his guitar, which contributed to the creation of the first song on the future album, "A Star Named Sun." "The Needle" features many musical pieces written by Tsoi, but it was this composition that became the film's title theme and was first recorded at the Mosfilm studio, standing out among the other songs on the album.

The film mania that swept the country after the release of the album "Blood Type" in 1988 was significantly intensified by the film "Needle". The Kino group actively toured, appeared on television and even performed abroad. As a result, the recording of the new album was carried out in fragments throughout the year. The album became a symbol of the era and contributed to the popularization of both the band's music and the cinema of that time.

The album "A Star Called Sun" began to take shape in the first half of 1988, but the first recordings were lost. There is a popular legend associated with this story, which was told by journalist Artemy Troitsky, recognized as a foreign agent in Russia. The booklet for the 1993 CD edition of the album contains his version of events, according to which the initial recording was made on a four-channel Yamaha home studio in the apartment of Kino drummer Georgy Guryanov. This recording was allegedly made between February and May 1988, but Guryanov subsequently forgot it in a taxi, and, unfortunately, he did not have spare copies. This story adds an interesting twist to the album's biography and emphasizes its significance in the history of Russian music.

Guryanov denies the existence of a demo tape, claiming that it never existed. This information is provided by Vitaly Kalgin in his book "Viktor Tsoi: The Last Hero of a Modern Myth."

We recorded various versions and test mixes onto cassette. On my cassette, I recorded those compositions that I liked and that had the potential to become unique recordings. For example, I added more sequencers and other elements. However, during one of my trips from Moscow to St. Petersburg, this cassette was stolen. The most important thing was that it contained my music and compositional work, as well as several tracks by the band "Kino," mixed for personal listening. As a result, I left nothing original in the taxi.

Of the surviving "test tracks" from Guryanov's cassette, only "Song Without Words" and "Fairy Tale" have survived. Other rough versions also exist, including acoustic demos of the songs "Knock," "Sadness," and "April." There is also a preliminary version of "Unhappy Song," recorded simultaneously with "Star Named Sun" at the Mosfilm studio. Yuri Kasparyan emphasizes that he likes this version even more than the final version included on the album. These rare recordings document the band's creative process and provide a deeper understanding of their musical evolution.

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Russian Rock: History, Genres, Bands, Legends, and Events

Russian rock is a unique musical phenomenon that emerged in the USSR in the 1960s. This genre became an important part of the country's cultural life, reflecting social sentiment and the aspirations of youth. Initially, Russian rock borrowed elements from foreign rock music, but soon developed its own style, steeped in Russian language and cultural traditions. The main genres of Russian rock include art rock, punk, hard rock, and folk rock. Each genre brought its own characteristics and became popular among various segments of the population. Legendary bands such as Kino, Aquarium, DDT, and Mashina Vremeni became symbols of an entire generation, their lyrics touching on important social and philosophical themes.

Events associated with the development of Russian rock also played a significant role in its popularity. Outdoor concerts, rock festivals, and music competitions attracted young people and contributed to the spread of the genre. In the 1990s, Russian rock experienced rapid growth, as new artists and bands such as Spleen and Zemfira emerged on the scene, bringing fresh ideas and sounds.

Russian rock continues to evolve, maintaining its relevance and attracting new generations of listeners. Every year, new artists emerge who contribute to this rich musical heritage, continuing the traditions of their predecessors and creating unique works. Russian rock remains an integral part of musical culture, reflecting the spirit of the times and the continuity of generations.

Recording: Leontiev's studio and pop sound

In December 1988, the group "Kino" decided to actively work on their new album, striving to complete it before the New Year. By that time, the band members had already gained fame and decided to record not at home, but in a professional studio. The group's administrator, Yuri Belishkin, turned to friends and found a suitable studio owned by Valery Leontiev. This decision allowed the musicians to create high-quality sound and express their creative ideas on a new level.

Belishkin was impressed by the quality of the equipment, especially the 16-channel Fostex. The musicians were not concerned that the studio had previously only recorded pop music. On December 21, the members of the band Kino arrived in Moscow, stayed at the VDNKh Hotel, and began work on an album, which received the working title "Pack of Cigarettes." This album became a milestone in the band's history and had a significant influence on the development of rock music in Russia.

The musicians of the Kino group successfully adapted to the new recording conditions, quickly mastering the unfamiliar equipment and establishing contact with sound engineer Mikhail Kuvshinov. Kuvshinov noted that at first many technical difficulties arose, since the musicians were accustomed to a home studio and simple equipment. However, after just two or three days, the rockers and the studio team found a common language, and the work process was in full swing from morning until night. This productive atmosphere contributed to the creation of high-quality musical material, which later became an important part of the band's legacy.

By the completion of the recording, Yuri Kasparyan and Igor Tikhomirov achieved such a level of skill in working with studio equipment that they effectively took on the functions of sound engineers. Unlike other musicians, Viktor Tsoi found the vocal recording process surprisingly easy: his voice was captured in one take. While the rest of the band recorded their parts, the frontman immersed himself in Plato's Dialogues while enjoying champagne.

When the album was nearly finished, the musicians listened to the entire recording and were surprised: everyone loved it. However, it didn't sound like Kino. The music seemed like the work of a completely different band, although no one could put their finger on exactly what the problem was.

The rock band Kino decided to relisten to their old recordings to understand the difference between their early work and their new ones. During the analysis, the musicians came to the conclusion that Viktor Tsoi's voice, recorded with a modern professional microphone, did not convey the authenticity inherent in their previous albums. Tsoi remembered his old Japanese microphone, which the band had used on previous recordings. They decided to re-record all the vocal tracks in one day using this microphone. After overdubbing the new voices with instrumental accompaniment, they realized that they had regained their unique style. Although the recording quality had deteriorated, it added sincerity and depth to their music, allowing them to once again feel the spirit of "Kino".

Despite all the musicians' efforts to introduce elements of a "raw" sound into their recordings, the end result still retains a studio smoothness. Fans of the "samizdat" "Kino" They can't blame anyone for changing the sound, as Kuvshinov didn't act as a dictator, imposing his ideas on the band. There were no consultants or session musicians in the studio, and Leontiev himself was never present. However, it's worth noting that the studio's equipment was originally intended for recording pop songs, and the rock band consciously accepted this risk. Not all band members were satisfied with the result: Igor Tikhomirov, for example, criticized the arrangements of "Unhappy Song" and "Fairy Tale with an Unhappy Ending," calling them "a bit dumb."

The song "A Star Called Sun" was not initially planned to be included in the album. Throughout the recording process, the musicians confidently adhered to the concept of the album under the title "A Pack of Cigarettes". Mikhail Kuvshinov shared in his memoirs that until the very last moment the band did not expect that this composition would become one of the most famous in their career. It is interesting how unexpected decisions can change the course of musical history and leave a bright mark in the hearts of listeners.

On the last day, everyone gathered to listen to the album in its entirety. Vitya stood up and announced: "Do you know what the album will be called?" Everyone was a little surprised and asked: "Isn't it a "Pack of Cigarettes"?" To which he replied: "No, the album will be called "A Star Called Sun". The band members asked why. Vitya explained, "Because there's a song like that on the album, and we're recording it now." The song was recorded in just a few hours and mixed instantly. It happened just one day before New Year's, on December 30th. The title "A Star Called the Sun" became a symbol of creativity and uniqueness, reflecting the depth of the album's content. Despite all our efforts, we weren't able to finish the album before New Year's. We went to Leningrad to celebrate, but returned to Moscow on January 3rd. On January 10th, we finally finished recording.

Release and Future

The album "Blood Type" was released on January 1st, 1988, and Kino decided not to distract listeners from this release, so the new album "A Star Named Sun" was released only on August 29th. This strategy allowed us to maintain interest in the previous album and prepare the audience for the band's new sound. The album "A Star Named Sun" became an important event in musical history, continuing to develop Kino's unique style and strengthening their popularity in Russia and abroad.

The album is notable for the fact that three of its compositions - "Fairy Tale", "April" and "Mesto dlya shagaga vpered" - have never been performed by the band live. At the same time, the remaining tracks on the album became real hits at concerts, winning the hearts of fans. This contrast between undiscovered and popular songs makes the album especially interesting for listeners, offering a unique experience for both loyal fans and new listeners.

The first official edition of the album "A Star Named Sun" was released in 1993 by Moroz Records on vinyl records. This may seem surprising, but it was on this edition that the famous cover featuring a solar eclipse appeared. Later, this visual image - the sun covered by a black disk - became the official logo of the Kino group. That same year, the album was released on compact disc by Artemy Troitsky's label, General Records. This album became a landmark in the history of Russian music, and its influence is still felt today.

In 1994, Moroz Records released the album on cassette tapes. In 1995, the recording was reissued in Germany under the label Konzert Agentur Michael Friedmann. In 1996, the album was released again in Russia, again thanks to Moroz Records. This edition featured digital processing of the material, but no bonus tracks were added.

How was the album received?

Not all critics reacted positively to the song "Star Named Sun". Producer Andrei Tropillo, who worked with the Kino group in the early 1980s, expressed dissatisfaction, accusing Viktor Tsoi of his influence leading to the commercialization of the group's music by the end of the decade.

In 1985, Viktor Tsoi underwent a significant change; his demeanor changed, even his laugh became different. He began acting as if he were constantly being filmed. Tsoi dreamed of large audiences, performing in stadiums, and having his music loved by millions. These changes in his life and work became an important stage, foreshadowing his future success and popularity in the music industry.

Tsoi once said that he wanted to be loved not only for his work, but also for his personality. He strove for people to appreciate him not only as a performer, but also as a person. This approach emphasizes the importance of sincerity and individuality in art and life. Tsoi left a lasting mark on music culture, and his desire to be accepted for who he is resonates with many fans, emphasizing that true love and recognition extend beyond creativity. Over time, Vitya began creating songs for the band "Kino," which gradually became more popular. The song "We Are Waiting for Change" was written with a wider audience in mind, especially after the failure of the lyrical program at the rock club festival. An element of "indestructible" heroism appeared in Tsoi's work, which may have been a strategically justified move. However, the song "A Star Called the Sun" no longer evoked the same delight in me, despite the fact that the audience was absolutely delighted with it.

Retrospective reviews aren't always positive. In the early 2010s, Afisha magazine published an article about the song "Star Named Sun," whose main thesis was as follows: even by film industry standards, this album has a rather simple sound, comparable to the design of an unfinished vocational school student. Indeed, Viktor Tsoi's lyrical imagery in this work is characterized by simplicity and accessibility.

Night has enveloped the city in its mysterious shroud. The streets are quiet, and only the occasional lights in the windows indicate life. The moon illuminates the rooftops, creating a play of shadows and light. A sense of calm and tranquility hangs in the air. Night is a time for reflection and inspiration, when every corner of the city seems mysterious. This is the perfect moment to enjoy the silence and solitude, immersing yourself in the atmosphere of the city at night.

The moon shines brightly, illuminating the dark sky. Its soft light creates an atmosphere of calm and tranquility. The moon, a symbol of the night, inspires poets and artists to create works of art. It reminds us of the infinity of the universe and the mystery of the night world. Nighttime, shrouded in moonlight, becomes ideal for reflection and dreams. Every evening, when the moon rises in the sky, it invites us to immerse ourselves in a world of fantasy and thoughtfulness. The moon also plays an important role in natural cycles, influencing the tides, which emphasizes its significance for life on Earth.

Today, the moon shines brightly in the night sky, attracting the attention of astronomers and lovers of nocturnal nature. Moonlight creates a unique atmosphere, filling the night landscapes with mystery and beauty. Observing the moon can inspire reflection on the cosmos and its mysteries. Furthermore, the moon influences many natural processes, from the tides to the biorhythms of animals and humans. Soaking up the moonlit night sky can be a wonderful way to relax and enjoy the moment. Don't miss the opportunity to observe the moon tonight.

A drop of blood is red.

The music on this album is not virtuosic, making it accessible to a wide range of listeners. Many amateur guitarists begin their learning with songs like "A Star Called Sun" and "A Pack of Cigarettes." This is due to the simplicity of the chords, stable rhythm, and basic strumming, making them ideal for beginners. These compositions are not only popular, but also play an important role in shaping the musical tastes of new generations.

Despite the criticism, the album arouses interest among philologists, who devote extensive research to it. Literary scholars are carefully analyzing the album's mythopoetic elements, while linguists are exploring how the title "Star Named Sun" became the basis for the linguistic construct "Star Named X." These studies highlight the album's significance in cultural and linguistic contexts.

Scholars are actively studying the lyrical hero in Viktor Tsoi's poetry, seeking to understand how his lyrics reflect the spirit of the era and why the music of the Kino group became a symbol of perestroika. The main reason for this phenomenon, according to many researchers, lies in the rebellious nature of the hero. This protest is not a consequence of a specific social situation; rather, it is caused by a deep-seated inner need for rebellion in many people. These lyrics resonate with listeners, reflecting their desire for freedom and change in society.

Research shows that the protest of the hero personified by Viktor Tsoi is not directed at society, people, or state institutions. His goal is far more lofty: "He remembers neither ranks nor names and is capable of reaching the stars." This impetuous impulse allows Tsoi to narrate his narrative on a global and metaphysical level. His words—"The whole world is marching against me," "Red-red blood, in an hour it's just earth, in two it's covered with flowers and grass, in three it's alive again"—reflect a profound philosophy of life and death. Despite Viktor Tsoi's absence, his message lives on, and one could argue that this struggle is eternal, for "two thousand years of war, a war without any particular cause." The meaning of his work remains relevant and inspiring, a reminder that internal rebellion and the desire for higher goals will always be in human nature.