ДДТ - Любовь 1996 - текст песни, слова, перевод, видео

1. Full moon - 5:11

2. Railwayman - 7:17

3. I'm with you - 5:16

4. Crows - 4:04

5. Far, far away - 4:56

6. Love - 4:48

7. Phonographer - 4:54

8. Onanist - 4:22

9. Fairytale - 5:36

10. Marina (2001 re-release bonus) - 2:59

Yuri Shevchuk - vocals, noises (1), beats on 12 pages. guitar (4), claps (8)

Vadim Kurylev - guitars, bass, backing vocals (2, 3, 6-8, 10), harmonica (10)

Igor Dotsenko - drums, percussion (6), electric. drum "Korg" (1), el. Korg sitar (2), toms (4), tambourine (4, 10), backing vocals (1, 6), choir (7, 9)

Andrey Vasiliev - guitar (1, 4, 10), choir (7)

Igor Tikhomirov - bass (2, 4, 9), noises (1), choir (7)

Dmitry Galitsky - keys, Hammond organ (3, 5), noises (1), choir (7, 9), backing vocals (3, 6)

Jesse Henderson – sound engineer, voice engineer (7)

Fran Flannery, Kelly Walford – engineers

Laurie B. Flannery – mastering (Northeastern digital recording, Inc.)

“In 1995, by the will of fate, I went to war for the first time. Chechnya, January, the beginning of this campaign... And maybe I was even reborn there. Because I saw this there... And I saw the consequence of this... a false understanding of freedom, and the consequence of everything old, outdated, and new nonsense. This is a consequence - rivers of blood.

We didn't do anything in '95, we just played some songs. In 1996, these songs were raked out, and the album “Love” was created. Why love"? Everyone will probably understand me: when you bathe in mud up to your ears, more than once, you really want to cling to something clean, bright... And, besides Love, there is probably nothing like that. This was our attempt to cling to purity, and I think it was a success. On the other hand, we went into some kind of formal search, into a search for a new sound, which later fully manifested itself in “World Number Zero”. We experimented, tried to play simply but richly. It was an appeal to some other music that already existed around us.”

— Yu. Shevchuk "DDT. Understanding of freedom", Fuzz #1 2002

In August 1995, Shevchuk - at the invitation of Aerosmith manager Tim Collins - visited the USA for the second time. The result of this was the unexpected decision for DDT to record a new album in the Long View Farm studio, near Boston, Massachusetts - where, according to rumors, the Smiths themselves began. Friends from Bashkiria helped with the money.

The recording of the new album took place in February-March 1996. Sound designer: Jesse Henderson. Half of the arrangements were redone on the spot. According to the musicians, due to the lack of time to think through arrangements, regular rotations in the lineup and creative differences, the album was recorded in a nervous environment, as a result of which it was not the best recording in the history of the group.

The video clip for the song “Love” was filmed in St. Petersburg in 1996, directed by Sergei Debizhev. The title track was performed at the concerts of the “From and To” tour, dedicated to the 15th anniversary of the group. The version heard on stage at the time was longer. Yuri Shevchuk explained the reduction of the text, which entailed the removal of entire verses, by the desire to adapt the track to the video format. The editing was done while the DDT musicians were in the USA.
Vadim Kurylev says: “This is where we got the search for love. After the long disputes that took place instead of rehearsals, we still went to America-if Yura decided something, it is impossible to convince him. The album was planned stylistically, as a guitar, and I was going to turn around in all the glory of guitar arrangements, but-it was not there! I wanted to record many interesting parties, but the author ordered a different way-we write a minimum of instruments, but with a good sound. Show a cool corporate sound! Sound sound, but the music should be, especially in the album with that name. I would better call it “nerves”. Or “Boarded wires”. Igor Tikhomirov reappears on this album, here he plays in several songs, and at the concerts of that period he is a permanent bassist. After the departure of Arthur Ovsepyan in the spring of 1995, I become solo-guitarist. We were exhausted by this Czech with guitarists - over three years they have changed at least five. And we decided that it was easier to find a suitable bassist, especially since Tisha by this time was often at our rehearsals, helping in the first experiments with a computer. We invited him to leave the computer and pick up the bass gitar again. However, since the new songs have not yet been completed, and we wrote them “on a living thread”, yet most of the bass tracks had to be recorded. Great guitar amplifiers, a cool sound engineer Jesse, the fresh air of Sevr American forests - all this is not enough when the songs are not ready.

One of the few ready -made numbers was the song “Mastroly”. However, Yura was not pleased with this, and later the song entered the album in the “indoor” version. When we still made draft sketches to the album in January 1996 on Tambov, Yura unexpectedly suggested whether to sing this song to Andrei Vasiliev? The instrumental phonogram was ready, and Andrei did not break, but immediately took and sang. It turned out, as if Malcolm Maclaren, lounged in the bathroom, listened to die, listens to some rock on the radio and sings under his breath, rubbing his washcloth and sometimes turning to a scream.