Alexey Romanov songwriter. Alexey Romanov - the new king among composers

It is now the soloist of the Vintage group Alexei Romanof who likes to work in the studio, and once he made a lot of efforts to get closer to the stage. At the age of 13, he got into one of the many compositions of Tender May, after that, going through ups and downs, he changed many teams, until finally, together with Anna Pletneva, he created a group in which he gained stable popularity ... Alexey invited the OK magazine! on a visit, introduced me to his wife Ekaterina and daughters and talked about how life guidelines and values are changing

Photo: Irina Kaydalina

Alexey, and in your passport you also have the surname Romanof, or is it still a pseudonym?

This is the mother's surname. As for the letter “f” at the end, initially there were two of them, but in Soviet times one was removed so that people would not envy. ( laughing.) By the way, my wife and children also have a surname Romanof. Relentless. As a child, I had my father's last name, but it was not so artistic,

When you decided to change your last name, did dad get offended?

Dad took it absolutely calmly. But my mother was very happy.

In general, did your parents allow you a lot?

No, they were quite strict with me, and now I understand why. I was their first child, and the first is always more demanding. I have the same thing now: my wife and I are much stricter with our eldest daughter than with our younger one. Probably, if we have a third child, then he will generally ride like cheese in butter, and, apart from cartoons and sweets, there will be nothing in his life. ( smiling.)

And how many brothers and sisters do you have?

There were four of us in the family: I have two sisters and a brother. Moreover, with my younger sister, we have a difference in age of only ten years, that is, my mother was almost always on maternity leave. And I, in fact, served as a senior assistant. My mother and I have always had a wonderful relationship, there has never been a parent-child graduation. First of all, we were friends. Mom gave me the maximum amount of freedom - both in childhood and in my youth ... I didn’t even finish secondary school. ( laughing.)

How did it happen?

It was 1991. We had a fantastic turnover at school. Teachers changed every month, and those children who did not have the opportunity to study with tutors rolled into deuces. And to be honest, I didn’t really like going to school at all. From the age of two, I dreamed of making music, this was very clearly manifested in me in reciting poems and singing Alla Pugacheva's songs, standing on a stool. When I saw some dusty stage in the park, I immediately ran there.

Did you have musicians in your family?

No, although dad is quite a musical person himself, he never developed in this direction. And with my mother, in childhood, we often sang in two voices. This is probably where my passion for music came from. I dreamed that I had a piano, but we did not have the opportunity to purchase it. Now many give away this piano for free - just take it yourself. And then there was a big deficit. To purchase an instrument, they signed up in advance or turned to resellers. And I literally dreamed of music ... Imagine, I drew keys for myself on pieces of paper and tried to play something. ( smiling.) As a result, my grandmother somehow collected these three hundred rubles and gave me a piano for my birthday. I remember, I was nine years old, and I went to enter a music school.

Successfully?

Naturally, no one wanted to take me. I was overgrown, six-year-olds were admitted there, and I was already nine! A month before entering, I managed to work out, picked up a lot of melodies and came to act with Mozart's Turkish Rondo. Everyone was shocked that the boy himself heard and played such a melody. True, they still didn’t want to take me: the system is the system, and there should be no exceptions. But there was a teacher, Larisa Borisovna Goncharenko, she decided to take a chance and took me. I liked absolutely everything in the music school. I didn't have much to learn there. I am a listener and I always passed all solfeggio dictations first.

So your parents didn't even have to force you to play music?

How did you not have to? ( Smiling.) Exactly six months before graduation, they found out that I had not been going to a music school for a year. I spent all my free time in the House of Children's Creativity, studied pop music, participated in ensembles, moved from one group to another ... In general, I did everything, just not to study. And by the age of thirteen, I had risen to the point that I was called on tour with the Tender May group.

What class were you in then?

In the seventh or eighth. I took responsibility and, on behalf of my mother, wrote a statement addressed to the director: “I ask you to let my son go on tour with the Laskovy May group for a month.” Signed, took it and left.

I take it your parents didn't know about this?

I called my mother already from Kerch.

And what did she tell you?

I was glad that I was found, alive and well. She knew how much I dreamed about this for a long time, and said that I was doing well.

The child is thirteen years old, he left school, went to another city ...

Yes. Now it sounds strange, but in the 90s it was normal for a large family. Of course, if now my daughter does not call me two hours after the end of the lessons, I will raise all my acquaintances to find her. But then it was a different time. From the age of five, I myself traveled by subway and by bus. I was very independent and celebrated my thirteen years on the train when I went on my first tour.

What were these tours like?

It was probably the 35th composition of "Tender May". To be precise, the group was called "White Roses". This is one of the variations on the theme of this whole huge Razin orphan company. Naturally, all the children did not sing with their own voices. But I have always sung live. I liked it all very much. This was the first and last global tour with this band. In my opinion, his director was imprisoned after those tours.

Were you well paid for speaking?

These were box office concerts. If you collected money, then you ate, but if you didn’t collect it, you remained hungry. I remember once I had no money at all, and one of the directors of the Philharmonic in Feodosia approached me, gave me three rubles and said: “Go eat, son.”

After a month of touring, did you return home?

Yes. And even tried to go to school, but somehow did not work out. Parents were worried, my mother went to school, quarreled with the director. But I couldn't study. He worked in different bands, recorded his songs in the studio, tried to somehow perform himself.

Do you regret now that you could not force yourself to complete your studies then?

No. I didn't regret it then and I don't regret it now. But they call me to teach.

You do not want?

What have you been doing all this time?

For four years, I was actually “closed”. Somehow I did something. But there was no recognition, no songs. I now understand that some projects need to mature or wait in order to be able to shoot in time. And then I was fifteen or sixteen years old, I beat with a hoof, rushed forward, accused the producers of not doing anything ... Now it’s nice for me to just record songs in the studio. And then I wanted everything to be the other way around, I wanted to perform on stage. I didn't know what stadiums were yet... All this came with the Amega group.

Alexey, you were waiting for this success so much, did it turn your head?

Certainly! ( smiling.) Those who say that they are not blown away by success are lying. This is a colossal work, which is associated with huge energy costs. We were paid a hundred dollars for the concert. Of course, there were many concerts and a decent amount was collected, but ... Internal problems appeared, and they were solved with the help of alcohol ...

How did you deal with all this?

My wife saved me. Katya and I met just at the moment when the history of the Amega group had just ended and nothing had begun. I just hung around and did not know where to put myself. Then I came to Yuri Aizenshpis, and he says to me: “Lyosh, what are you? If you had come to me a week ago, I would have taken you. And so I just took a new boy, Dima Bilan. Of course, he refused me so politely.

Was it a time of rethinking?

I somehow thought that the drops in my life are fatal. I just spoke to the president of some republic, flew on his private plane, and then landed in Moscow and, with a fee of fifty dollars, I went by minibus.

Alexey, how did you meet Katya?

At a party after New Years. Everything was banal - without meetings and views on the bridge. We just talked more and more often, and then we could no longer be without each other. Yes, and my mother also greatly influenced our relationship. She immediately liked Katya. And for the first time in my life I felt harmony, the hearth of the family in an embryonic state. Katya and I just felt that we were together, that's all. Our wedding cost, in my opinion, five hundred dollars - at that time a decent amount for me. It included payment for a restaurant and a limousine. Although even this money I then had to save for several months.

But your songs were performed by famous artists.

I have already written for "Nepara" a real hit "Cry and Look", several songs for Yulia Savicheva, Katya Lel and Alsou. By the way, once for three songs they paid me with an old car. I was in seventh heaven! I couldn't believe that I now have my own car. She was only eight or nine years old. I was happy.

Did you get into an accident on it, in which you met Anya Pletneva?

It happened on March 8, 2006. My wife and I arrived at the concert of the group "Guests from the Future", I parked, reversed and drove into someone's car. Anya was passing by at that moment and just saw me standing and worrying. And I really almost cried over my broken bumper when Anya jumped out of a passing car, practically grabbed me by the scruff of the neck and said: “Listen, I want to work with you.” I later found out that this is how it dawns on her. Her intuition is fantastic. And I stand and think about myself. What job? What are you talking about? I have a bumper, I have the first accident in my life. ( smiling.) As a result, the car was repaired, and the Vintage group still exists. When you talk about it now, it's hard to believe that 9 years have passed. For half a year we closed in the studio, looking for a new sound, a “new” Anna Pletneva, not the same as she was in the Lyceum group. And it took another six months for our first single "Mama Mia" to appear on the air on the radio. There were moments when I heard the words “downed pilots” behind my back and my hands dropped. The same thing happened with Anya. But together we were able to break through this wall. We were very lucky to meet each other at that stage. Anya is a person whom today I can call my friend and true partner. And we survived because we were together.

Photo: Irina Kaydalina

Alexei, does your wife have anything to do with music?

No, God forbid!

Should there be only one artist in a family?

I find it funny when a husband and wife sit together on make-up before a photo shoot or shooting. “Oh, dear, look, my mascara didn’t run here?” ( laughing.) I don't think this is normal. I’ll tell you honestly: I myself don’t really want to sit on makeup, but I have to do it, this is my job. But a singing wife is a nightmare!

What is Katya doing?

She is a bank employee, she has a modest position. I keep trying to get her out of this job. I was even ready to open a beauty salon or a kindergarten for her. Still, a woman must go to work. She needs to dress up, to communicate with someone. But Katya does not want to quit. This bothers us very much, because our vacations do not coincide, besides, children have vacations at different times.

How old are your daughters?

Mia is eleven and Ariana is three and a half.

Are you pampering them?

I turn on a strict dad at certain moments when I no longer have the strength to endure.

Is it possible to be strict with girls?

Yes, when their behavior goes beyond. The only one Mia listens to is me. She is very self-willed, although an excellent student, thank God. But sometimes I feel that the most difficult age is approaching, as it was once with me.

Alexey, aren’t you afraid that your daughter, like you once, decides to leave school?

She has good genetics - Mia to her mother. Katya's education is excellent. So I can be absolutely calm.

In 1969, together with vocalist and pianist Viktor Kistanov, he organized the duet "Wandering Clouds". "They", as Andrey Makarevich writes, "gently and musically sang the Beatles' songs - it turned out, as they say, one to one - something that" The Machine "could never achieve ...". A year later, a group appeared with the original name "Guys who start playing when the striped hippopotamus crosses the Zambezi River", which, in addition to Romanov and Kistanov, included guitarist Sergei Tsvilikov, bass player Alexander Shadrin and who had previously played in the first line-up of "Time Machine" drummer Yuri Borzov. A year later, the group broke up.

Together with Makarevich, he was expelled from the Institute of Architecture (later both were restored). Makarevich recalls: “...the order came to clear the ranks of Soviet students from hairy evil spirits. I, Leshka Romanov, fell into this category... The installation, of course, was closed, and some idiotic pretext served as the reason for the exclusion... We studied well, had no tails, and the whole story looked crazy. I remember how our fellow students, in a spontaneous herd, rushed to the rector for the truth, and how they came out one by one, hiding their eyes and spreading their arms. I just physically felt how an invisible wall passed between us and them, and after all, Leshka and I were not at all the last guys in the institute party.

From 1974 to the summer of 1975, Romanov was the soloist of The Time Machine, performing with Andrei Makarevich, Alexander Kutikov and Sergei Kavagoe. Makarevich writes: “... Leshka did not feel at ease, although neither he nor we could understand why, in fact. We tried to make some of his songs, and he sang mine somehow wrong - at least it seemed to me so. ... in the end, he disappeared for two days, I went to him, wandered for a long time in the darkness of Teply Stan, found him at home, some kind of vague conversation took place, from which it turned out that he could not feel his place in our team - and we parted as friends. Among the songs that almost got into the repertoire of "Time Machine" was "I have different songs ..." - a thing with which the first magnetic album "Resurrection" later began.

In 1975, Romanov became the soloist of the Danger Zone group, which, in addition to him, included Alexei Makarevich - lead guitar; Oleg Drukarov - electric organ; Sergey Andreev - bass guitar; Igor Kotlov - drums. In 1976, the group became known as "Kuznetsky Most". The repertoire of "Kuznetsky Most" included the future famous hits of "Resurrection" "Who is to blame?" and "Snow Woman".

In 1979, Sergey Kavagoe and Evgeny Margulis, having left the Time Machine, offered cooperation to Alexei Romanov. Having the ability of an organizer, Kawagoe undertook to find equipment if there was a repertoire. This is how the Resurrection group was born. In the fall of 1980, the first composition of Resurrection broke up; Margulis became the bass player of Araks. Since "Araks" not only performed some of Romanov's songs, but also the musicians of the group wrote songs to his poems, he was listed as an author in "Araks" for some time, and his work book was in the Moscow Regional Philharmonic.

Soon "Resurrection" is revived as part of Romanov - Nikolsky - Sapunov - Shevyakov. In 1982, the former manager (formally, artistic director) of Time Machine, Hovhannes Melik-Pashayev, offered Romanov to work on the professional stage.

Romanov recalls this: “... Melik-Pashayev's proposal turned out to be very useful. There was little that kept me in the line-up with Nikolsky ... I spent much more time in the company of Vadim Golutvin, who then left Araks, the Melik-Pashayev group gathered around our alliance. Subsequently, this group became known as SV.

In 1983, the General Secretary of the Central Committee of the CPSU and the former head of the KGB, Yuri Andropov, ordered a re-examination of all closed cases, among which was the case of the “leftist concert” of Resurrection. The charge was brought against Romanov and the group's sound engineer Alexander Arutyunov.

In August, Romanov and Arutyunov were arrested. They were charged with private business activities in the form of selling tickets for one of the concerts. Aleksey Romanov spent nine months in Butyrskaya prison (the musician's television, player, tape recorder "Comet", two armchairs, his guitar - a red Fender - and all the money from the passbook were confiscated).

In May 1984, the case was submitted to the court for consideration. The meeting was held in the city of Zheleznodorozhny. The court passed a sentence: Romanov - three and a half years of probation and confiscation of property, Arutyunov - three years in prison.

Melik-Pashaev and some of the musicians left; Golutvin and others continued to wait for Romanov, preparing the concert program "The Seasons", based on the poems of Yuri Levitansky and other famous poets. When recording the album, Romanov, who returned from prison (who sang and played the bass guitar), was able to offer only one of his new songs - “My joy is running”.

In 1985, he became a member of the project "In the same rhythm" organized by Melik-Pashayev. Vladimir Kuzmin also participated in the project; when Kuzmin leaves, bass player Yevgeny Kazantsev, who played with him, begins to accompany Romanov. In 1987, Romanov again reunited with Golutvin in the SV group, bringing Kazantsev there as well; on this occasion, the album "Return" is released.

In 1990, after recording the only vinyl record of SV "Soldier of the Universe", Romanov, Kazantsev, drummer Yuri Kitaev decide to perform new songs in three and leave the group.

In 1991, Andrei Sapunov replaced Kazantsev, and a year later, Kitaev was replaced by the son of the famous singer Andrei Kobzon. The trio gives concerts, takes part in the TV program “Living Water” organized by Alexander Barykin, which promoted the performance of music not to the phonogram; Romanov sings there his song close to punk rock "My last love (nicknamed Death)". However, the trio managed to release the Seven Things album on a CD only in 1995, a year after the Resurrection group began to exist again. Also taking part in the recording (as a saxophonist) Vladimir Presnyakov Sr. and the last keyboardist of the SV Andrey Miansarov.

Romanov wrote the song "Bright Room" not on his own poems, but on a poem by the Silver Age poet Mikhail Kuzmin. Six of Romanov's songs were sung by the author himself, and only one (“I have nothing to console you with”) was sung by Sapunov.

Aleksey Romanov remains the leader of Resurrection to this day.

Personal life

Alla Romanova - ex-wife, later wife of Andrei Makarevich

Larisa Romanova - current wife, member of the Los De Moscu group

Filmography

Acting work:

2010 - Legend of Dvid Island - Director: Anario Mammadov [specify]

basic information
Alexey Romanof (Perepelkin)

Full name	Alexey Romanof-Perepelkin
Date of Birth
Years of activity	1998 - present time
A country	Russia
Professions
Genres
Labels
vintagemusic.com

Alexey Romanof (Perepelkin)(born April 14, Moscow) - Russian singer and composer, soloist of the Russian pop group Vintage. Former soloist of the Russian group "Amega" (1998-2005). Alexey is the author of almost all the songs of the Vintage group.

Amega Group

The team was formed by producer and composer Andrei Grozny. Alexei Romanov (Perepelkin) was supposed to be the leader of the group. But in 2001, with a scandal, he left the project for solo work. But in 2005, Alexey Romanov returned to the group for a short time, but a week before filming the video for the song “Running Away”, he unexpectedly announced his departure. The group released hits that became loved by the whole country due to the fact that their work was distinguished by deep meaningful texts by the poetess Tatyana Ivanova and original arrangements by Andrei the Terrible and sound producer Sergei Kharuta. At the end of October 2001, MTV reported that Alexei Romanov had left the group. He returned to the Russian stage in September 2002. Before that, he spent about a year in Spain, where he lived with friends and prepared his own project. In 2003, Alexei released his own EP "Nunca Olvidare: I'll Never Forget".

Group "Vintage"

In 2006, together with the ex-soloist of the Lyceum group, Anna Pletneva, he created the Vintage group. The history of the emergence of the group from the lips of the soloists sounds something like this: Anna was in a hurry for an important meeting, but her plans were not destined to come true. She collided with the car of Alexei Romanov. While the artists were waiting for the traffic police, they made a mutual decision to create a pop group.

According to Alexei Romanov, after meeting with Pletneva, the group worked in the studio for six months, trying to find their own sound: “We really locked ourselves in the studio. We sat for six months in search of sound. We didn't understand. We were like blind kittens back then. Now, of course, it's cool to remember this. We were then creating our own new story, which had nothing to do with previous projects. Initially, it was decided to call the team "Chelsea", but then the name "Vintage" was chosen. Alexei said that the group at that time submitted a request to the London law office that owns the Chelsea brand, but after a while they saw on TV how Sergey Arkhipov presented a diploma with the same name to a group from the Star Factory.

Discography in the group "Amega and Solo Album"

Albums

"Up. Part 1 "- 1999
"Up. Part 2 "- 2000

Solo album

EP "Nunca Olvidare: Never Forget" - 2003

Discography in the Vintage group

Albums

"Criminal Love" - 2007
«SEX» - 2009
"Anechka" - 2011
"Very Dance" - 2013

The real name of Alexei is Perepelkin, and "Romanof" is his pseudonym. But according to rumors, Alexei even according to his passport is "Romanof".

You can't read or write in the bullpen. There you can only count the bugs and watch how the sunbeams move. And alone, I embarked on my favorite oriental affairs - I meditated, rose above the floor, recalled my life in detail ... I had romantic hopes that I would compose something there, but nothing happened. By the way, in prison I had to undergo an examination for insanity - fate provided the opportunity to hang out. But on reflection, I realized that a camp is better than a madhouse. They leave the camp sooner or later, but never leave the madhouse. It resides within a person.

In 1985, he became a member of the project "In the same rhythm" organized by Melik-Pashayev. Vladimir Kuzmin also participated in the project; when Kuzmin leaves, bass player Yevgeny Kazantsev, who played with him, begins to accompany Romanov. Alexei played in 1987 at a dance in Sokolniki, while working at the Perovsky Leisure: “It was necessary to find a job, otherwise you could get a criminal article for parasitism. A marvelous opportunity arose to spend the winter and spring rehearsing with friends in the Von Meck mansion, a few new gizmos came up, we still gave a couple of concerts, and then the state-owned Vermont burned down and we were fired. "Apples in the Snow" categorically refused to perform ... ".

Alexey Vorobyov - Alisa Music: Romanov Alexey Dmitrievich Lyrics: Rakova Ekaterina Sergeevna, Kovalev Alexander Valerievich Director: Dmitry Zakharov.

In 1987, Romanov again reunited with Golutvin in the SV group, bringing Kazantsev there as well; on this occasion, the album "Return" is released. In 1990, after recording the only vinyl record of SV "Soldier of the Universe", Romanov, Kazantsev, drummer Yuri Kitaev decide to perform new songs in three and leave the group.

Miansarov.

Aleksey Romanov remains the leader of Resurrection to this day.

Personal life

Alla Romanova - ex-wife, later wife of Andrei Makarevich

Larisa Romanova - current wife, member of the Los De Moscu group

Discography

Resurrection group

;Studio albums

1979-1980 - Resurrection 1 ( in 1993, a remastered re-release was released on a double disc containing songs from the album "79" and recordings of 80, aka "Who is to blame? / Resurrection 79-80". In 2002, a remastered version of the album "79" was released.)
1981 - Sunday 2 (remastered reissue released in 1992)
2001 - All over again (new songs + new recordings of songs from different years)
2003 - Slowly

;Live albums

1994 - Concert. DK Mehteh (1982)
1995 - We love you - double, recording of a concert in the hall "Russia" June 16, 1994
1995 - More alive than all living - recording of a concert in the hall "Promotion club" 28.03.95
1998 - Live Collection - TV concert recording
2000 - 50 for two - joint concert with the group Mashina Vremya (20 years of the Resurrection group and 30 years of the Vremya Machine) in the Olimpiysky sports complex
2003 - Slowly Live - concert-premiere of the album "Slowly" in the USZ "Friendship" on March 5, 2003
2005 - Look how I live - concert, published by Soyuz Studio
2005 - I'm used to wandering alone - concert in Novokuznetsk, published by Soyuz Studio

;Compilations

1996 - Legends of Russian rock, "Resurrection", issue 1
2002 - Legends of Russian rock, "Resurrection", issue 2

Trio: Romanov - Sapunov - Kobzon

;Studio albums

1995 - 7 things

Solo creativity

;Studio albums

1994 - Sunlit road

;Live albums

1994 - Acoustic concert (Alexey Romanov and Konstantin Nikolsky)

Group "SV"

;Studio albums

1983 - rejoice
1984 - Moscow time
1987 - Return
1988 - Do your thing
1990 - soldier of the universe

;Live albums

1990 - Concert dedicated to the 10th anniversary of the group Resurrection
1991 - "Time Machine" - XX!

Name Alexey Romanov familiar to any person, more or less versed in Russian rock music. Group Resurrection was and remains one of the recognized values of the genre; in addition, Romanov played a leading role in a group no less popular in the Soviet Union SW. Despite the fact that the last studio work of the Resurrection was released already in 2003, Romanov does not stop actively touring. And now a book of his poems is being published - both songs that have become popular, and unknown ones, but no less self-sufficient. On the eve of the presentation of the publication Sounds contacted Alexey and found out about the forthcoming edition, the current state of the Resurrection and the musician's favorite guitars.

Sounds: Many artists are now turning to crowdfunding on a regular basis, and this is your first time using it, as far as I know. What are your impressions?
Alexei A: To be honest, I didn't do much of it. It does Andrey Kharchenko, my friend and, concurrently, an experienced producer who is trying to help me. Quite quickly he managed the whole process of preparing the book. I didn't even expect it to work at all. But somehow everything worked out, and on December 19 there will be a presentation. In principle, it is more important for me to play a concert, but Andrey considers it a book presentation. According to an old production habit, he decided to play smart

Sounds: His initiative?
Alexei: Yes, he invented everything, found a proofreader, sorted it all out while in London, attracted someone from Amsterdam ... It seems, in general, that everything happened by itself.
Sounds: Did you take part in the preparation?
Alexei: I gave a selection of poems. And we also selected photos, looked at the layout of the pages, I made small remarks - I could mix up the word, write something wrong.
Sounds: What time period did the poems get into the book?
Alexei: From the Creation of the World to the Present Day.
Sounds: Are there any written a long time ago?
Alexei: Relatively recent ... I'm not very serious about this, something will turn out - I'll write it down. If you like it - remember that it is.

Sounds: Recently, in a series of books about Russian rock, an edition about you was published, written by Andrey Burlaka. Have you read this book?
Alexei: Burlaka and I have known each other for a long time - to be honest, I'm surprised that he did not contact me directly. I could have given the manuscript to read. I didn’t see it in my eyes, but those who read it told me that nonsense was written there.

Sounds: What is the state of your projects and the projects of the "Resurrection" musicians now? Are there any live programs or studio work being prepared?
Alexei: So far, we haven’t started anything special, I’m doing such free music, I have a concert version of a trio: a bass player and a drummer accompany. Recently, I was also invited to perform with Araks. The program is mainly from Antonov's songs, etc. The singer is Anatoly Alyoshin, which is wonderful in itself. Seven songs were made with me, and I enjoy skating with them, because this is a professional band. Well, I've never spoken so loudly before.

Sounds: Do you go to concerts of other artists? Has any of the music impressed you lately as an author and as a listener?
Alexei: I am constantly making some discoveries. However, for the most part, I fill in the gaps in classical music. Well, jazz and blues. Of our artists, Romario is now interesting to me.
Sounds: This is from relatively young, it turns out.
Alexei: Everything is relative. Artists age quickly, and then stay young for a long time. Concerts: I don't go to concerts very often and quite by chance, although I'm constantly invited back and forth. Either laziness, or something else ... But it happens, yes.
Sounds: According to Facebook, you travel a lot. Is it a hobby for you, an object of interest, something inspiring?
Alexei: Both that, and another, and the third. We have been locked up all our conscious youth. Now there is an opportunity to get visas for several years, and as soon as a free penny appears, my wife and I try to sneak away somewhere.

Sounds: What do you think, are cases similar to those that happened to rock musicians in the pre-perestroika Soviet era - with you, for example, real?
Alexei: Not much has changed for me, to be honest. I still see that anyone can be captured and imprisoned for anything, even for hijacking spaceships.

Sounds: As far as I know, you collect guitars, tell us about the most valuable exhibit for you personally.
Alexei: Not so big. I got rid of some of the obvious junk... I have an amazing Martin Dreadnought D-42 hybrid model Peter Frampton. It was recreated based on his missing tour guitar. It is signed - inside there is Frampton's autograph. And it's one of only 70 made, so it's a limited edition. I rarely wear it somewhere, but recently I took part in the recording of a couple of songs with it Gennady Ryabtsev (multi-instrumentalist and member Dynamics and groups Yuri Antonov, now Hieromonk German, regent of the male choir of the Valaam Monastery - approx. sounds). It turned out that she sounds amazing in the microphone - I did not expect this from her. I play this guitar at home, train, compose, but even in combat conditions it proved to be gorgeous. The rest of the tools are cheap. There are favorites. Fender Bullet Deluxe 81, I carry it to Araks concerts. On Sunday I play a fairly rare Gibson. It is not very expensive, but the model itself is interesting - with two cutouts and a small "head".

Alexey Romanov: creative evening and presentation of the book of poems "All over again"
Moscow, Central House of Writers