Leningrad Rock Club

[2] Association with trade unions that owned the LMDST, allowed to legally organize concerts[3][4] and to avoid the attention of law enforcement agencies.

[3] It was intended to be organized similarly to the Union of Soviet Composers and censored lyrics and issued permits to perform in an effort to prevent the bands from making much that was too controversial.

The KGB continued to dejectedly supervise the rock club, but this gave good indicators only for reports".

[11] In the mid and late 1980s, administrative control over the LRC began to decline, and those groups that previously simply could not be admitted there due to ideological doubt were accepted into the club - "Avtomaticheskie udovletvoriteli", "Yugo-Zapad" etc.

In 1989, the LRC took part in the international movement "Next-stop Rock and Roll", which aimed to bring together the Soviet youth and the youth of Denmark, Sweden, Norway, Greenland and Iceland; a double live album "Laika" was released[13] with the participation of Soviet and Danish bands.

[5] The Leningrad Rock Club provided access to a new, Western form of music for an audience of unprecedented size in the Soviet Union.

[14] Alexander Gradsky, a Russian composer, multi-instrumentalist and one of the earliest performers of rock music in Russia, commented on this position in 1989 in "Rumba" magazine:[15] There are, say, a hundred musicians.

And the usual speculation that I am, they say, an unrecognized genius ends when, for example, "Nautilus Pompilius" began to get seven thousand [rubles] for the concert.

So, it turns out, the Nautilus was sold out to them...Televizor, Kino, Alisa, Aquarium, Zoopark, Piknik, Automatic Satisfiers, DDT, NEP, and Grazhdanskaya Oborona (formally[16]) were among the groups associated with the Leningrad Rock Club.

And if a modern person puts Polad Bülbüloğlu's track and compares it with the best representatives of the Leningrad rock club, he will say: "Guys, you should have listened to what was then."