Alexander Rosenbaum - Songwriting/Performing Characteristics

Songwriting/Performing Characteristics

Rosenbaum sometimes employs peculiar musical time signatures and patterns in his songs, striving to sound fresh and unique - a bit atypical for a songwriter that employs gangster and criminal slang elements in his lyrics. Though many of his songs are elaborate in their instrumentation, the stress is placed on the primary melodies of his songs and their messages, as is usually the case in bard music.

However many prominent Russian bards shun Rozenbaum and refuse to count him in as a member of their community. While bards used to be treated as outcasts and their music was drawn underground through the years of Soviet regime, Rozenbaum enjoyed official approval long before collapse of the Soviet Union with its tight ideological censorship. "Bard Song Anthology" by Dmitry Sukharev ("Бардовская песня. Антология", сост. Дмитрий Сухарев, ISBN 5-94799-234-5) widely acclaimed as 'Bible' of Russian bard movement, listing nearly every author of every song, doesn't even mention his name.

His lyrics are quite often heart-wrenching, telling stories of people in insufferable pain, suffering implacable fates, and of love powerful enough to enslave a man. He sees himself not so much as a critic, but a true patriot who sees the worst sides of his country, but loves its people still.

He has stated that his wide lyrical scope is due to his being a sort of medium. For example, he wrote many crime-related songs using their jargon, but he never lived the criminal life in reality. Similarly, many of his songs about the Cossacks were written without the benefit of ever having a single relative from that community.

Rosenbaum's most popular and culturally relevant song to-date, and his greatest hit, is "Vals-Boston" (Russian: Вàльс-бостòн), which translates to "The Boston Waltz." The title refers to a dance called the American Waltz, or alternatively the Boston.

In concert, Rosenbaum performs either alone or with his band, usually consisting of at least six other members (drummer, bass guitarist, two keyboardists, lead electric guitarist, and violinist). In his solo concerts, his guitar accompaniment tends to be different every time in some way. He is known for the way he stretches or, contrarily, cuts the length of musical bars in a song, making the song unique and unpredictable every time.

Rosenbaum is strongly opposed to lip synching during his concerts, a practice that has become increasingly widespread in Russia after the Soviet era. Once, during a festival concert, where many performers lip synched, Rosenbaum, all the time speaking into his live microphone, acerbically asked the sound mixer: "Can you turn up my guitar a bit, guys? After all, the little thing's live!"