Sep 12, 2017

RhoDeo 1737 Roots


Today's artist is an Argentine singer-songwriter, musician and producer. Within his vast career he formed some of the bands long considered as the most popular in Argentina's rock history: Sui Generis in the 1970s and Serú Girán in the 1980s, plus cult status groups like progressive-rock act La Máquina de Hacer Pájaros. Since the 80's García has worked mostly as a solo musician. His main instruments is the piano, together with guitar and keyboards. García is widely considered by critics as one of the most influential rock artists in the Spanish rock scene, and  as "The Father of Argentinian Rock" ....N'Joy

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Charly García is one of the most talented and influential figures of Argentine and Latin rock. He composed many generational songs and was obsessed with expanding the boundaries of pop music, along with musician's role itself.

At the age of four he started taking piano lessons. He was deeply into classical music. All that changed when he discovered the Beatles and the Byrds. While he attended secondary school, he met Nito Mestre, with whom he formed Sui Generis in the early '70s. They only released three studio albums, but it was enough to establish García as a key figure in the nascent rock scene. Sui Generis disbanded in 1975, and a year later Garcia played in PorSuiGieco with other folk-rock figures. It wasn't really a proper band, and they released just one album. La Máquina de Hacer Pájaros was Garcia's next group, clearly influenced by symphonic rock.

Between 1978 and 1982, Charly García was part of Serú Girán, one of the key bands in the Argentinian rock movement. They recorded five albums while the country was under a sordid dictatorship. The band provided a subtle offering of resistance. García's solo career began in 1982. He was asked by film director Raúl de la Torre to compose the soundtrack to the film Pubis Angelical. Simultaneously, Garcia recorded Yendo de la Cama al Living. Some highly intimate songs can be heard here, like "Inconsciente Colectivo" and "Yo No Quiero Volverme Tan Loco." At the end of that year, the album was released to excellent reviews, proving that García was on the right track.

In 1983, Garcia produced Los Twist's debut album, La Dicha en Movimiento, and recorded his own follow-up solo work, Clics Modernos, at the Electric Ladyland studios in New York. Clics Modernos had a pop/rock-oriented structure, and was simpler than previous works. The album sold extremely well but generated some controversy among critics for the sudden change in style. On this album, however, he began his longtime collaboration with producer Joe Blaney. At the end of that year, he was caught up in his most well-known scandal: he pulled down his trousers in front of a hostile audience. This was the beginning of a string of controversies and helped make him a major public figure, beyond just the music scene.

An essential trilogy was completed with Piano Bar, launched at the end of 1984. It was recorded by one of his best touring bands, formed, among others, by GIT members and Fito Paéz on keyboards. Both the public and critics liked the album, which contained hymns like "Demoliendo Hoteles" and "Raros Peinados Nuevos." In 1985, he tried to collaborate with another local rock hero, Luis Alberto Spinetta. The project didn't go far, with only the song "Rezo por Vos" recorded. That year he took part in the Rock & Pop Festival, along with some international figures like Nina Hagen, INXS, and John Mayall. With Pedro Aznar (also a former member of Seru Girán), he recorded Tango in 1986, a six-song maxi-single that incorporated technological elements.

Parte de la Religión, released in 1987, was recorded almost entirely by García himself. An exception was "Rap de las Hormigas," on which the Brazilian group Os Paralams do Succeso took part. The record was clearly a masterpiece and showed Prince's influence. Songs like "No Voy en Tren," "Buscando un Símbolo de Paz," and "En la Ruta del Tentempié" became Top Ten hits. In October of 1988, an Amnesty International Tour ended in Bueños Aires. More than 80,000 people attended the concert. Peter Gabriel, Sting, Bruce Springsteen, Tracy Chapman, and Youssou N'Dour where there, and León Gieco and Charly García represented Argentina.

After composing the soundtrack for the film Lo Que Vendrá in 1988 (in which he also played a nurse), García worked on a solo album, Cómo Conseguir Chicas, largely comprised of old, previously unrecorded material. Filosofía Barata y Zapatos de Goma, released in 1990, was a good collection and included the Spanish version of the Byrds' classic "I'll Feel a Whole Lot Better." Another scandal was just around the corner, however: Garcia was accused of a patriotic symbols offense because the LP included a version of the Argentine national anthem.

In 1991, he reunited with Pedro Aznar and recorded Tango 4. The idea was to record an album with Soda Stereo's singer and composer Gustavo Cerati. Although they worked on a couple of songs, they never finished the LP. No reasons were made public. In the middle of that year, rumors indicated that García had overdosed, a fact that would later be confirmed when he entered a drug rehabilitation program.

In 1992, García reunited with Serú Girán to record a collection of brand-new songs, Serú '92, and perform a series of concerts in Cordoba, Rosario, and Buenos Aires. A live double album was also released but didn't go anywhere, and García returned to his solo career. In July of 1994, he released the rock opera La Hija de la Lágrima. It included many instrumental passages and guest musicians. The public's response was great, especially when the album was presented live.

From 1995 until 2001, García moved forward toward a more abstract and vanguard field embodied in an alter ego: Say No More. Although his shows were always sold out, his records didn't sell well and were poorly received by the critics. Estaba en Llamas Cuando Me Acosté, released in 1995, was an album largely comprised of covers. The same year, he recorded and released MTV Unplugged -- a short-lived comeback to a more classic structure. In 1996, he released the chaotic Say No More, and the next year he reworked some of his songs with the Latin folk singer Mercedes Sosa on the album Alta Fidelidad. García seemed to be out of control and completely confused. Some old-time followers gave up on him but curiously, at the peak of his own chaos, he gained a new teenage public.

All of that seemed to change in the summer of 1999 when he performed a free concert attended and acclaimed by more than 150,000 people. The show was captured on that year's Demasiado Ego release, which was his best-selling album from the Say No More era. The same year he again courted controversy by playing a show for Argentinian president Carlos Menem. The performance was recorded as Charly & Charly, a limited-edition disc that never went public; just a few copies were printed.

In March of 2000, he was again on the covers of newspapers for non-musical reasons. This time he'd jumped from a hotel's ninth floor into a swimming pool in Mendoza. That year, he reunited Sui Generis. They launched a new album, Sinfonía Para Adolescentes. They also performed a comeback show which was registered and released as a double CD, intensely modified and reworked in the studio. With the release of Influencia in 2002, he returned to a more classic song-oriented sound, where all mixing and sound experiments where set aside. This certainly marked a farewell to the Say No More phase.

The following year, before entering the studio, longtime guitarist Maria Gabriela Epumer passed away after a heart attack. The loss was profound for Garcia; he soldiered on to complete Rock and Roll, Yo, a recording as notable for its covers -- "Pretty Ballerina" and Stevie Wonder's "Love's in Need of Love" -- as for its originals, but his heart wasn't in it. Epumer's death left a great void that the audience could feel during Garcia's live shows. Not sure he would -- or could -- continue, he didn't release another record for six years, and only performed publicly twice during that period. He wasn't idle, however. In 2006, a demo began to circulate on the internet entitled Kill Gil. As a result of the music's leak, EMI refused to release it, but that was probably as much for its raw, uncommercial presentation as it was for the leak. In 2011, a much slicker finished product was submitted and issued along with a live DVD. The following year, Garcia edited and produced the live 60x60 box to commemorate his own 60th birthday, along with the book Parallel Lines: Artificio Imposible. In 2017, Garcia released Random, marking his return to Sony. The record achieved gold status in Argentina and scored a Top Three single with "La Máquina de Ser Feliz."

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Sui generis is a Latin phrase, meaning "of its (his, her, or their) own kind; in a class by itself; unique".
The term is widely used to refer to more esoteric entities in a number of disciplines, fi in creative arts, for artistic works that go beyond conventional genre boundaries.

Sui Generis was formed in 1969 from the merger of two bands: To Walk Spanish, originally led by Carlos Alberto "Charly" García Moreno and The Century Indignation, originally led by Carlos Alberto "Nito" Mestre. The newly formed band's members were Charly (piano), Nito (flute), Alberto Rodríguez (drums), Alejandro Correa (bass guitar) (later replaced by Rolando Fortich), Juan Carlos Bellia (guitar) and Carlos Piégari (guitar and vocals).

In its early life, Sui Generis experimented with psychedelic music but would eventually refine and change its sound and is now generally classified as folk-rock. Infamously, at Sui Generis' first big performance, none of the members but Charly and Nito appeared. Despite the poor showing, they went ahead with the show, García playing the piano, with Nito accompanying on the flute. Amazingly, the audience still loved them. García's simple songs of adolescence contained substantial poetic elements that showed through the limited instrumentation. After this they decided to continue as a duet with Charly composing songs and playing the piano, Nito playing the flute and both at vocals and guitar.

Soon after Sui Generis started to gain fame, García, then 20 years old, had to take a break from the band to fulfill his mandatory military service. Unhappy in the service, he pulled outrageous stunts, such as reportedly taking a corpse in a wheelchair for a walk in the sun because "he was too pale". Eventually, García swallowed a large dose of amphetamines and faked a heart attack, in an apparent attempt to cut short his military service. Garcia was hospitalized, and it was there that he composed two of the band's most famous songs: "Botas Locas" ("Crazy boots"), censored when first released, and "Canción para mi muerte" ("Song for my death"). Garcia was released from the military due to "mental health problems".

In 1972, Sui Generis released its first LP, Vida (Life), which became instantly popular, especially among Argentinian teenagers. Confesiones de Invierno (Winter Confessions), their second LP, was released in 1973. This album had higher production values and better studio equipment and was also a huge commercial success.

Sui Generis - Vida (flac  206mb)

01 Canción Para Mi Muerte 2:35
02 Necesito 2:16
03 Dime Quien Me Lo Robó 5:30
04 Estación 1:28
05 Toma Dos Blues 1:41
06 Natalio Ruiz 3:50
07 Maribel Y El Capital 2:41
08 Amigo Vuelve A Casa Pronto 3:25
09 Quizás, Porque 2:17
10 Cuando Comenzamos A Nacer 2:40
11 Posludio 0:50

Sui Generis - Vida   (ogg  80mb)

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Confesiones de Invierno (Winter Confessions) is the second album of Argentine folk rock group Sui Generis, released on 1973. It was recorded during the 1973 Winter, and it is a perfect picture of idyllic times, of picnicking by the Palermo Lakes and backpacking to El Bolsón -hippie fétiches to the Buenos Aires youth. However, although the general flavour of Confesiones de Invierno is that of sweet nostalgia, the entire album is a glimpse of the last golden seasons prior to the 1976 disaster, the beginning of the darkest times for Argentina. Many presages can be found in songs like "Confesiones de Invierno" ("the bail was paid by a friend/the wounds were done by the officer") or "Tribulaciones, lamentos y ocaso de un tonto rey imaginario (o no)". Either pictures of isolation or narrations of exile, most of the songs can be read as resigned intuition of what was going to happen when the military forces had taken the government. Long gone was the naïve charm of Vida: here, even though he was still in the process of reaching his finest point as a songwriter, a young Charly García combines the purest innocence of his previous works with an intelligent observation of reality (and even acid humour) to achieve an immaculate work of art.

The album opens with one of its most desolate songs, "Cuando ya me empiece a quedar solo", which immediately introduces us to the grey atmosphere of this grey Winter. It is followed by a rather cheerful melody, "Bienvenidos al tren", which can either be a metaphor of a hippie journey or a forced exile -both apply to the general concept of the album. Now comes a delicate poem of great fantasy -"Un hada, un cisne". A sad love story that can perhaps be acknowledged as the most idealistic song in the album. Following this lovely picture of an impossible love comes the title track, "Confesiones de Invierno". Charly's voice and guitar, being the only sounds we hear, make it the most personal and profound song of the lot. A dark sequence of images of failure and loneliness is sprinkled with social and political uncertainty. "I only die on Sundays, and by Monday I feel alright" is quite possibly the best way of putting into words the horrible feeling that overcomes an artist when life turns its back on them.
"Rasguña las piedras" is the song that opens the B side. This beautiful piece has continued to be a hymn for the Argentinian youth for over thirty years. A strong (and unforgettable) melody, fierce lyrics of desperation and orgasmic orchestral arrangements make it the highest peak of the album. "Lunes otra vez" seems to calm one's spirits after its explosive predecessor by painting another grey panorama in a much lighter -though ambiguous- way. Then comes "Aprendizaje", another bonfire jewel. Simplicity and inspired lyricism prove to be a great combination again. "Mr. Jones, o pequeña semblanza de una familia tipo americana" is the only antidote our ears can hope for after such wintry negativity. Bizarre but essential. And finally, symbolism reaches its high point with "Tribulaciones...". A fable of apparent innocence that is loaded with messages of political nature; an orgasmic ending for a brilliant album. Consequently, Confesiones de Invierno is undoubtedly of great importance when it comes to comprehend the history of Argentina, as seen through young, rebellious eyes. It is pure, innocent and raw, but thanks to the immense talent of Charly García, it is also profound and timeless.

Sui Generis - Confesiones de Invierno (flac  206mb)

01 Cuando Ya Me Empiece A Quedar Solo 3:41
02 Bienvenidos Al Tren 3:13
03 Un Hada, Un Cisne 6:28
04 Confesiones De Invierno 4:06
05 Rasguña Las Piedras 3:14
06 Lunes Otra Vez 3:07
07 Aprendizaje 4:18
08 Mr. Jones, O Pequeña Semblanza De Una Familia Tipo Americana 1:44
09 Tribulaciones, Lamentos Y Ocaso De Un Tonto Rey Imaginario, O No 5:28

Sui Generis - Confesiones de Invierno (ogg  80mb)

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1974 was a turning point for Sui Generis: Charly was sick of "the piano and the flute" sound and decided that Sui Generis needed a change. He pursued a more traditional rock sound, with bass and drums, for which purpose he recruited Rinaldo Rafanelli and Juan Rodríguez respectively. The new album was originally titled Instituciones (Institutions), but Sui Generis' producer suggested they change the name to Pequeñas Anécdotas sobre las Instituciones (Little Anecdotes about the Institutions), reflecting the unstable nature of Argentine social and political institutions at the time. Charly's initial concept was to write a song for every influential traditional institution: the Catholic Church, the government, the family, the judicial system, the police, the Army, and so on. However, two songs, "Juan Represión" ("John Repression") about the police and military dictators (a specific reference to dictator Juan Carlos Onganía), and "Botas locas" ("Crazy Boots") about the army, were eliminated from the album by the music label, afraid of the growing political violence of the time. Two more had to be partly changed, "Las increíbles aventuras del Señor Tijeras" ("The incredible adventures of Mr. Scissors"), a song about the person in charge of film censorship at that time, and "¿Para quién canto yo entonces?" ("Who am I singing for, then?"), both about censorship itself, while "Música de Fondo para Cualquier Fiesta Animada", about the judiciary system had to be completely rewritten. Even though Charly achieved a different, more mature sound with Instituciones, the public rejected the change. They preferred the old folk-rock sound

Sui Generis - Pequeñas Anecdotas sobre las Instituciones   (flac  300mb)

01 Instituciones 4:51
02 Tango En Segunda 3:33
03 El Show De Los Muertos 6:04
04 Las Increíbles Aventuras Del Señor Tijeras 5:51
05 Pequeñas Delicias De La Vida Conyugal 3:42
06 El Tuerto Y Los Ciegos 2:04
07 Música De Fondo Para Cualquier Fiesta Animada 4:35
08 Tema De Natalio 6:07
09 Para Quien Canto Yo Entonces 3:42
10 Juan Represión 3:28
11 Botas Locas 4:55

Sui Generis - Pequeñas Anecdotas sobre las Instituciones   (ogg  116mb )

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After having gone through 3 great bands, which stood out for different reasons (I will not go into that here), Charly decides to be in solitaire and to consolidate all the sonic and lyrical elements that she used after 12 years of collectives. Thus fused the vein of the modern urban troubadour, the rocky contestatario and the exquisite camera composer, all under a familiar wave filter very typical of this subcontinent
The songs have the virtue of being accessible, sophisticated and succulent at the same time. There is a lot of attention to detail, such as the delicate vocal harmonies (by far, his best work in that aspect) and the precise brushstrokes of keyboards that adorn unforgettable melodies. Stellar guests are plenty, like his old buddy Nito; the other great Argentine genius, the Flaco Spinetta; Leon Gieco, or even the one who was a great collaborator of Garcia later, Pedro Aznar.

"Pubis angelical" (1982) is a brilliant, sophisticated instrumental work made for cinema and brings in brilliant works such as "Yendo de la cama al living". Incised in the spring of '82 and published in the fall, it appears, in part, a direct continuation of the fervor of the Girán quartet; elsewhere, Garcia takes on new brilliant musical intuitions. Equipped with unparalleled melodic impulse and synthetic synthesis and timbre varieties, Garcia, phantomically in déshabillé from its "living" style and grint as never before. The album is a melancholic notebook and dull looks at the present: the Malvinas regime and the Malvinas war are underway with the United Kingdom, shaking the artistic sensibility.
Between afflicted with love and anger ("..las agonias del passado"), there is the surreal and the desire. Harmonic colors and instrumental fantasies surround the walls. There is an individual, evasion scorn.
The wind of the new blows in the sensual digital cadence of the opening title-track. Escape to live and find yourself. "No bombardeen buenos aires" and "yo no quiero volverme tan loco" are two singles who repeat the verve and facies of "La grasa de las capitales", violent rancors and pop pop elitists.
Some of the best shots are in distant places, as in "superhéroes," which is lurking in a tune of keyboards or in the intense shining reflections of "cancion de dos por tres". Almost two extensions of "Peperina", reminiscent of the passionate spirit. Since 1992, "Yendo de la cama al living" is printed in CD with the predecessor, "Pubis angelical".

Charly Garcia - Pubis Angelical - Yendo de la cama al living (flac  353mb)

01 Operación Densa 2:04
02 Despertar De Mambo 2:32
03 Rejas Electrificadas 0:59
04 Pubis Angelical 2:27
05 Monóculo Fantástico 2:00
06 All I Do Is Dream Of You 1:46
07 Sereno Fantástico 3:03
08 Transatlántico Art Deco 3:28
09 Caspa De Estrellas 3:14
10 Crimen, Divina, Productor 2:54
11 Pubis Angelical (Vocal I) 0:53
12 Pubis Angelical (Vocal II) 0:59
13 Futuro Pobre 3:28
14 Tribunas Del Futuro Pobre 3:11
15 Todos Los Pubis Juntos 2:28

16 Yendo De La Cama Al Living 4:43
17 Superhéroes 4:25
18 No Bombardeen Buenos Aires 4:01
19 Vos También Estabas Verde 3:06
20 Yo No Quiero Volverme Tan Loco 5:08
21 Canción De Dos Por Tres 4:03
22 Peluca Telefónica 4:59
23 Inconsciente Colectivo 3:54

Charly Garcia - Pubis Angelical - Yendo de la cama al living (ogg  154mb)

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1 comment:

Anonymous said...

The video looks good, but the voice over (in polish or russian) is not so good.
Can you share it in English only.