Hello,
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
xxxxx xxxxx xxxxx xxxxx xxxxx
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."
xxxxx xxxxx xxxxx xxxxx xxxxx
Astonishingly eighties, in the sense that it is full of old-fashioned and cheesy cheap keyboard arrangements of those who sold in the eighties. I find it hard to believe that this production was at one point considered to be in the making. Now, of course, Charly is a great musician and often writes good songs. "Dinosaurs" is an evocative piano ballad that has no pretense sample. It's just pop done well. "Video tape eyes" is almost the same, were it not for the antiseptic background synthesizer and the fact that there is some pretense hidden there. The jewel of the album, however, is the opening "We're Still Sticking (Deadly Sin)" aka one of Bowie's best songs when collaborating with Eno. Charly sings like the madman we all know and the minimalist synth riff crawls into the groove like chewing gum to the shoe. Something is always happening in that song. The very best track is the epic finale "Ojos de Video Tape". When it comes down to it, the man just knows how to make a really pretty song. He sings that one beautifully. And the melody is perfect. The perfect ending to a wild ride of an album that's only slightly longer than 30-minutes.
Charly García - Clics Modernos (flac 259mb)
01 Nos Siguen Pegando Abajo (Pecado Mortal) 3:25
02 No Soy Un Extraño 3:17
03 Dos Cero Uno (Transas) 2:01
04 Nuevos Trapos 4:07
05 Bancate Ese Defecto 4:56
06 No Me Dejan Salir 4:24
07 Los Dinosaurios 3:27
08 Plateado Sobre Plateado (Huellas En El Mar) 5:00
09 Ojos De Videotape 3:42
Charly García - Clics Modernos (ogg 79mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Charly García recorded this album under the influence of the new wave trend, preached by bands like Joy Division or Talking Heads, but maintaining the format of the pop / rock songs that he had used throughout his career, with which it reached a sound that was looked more like Todd Rundgren's albums, though now, more efficiently.
The percussion beat, which could be predicted from going from the bed to the living room, is the key along with his ever-present keyboard dexterity. On this musical basis, he adds once again, letters in which there are continuous political references that boast in favor of a more individual, alternative thinking. A thought for the conception of a different model of man, from the observation of the ideals of Hippism (Rare new hairstyles), the socialists, totalitarian repression (Near the revolution) and manifests itself against the prohibitions of freedom of expression (I will not call my love) and for tolerance ("I did not choose this world, but I learned to love"). Sometimes, through allusions and metaphors like love, woman, madness. Others, being quite more direct.
If this selection becomes the most outstanding of his solo career is because they are in greater number those songs of his that, as a characteristic feature, contain that particular search of the melody of the cult pop - think in David Bowie, Ray Davies and in the John Lennon himself. Notable songs like the classic Raros Peinados Nuevos (Rare New Hairstyles) or the beautiful Piano Bar, the well-weighted Near the Revolution and the masterful No Te Animás A Despegar (Do not you dare to take off)and Total Interference. Good melodies are practically present throughout the album. In this sense, is a high point.
Charly Garcia - Piano Bar (flac 206mb)
01 Demoliendo Hoteles 2:16
02 Promesas Sobre El Bidet 2:46
03 Raros Peinados Nuevos 3:55
04 Piano Bar 5:12
05 No Te Animás A Despegar 3:55
06 No Se Va A Llamar Mi Amor 2:10
07 Tuve Tu Amor 3:58
08 Rap Del Exilio 2:42
09 Cerca De La Revolución 4:41
10 Total Interferencia 5:12
Bonus
11 Canción Para Mi Muerte 4:04
Charly Garcia - Piano Bar (ogg 80mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
This album, recorded by Charly before he "lost it" (like a Syd Barrett of sorts), is packed with gems. It's one of those precious moments in Rock en Español. One very long moment that doesn' die out all through the album. From "Necesito tu Amor", into "Buscando un Simbolo de Paz" and the title track, including tracks where he accompanies himself by Brazilian rock grands, Paralamas, and almost alternating between upbeat and more quiet songs all through to the warm "La Ruta del Tentempie", the album can only grow on you. You will find yourself (Spanish-speaking or not) humming the tunes, some of rock's best tunes just about anywhere, wondering where has this awesome artist been all your life. Definitely the most Pop album by Charly, an excellent record that almost every Argentinean has heard.
Charly Garcia - Parte de la Religion (flac 254mb)
01 Necesito Tu Amor 3:36
02 Buscando Un Simbolo De Paz 4:45
03 Parte De La Religion 3:08
04 Rap De Las Hormigas 3:16
05 Adela En El Carrusel 5:20
06 No Voy En Tren 3:06
07 Rezo Por Vos 4:30
08 El Karma De Vivir Al Sur 3:36
09 Ella Adivino 3:54
10 La Ruta Del Tentempie 4:21
Charly Garcia - Parte de la Religion (ogg 97mb )
xxxxx xxxxx xxxxx xxxxx xxxxx
Clearly an essential work within the repertoire of Charly Garcia and perhaps one of his best works next to the monumental Piano Bar, great production, drums sounds excellent, the bass is alive and the voice is very well mixed.. Full of innate hits, it does not have a bad song, however, it is worth noting the answer to No Toquen, the charlyesque You Will not See Me on the Subway and especially the sublime trilogy She is Dancer, Anhedonia and Suicida (ten minutes of energetic music but deep, fast and indispensable especially in those moments when we are about to surrender if we fight, stop if we run or pull the trigger and unplug our brains, as Sabina says, when the mirror of life spits the truth to our face). In How to Get Girls, Charly talks to the bass, sings with the piano and creates a solid, complete, desperate, deep but above all classic disc: "we are statues of salt we want to return ... sho sha do not look back ... sha I do not have much more ...
Charly Garcia - Como Conseguir Chicas (How to Get Girls) (flac 237mb)
01 No Toquen 3:23
02 Zocacola 2:38
03 Fanky 4:39
04 No Me Veras En El Subte 4:59
05 Ella Es Bailarina 2:52
06 Anhedonia 4:03
07 Suicida 3:07
08 Fantasy 2:55
09 A Punto De Caer 2:57
10 Shisyastawuman 4:24
Charly Garcia - Como Conseguir Chicas (ogg 90mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
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
xxxxx xxxxx xxxxx xxxxx xxxxx
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."
xxxxx xxxxx xxxxx xxxxx xxxxx
Astonishingly eighties, in the sense that it is full of old-fashioned and cheesy cheap keyboard arrangements of those who sold in the eighties. I find it hard to believe that this production was at one point considered to be in the making. Now, of course, Charly is a great musician and often writes good songs. "Dinosaurs" is an evocative piano ballad that has no pretense sample. It's just pop done well. "Video tape eyes" is almost the same, were it not for the antiseptic background synthesizer and the fact that there is some pretense hidden there. The jewel of the album, however, is the opening "We're Still Sticking (Deadly Sin)" aka one of Bowie's best songs when collaborating with Eno. Charly sings like the madman we all know and the minimalist synth riff crawls into the groove like chewing gum to the shoe. Something is always happening in that song. The very best track is the epic finale "Ojos de Video Tape". When it comes down to it, the man just knows how to make a really pretty song. He sings that one beautifully. And the melody is perfect. The perfect ending to a wild ride of an album that's only slightly longer than 30-minutes.
Charly García - Clics Modernos (flac 259mb)
01 Nos Siguen Pegando Abajo (Pecado Mortal) 3:25
02 No Soy Un Extraño 3:17
03 Dos Cero Uno (Transas) 2:01
04 Nuevos Trapos 4:07
05 Bancate Ese Defecto 4:56
06 No Me Dejan Salir 4:24
07 Los Dinosaurios 3:27
08 Plateado Sobre Plateado (Huellas En El Mar) 5:00
09 Ojos De Videotape 3:42
Charly García - Clics Modernos (ogg 79mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Charly García recorded this album under the influence of the new wave trend, preached by bands like Joy Division or Talking Heads, but maintaining the format of the pop / rock songs that he had used throughout his career, with which it reached a sound that was looked more like Todd Rundgren's albums, though now, more efficiently.
The percussion beat, which could be predicted from going from the bed to the living room, is the key along with his ever-present keyboard dexterity. On this musical basis, he adds once again, letters in which there are continuous political references that boast in favor of a more individual, alternative thinking. A thought for the conception of a different model of man, from the observation of the ideals of Hippism (Rare new hairstyles), the socialists, totalitarian repression (Near the revolution) and manifests itself against the prohibitions of freedom of expression (I will not call my love) and for tolerance ("I did not choose this world, but I learned to love"). Sometimes, through allusions and metaphors like love, woman, madness. Others, being quite more direct.
If this selection becomes the most outstanding of his solo career is because they are in greater number those songs of his that, as a characteristic feature, contain that particular search of the melody of the cult pop - think in David Bowie, Ray Davies and in the John Lennon himself. Notable songs like the classic Raros Peinados Nuevos (Rare New Hairstyles) or the beautiful Piano Bar, the well-weighted Near the Revolution and the masterful No Te Animás A Despegar (Do not you dare to take off)and Total Interference. Good melodies are practically present throughout the album. In this sense, is a high point.
Charly Garcia - Piano Bar (flac 206mb)
01 Demoliendo Hoteles 2:16
02 Promesas Sobre El Bidet 2:46
03 Raros Peinados Nuevos 3:55
04 Piano Bar 5:12
05 No Te Animás A Despegar 3:55
06 No Se Va A Llamar Mi Amor 2:10
07 Tuve Tu Amor 3:58
08 Rap Del Exilio 2:42
09 Cerca De La Revolución 4:41
10 Total Interferencia 5:12
Bonus
11 Canción Para Mi Muerte 4:04
Charly Garcia - Piano Bar (ogg 80mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
This album, recorded by Charly before he "lost it" (like a Syd Barrett of sorts), is packed with gems. It's one of those precious moments in Rock en Español. One very long moment that doesn' die out all through the album. From "Necesito tu Amor", into "Buscando un Simbolo de Paz" and the title track, including tracks where he accompanies himself by Brazilian rock grands, Paralamas, and almost alternating between upbeat and more quiet songs all through to the warm "La Ruta del Tentempie", the album can only grow on you. You will find yourself (Spanish-speaking or not) humming the tunes, some of rock's best tunes just about anywhere, wondering where has this awesome artist been all your life. Definitely the most Pop album by Charly, an excellent record that almost every Argentinean has heard.
Charly Garcia - Parte de la Religion (flac 254mb)
01 Necesito Tu Amor 3:36
02 Buscando Un Simbolo De Paz 4:45
03 Parte De La Religion 3:08
04 Rap De Las Hormigas 3:16
05 Adela En El Carrusel 5:20
06 No Voy En Tren 3:06
07 Rezo Por Vos 4:30
08 El Karma De Vivir Al Sur 3:36
09 Ella Adivino 3:54
10 La Ruta Del Tentempie 4:21
Charly Garcia - Parte de la Religion (ogg 97mb )
xxxxx xxxxx xxxxx xxxxx xxxxx
Clearly an essential work within the repertoire of Charly Garcia and perhaps one of his best works next to the monumental Piano Bar, great production, drums sounds excellent, the bass is alive and the voice is very well mixed.. Full of innate hits, it does not have a bad song, however, it is worth noting the answer to No Toquen, the charlyesque You Will not See Me on the Subway and especially the sublime trilogy She is Dancer, Anhedonia and Suicida (ten minutes of energetic music but deep, fast and indispensable especially in those moments when we are about to surrender if we fight, stop if we run or pull the trigger and unplug our brains, as Sabina says, when the mirror of life spits the truth to our face). In How to Get Girls, Charly talks to the bass, sings with the piano and creates a solid, complete, desperate, deep but above all classic disc: "we are statues of salt we want to return ... sho sha do not look back ... sha I do not have much more ...
Charly Garcia - Como Conseguir Chicas (How to Get Girls) (flac 237mb)
01 No Toquen 3:23
02 Zocacola 2:38
03 Fanky 4:39
04 No Me Veras En El Subte 4:59
05 Ella Es Bailarina 2:52
06 Anhedonia 4:03
07 Suicida 3:07
08 Fantasy 2:55
09 A Punto De Caer 2:57
10 Shisyastawuman 4:24
Charly Garcia - Como Conseguir Chicas (ogg 90mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
1 comment:
Hello Rho,
please re-up Charly Garcia. (Clics Modernos y Piano Bar)
Thanks alot!
Sam
Post a Comment