Sep 26, 2017

RhoDeo 1739 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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Garcia came from acting and composing music for a movie ('what will come') and making his album 'how to get girls' (made in NY based on demos in English and things that were left over there). 'Philosophy' is basically one of his last albums recorded in a 'usual' way (that is: rehearsals-demos-recording), and it is noticeable in the execution of the themes: there is a certain dragged load that confuses Garcia, or better said, it takes away desire and freshness to what it tries to transmit.

However, there is nothing that merits deterioration nor any other mishap that makes this record something smaller: there are superb songs, as always. 'Filosofia' is the patriotic record par excellence, not only for its end but also for the establishment that people created around Garcia and each of their movements ...  That is why the demos are extremely useful, much more authentic, and from there also (gives me the feeling) should come the question of having written in the booklet the date and time of recording of each of the songs that compose the album . A transitional record, without doubt, but balanced.  Filosofia is,  the registered document of a person with talent who happened to be to other people's eyes an indisputable producer ... And if you have doubts about this, listen to the version of the hymn and its subsequent reactions ...

Charly Garcia - Filosofia Barata y Zapatos de Goma     (flac  254mb)

01 De Mi 3:06
02 Filosofia Barata Y Zapatos De Goma 3:51
03 Reloj De Plastilina 4:41
04 Gato De Metal 3:14
05 No Te Mueras En Mi Casa 3:31
06 Curitas 5:36
07 Solo Un Poquito No Mas 3:28
08 Me Siento Mucho Mejor (I Fell Much Better) 3:04
09 Siempre Puedes Olvidar 3:50
10 La Cancion Del Indeciso 3:02
11 Himno Nacional Argentino 4:35

Charly Garcia - Filosofia Barata y Zapatos de Goma (ogg  99mb)

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The begining of the "Say No More" era, is a great album, quite long, but very pleasant. Should be treated as a whole, but has some great singles as "La Sal No Sala" and " Chipi-Chipi".
This is his most risky album before chaotic Say No More, as it contains many atmospheric themes to guide the concept of the disc.  The album has its share of good unfinished tracks in a sticky pop as in other solo albums, its key moments Love is Love, Fax U, Waitin, Calle (Taxi) and the hit single Chipi Chipi the discography so that it has a commercial track in the disc and the letter just speaks of those exigencias. The concept of the disc, simply a search of new paths of an already consecrated artist, of an everyday anecdote and without sense Charly takes out an album with concept included. The only bad point of the album is that later the same Charly would be involved in the chaos to get the experimental Say No More and get lost between drugs and television cliches.

Charly Garcia - La Hija de la Lagrima (flac  439mb)

01 Overture
02 Víctima
03 Jaco Y Chofi
04 Atlantis
05 La Sal No Sala
06 Chipi Chipi
07 Calle [TAXI]
08 Love Is Love
09 Tema De Amor
10 Fax U
11 Lament
12 Intermedio
13 Workin' In The Morning
14 Waitin
15 Kurosawa
16 Chiquilín
17 Andan (Excerpt)
18 James Brown
19 Intraterreno
20 No Sugar
21 Atlantis
22 Locomotion
23 Andan [COMPLETE]

Charly Garcia - La Hija de la Lagrima (ogg  152mb)

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When Charly García recorded this unplugged performance he was going through his chaotic "Say No More" era. Strangely this album is classically arranged and García seems pretty controlled. Tidy, sounding in control, perfect in one word, with an explosive band, lead by the now dead María Gabriela Epumer shining in his lead guitarist/second voice role. It contains songs from almost all his solo albums while "Viernes 3 AM" and "Eti Leda" belong to Serú Girán's repertoire. It was recorded in Miami on May 4, 1995, and aired by MTV Latin in July. There are some differences between the broadcasted show and the album released at the end of the year: García re-recorded some parts because he wasn't entirely happy with the final result. This album isn't a must, but it's a pretty good record, a great opportunity to hear García in good shape reinterpreting his classic songs like "No Voy en Tren," "Cerca de la Revolución," "Yendo de la Cama al Living," and "Demoliendo Hoteles." Certainly a peak in the MTV Unplugged cycle.

Charly García - Unplugged- Hello     (flac  375mb)

01 Yendo De La Cama Al Living 4:22
02 Rezo Por Vos 4:48
03 Fanky 4:27
04 Pasajera En Trance 3:23
05 Serú Giran Medley: Eiti Leda / Viernes 3 A M 6:56
06 Cerca De La Revolución 5:06
07 Promesas Sobre El Bidet 3:06
08 No Soy Un Extraño 4:22
09 Los Dinosaurios 3:40
10 Chipi Chipi 3:43
11 La Sal No Sala 4:44
12 Nos Siguen Pegando Abajo (Pecado Mortal) 3:21
13 Ojos De Video Tape 4:06
14 Demoliendo Hoteles 5:29
15 Fifteen Forever 2:52

Charly García - Unplugged   (ogg  156mb )

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Influencia marks the great return of the King (or should I say father?) of Spanish Rock. After Hija de la Lagrima, Charly produced some chaotic records, playing around with styles. Influencia is sort of a Concept Album, showcasing his mastery of different styles. This could have been an EP. It has 13 songs, but only SIX new songs! Four of the songs have reprises.  Three of the other songs are re-recordings of earlier song, of which only one is significantly different from the earlier recordings. And there's a cover Charly's version of Influence (todd rundgren track) is incredible, even better than the original. Here we find an album worthy of being heard from beginning to end, not without clenching in some moments (few), but enjoying - in general - a solid pop rock more or less dirty and moderately crazy.

Charly Garcia - Influencia (flac  292mb)

01 Tu Vicio 4:06
02 I'm Not In Love 2:50
03 Influencia 5:30
04 Encuentro Con El Diablo 4:58
05 El Amor Espera 4:12
06 Película Sordomuda 2:01
07 Mi Nena 2:49
08 Tu Vicio (Gospel) 1:03
09 Demasiado Ego (One To One) 3:14
10 Influenza 3:33
11 I'm Not In Love (Acústico) 1:51
12 I'm Not In Love (Remix) 3:42
13 Happy And Real 3:25

Charly Garcia - Influencia (ogg  97mb)

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