Hello, the son of a psychopath who was 10 years on the FBI's most wanted list, who is presumed dead now, but then sick fucks like that tend to desperately try to hold on to life and close family members are in danger of being compromised. So how come this 64 year old comfortable well off pensioner decides to put his collection of murder weapons to good use, stock up with plenty of ammunition and go out on a hunt of countrymusic lovers, 500 wounded, 58 dead, not bad for a suicide mission, in the middle east they are used to these things, in fact it has been a monthly occurrence there for years. I wonder how many of these mass killings it will take before the US's love for guns is no longer a votewinner.....
A sidenote for today but Tom Petty is no longer with us, a heart attack did him in or maybe not confused ? I know I am.
Today for the last time Charly Garcia the 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
If his previous album seemed to be a comeback for Charly García himself, after years of being eclipsed by his alter ego, Say No More, Rock and Roll Yo finds the latter back in action. That means that this album is driven by a fuzzy and experimental sensibility. So it seems that this work won't stop the controversy about whether he still has the touch or whether he's completely lost. There are 11 songs on this album, but this is a bit tricky because there are two versions of "Asesíname," two versions of "V.S.D." (one is called "Tango" and, as the title suggests, represents García's peculiar approach to the tango style), and two covers. He has a special ability to take someone else's songs and to make them sound like his own. He did it on his previous record with Todd Rundgren's "Influenza" and he does it again on this album. His Spanish version of "Pretty Ballerina" is superb, while his version of Stevie Wonder's "Love's in Need of Love Today" (here renamed "Wonder") is outstanding. Despite the range of García's talent, Rock and Roll Yo is only occasionally successful. It's fun, but not much more.
Charly Garcia - Rock and Roll YO (flac 252mb)
1 Dileando con un Alma (Que No Puedo Entender) 4:10
2 Rehén 3:54
3 Asesíname 3:43
4 Linda Bailarina 3:02
5 Asesíname Stone 3:41
6 V.S.D. 3:25
7 Tango 2:42
8 Cretino 5:00
9 Rock and Roll Yo 4:31
10 Wonder (Love's in Need of Love Today) 3:38
11 Dealer (Reprise) 0:52
Charly Garcia - Rock and Roll YO (ogg 92mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Charly García celebrated his 60th birthday with a series of three concerts in which he performed 20 of his songs each night, for a grand total of 60 selections from his lengthy and legendary career. The concerts were appropriately called 60x60 and were later released in a luxurious CD/DVD set collecting all three of those late-2011 performances at Buenos Aires' Teatro Gran Rex. The box also included a lavish photo book, a giant poster, and a limited-edition autographed drawing by García. The video and audio component, however, were also released in more affordable separate volumes under the titles La Vanguardía Es Así, Detrás de las Paredes, and El Ángel Vigía. The concerts were warmly greeted as evidence of yet another step in García's miraculous comeback from junkie death land, as he continued to look healthier than in ages and his voice -- irretrievably hoarse as it may be by now -- is actually capable of singing once more. The show also included props, costumes, projections, voice-over narration by actress Graciela Borges and radio and TV host Juan Alberto Badía, and guests such as Juanse, Fito Páez, and Os Paralamas do Sucesso. Nevertheless, as emotive live performances go, this polished set lacks the passion, chaos, and urgency of García's previous birthday concert El Concierto Subacuático (2009). García's crack supporting band (now renamed the Prostitution) remains virtually unchanged, featuring veterans such as Fabián Von Quintiero, Fernando Samalea, and Carlos García López, but new vocalist Rosario Ortega does not seem as familiar with García's work as Hilda Lizarazu. Moreover, the string trio added for this latest incarnation somewhat smooths out the rougher edges that made El Concierto Subacuático so appealing, and in particular so well attuned to García's new rasping voice. On the other hand, this collection is much more comprehensive in surveying all the different periods of García's extraordinary musical genius, as it includes material from most of his solo albums and also revisits seminal classics from Sui Generis and Serú Girán, with mandatory cameos by Nito Mestre and Pedro Aznar, respectively. Strangely, the set list leaves no room for any La Máquina de Hacer Pájaros or PorSuiGieco songs -- true, these were briefer projects, but one song from each should have been here at least for completeness' sake. In conclusion, as with many sets of this kind, 60x60 is an exceptional collector's item or gift, but those interested in learning about García's astonishing musical legacy are advised to seek virtually any of his 30-plus original albums.
In the words of Charly himself, 'La Vanguardia es asi' covers the rock and roll aspect from his discography, many of his most famous songs are presented one after the other in performances that can only be described as memorable. A great part of the merit goes to 'The Prostitution', the band shines together and each member has his/her moment to shine, pay special attention to Fernando Samalea in the Bandoneon for 'Viernes 3AM' or Christine Brebes in the violin for 'Los Dinosaurios'.
Charly Garcia - La Vanguardia es Asi (flac 445mb)
01 Tango En Segunda 1:38
02 El Amor Espera 4:50
03 Cerca De La Revolución 4:49
04 Rock And Roll Yo 4:19
05 Anhedonia 4:07
06 No Importa 5:14
07 Nos Siguen Pegando Abajo (Pecado Mortal) 3:29
08 Viernes 3 AM 3:56
09 La Grasa De Los Capitales 0:37
10 Me Siento Mucho Mejor 2:55
11 20 Trajes De Lágrimas I 2:03
12 Tu Vicio 3:42
13 Chipi Chipi 3:26
14 Demoliendo Hoteles 3:17
15 No Voy En Tren 2:46
16 Desarma y Sangra 3:21
17 Los Dinosaurios 3:32
18 No Toquen 2:59
19 Confesiones De Invierno 3:58
Charly Garcia - La Vanguardia es Asi (ogg 155mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
The second album of the 60x60 trilogy that commemorates the 60th anniversary of Charly Garcia, "Detras de las paredes" is the album that goes farther in the past of the discography of the artist. The album owes its name to Gustavo Cerati, while recording what eventually became 'Sinfonias para adolescentes' back in 2001, he suggested the album should be named like this; while the idea was discarded at the time, and was eventually used as the name of Sui Generis' live follow up album, Charly decided to use the name again for the second part of this trilogy.
The album opens with 1974's 'Instituciones', Charly and his band play while Nito Mestre takes over the stage in a stunning rendition of this classic from Sui Generis. It is an impressive thing that having such a huge discography, none of the songs included are unknown, even for casual fans. 'Pasajera en trance', Yendo de la cama al living', 'Necesito tu amor', 'Influencia' are just a few of the songs that are included in the first part of the concert. A highlight is 'Rezo por vos', normally a song Charly dedicates to L.A. Spinetta, in here it is dedicated to another person, a picture of a very young Gustavo Cerati with Charly is shown on a screen on stage while 'The Prostitution' plays the song. There are several things that make this album quite special, there's of course Charly, the new arrangements of many of the songs ('No me dejan salir' sounds incredible in the live version of this album), the band and the guests. The last portion of the concert reaches its climax when Juanse appears to sing and play 'La sal no sala' with the band; after that, Pedro Aznar joins the band to play and sing on 'Perro Andaluz' and 'No llores por mi, Argentina'. The selection of songs here will not disappoint fans and casual fans alike.
Charly Garcia - Detras de las Paredes (flac 495mb)
01 Instituciones
02 Pasajera en trance
03 Rezo por Vos
04 Yendo de la cama al living
05 Necesito tu amor
06 Hablando a tu corazón
07 Influencia
08 20 trajes de lágrimas II(Graciela Borges)
09 Fantasy
10 Canción de Alicia en el país
11 No soy un extraño
12 No me dejan salir
13 Cuchillos
14 Inconciente colectivo
15 La sal no sala (con Juanse)
16 Promesas sobre el bidet
17 Perro andaluz (con Pedro Aznar)
18 No llores por mí, Argentina (con Pedro Aznar)
19 Rasguña las piedras
20 Fanky
Charly Garcia - Detras de las Paredes (ogg 177mb )
xxxxx xxxxx xxxxx xxxxx xxxxx
The third and final album from the 60x60 collection that served to commemorate the 60th anniversary of Charly Garcia, "El angel vigia", got its name after Charly somehow related the themes from the songs in this concert to the Wim Wenders film 'Wings of desire', in which angels over the Berlin sky watch over the people, just as in 'Desarma y sangra'. In Charly's own words, this is the album that even though did not include 'superhits', people seemed to enjoy it, which is what he intended. I beg to differ though, as among the tracks in this third disc you can find songs like "Eiti Leda", "Cancion para mi muerte", "El dia que apagaron la luz" and "Asesiname" which in their own way, managed to become somehow successful as singles or critically acclaimed in the case of "Cancion para mi muerte"
Having said that, it is also honest to say that the songs included here are more of a melancholic nature than the ones in the two prior volumes, 'Piano Bar', 'Cancion de 2x3' and 'Deberias saber porque' are a few examples. As the prior two volumes, the third and last part of the text '20 trajes de lagrimas' is included, which leads to a new version of 'Raros peinados nuevos'. There is another additional text included here, 'La chica que se robo al mundo', voiced by none other than Juan Alberto Badia (according to Charly, one of his "favorite voices") that tells the story of a girl named 'Say'. You will have to see the DVD to understand the laughter of the audience while the text plays as Charly is acting it on stage; the text leads to one of the highlights of the album, 'El dia que apagaron la luz' which sounds, in my humble opinion, way better than the original album version included in 'Canciones para adolescentes'. The other highlight of the album, is the beautiful rendition of 'Cancion para mi muerte', while there is a part of the song in which Charly misreads the lyrics, it is forgiven and barely noticeable; the band sounds amazing, the whole theater sings with Charly while the lyrics appear on a screen on stage. Without a doubt, a great moment for Charly and 'The Prostitution' as well as for the audience.
'Popotitos', 'Llorando en el espejo', 'Rap del exilio' are some of the other songs included here. A funny moment in the album comes when Charly presents his guest for 'No se va a llamar mi amor', as in a very narcissistic way he calls on stage "a otro genio... Fito Paez!" (you know, there is one already on stage). While Fito plays the piano and sings with Charly, his voice can barely be heard, which makes sense as the protagonist in this concert is Charly, but unlike Juanse, Pedro Aznar or Nito Mestre, Paez seems to be relegated to play background vocals and play the piano with the band. It is really unfortunate that the version they played together live of 'Desarma y sangra' for this set of concerts, was not included in any of the three albums.
The closing track, 'Eiti Leda' is simply a wonderful track to close a trilogy of albums that cover a career of over 40 years. There are many songs fans may miss (I know I was looking for 'El fantasma de Canterville' for example), but the fact that Charly selected the songs to be included to commemorate this anniversary should give you a good idea of the songs he likes the most and the ones that may not have been as successful as others but that are important to him.
Charly Garcia - El Angel Vigia (flac 422mb)
01 Piano Bar
02 Canción de 2 x 3
03 I'm not in love
04 Plateado sobre plateado
05 La chica que se robó al mundo (voz de Juan Alberto Badia)
06 El día que apagaron la luz
07 Deberías saber porqué
08 Nuevos trapos
09 Popotitos
10 Llorando en el espejo
11 No te animás a despegar
12 20 trajes de lágrimas III (voz de Graciela Borges)
13 Raros peinados nuevos
14 Rap del exilio
15 Asesíname
16 Canción para mi muerte
17 No se va a llamar mi amor (con Fito Paez)
18 Eiti Leda
Charly Garcia - El Angel Vigia (ogg 153mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
A sidenote for today but Tom Petty is no longer with us, a heart attack did him in or maybe not confused ? I know I am.
Today for the last time Charly Garcia the 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
If his previous album seemed to be a comeback for Charly García himself, after years of being eclipsed by his alter ego, Say No More, Rock and Roll Yo finds the latter back in action. That means that this album is driven by a fuzzy and experimental sensibility. So it seems that this work won't stop the controversy about whether he still has the touch or whether he's completely lost. There are 11 songs on this album, but this is a bit tricky because there are two versions of "Asesíname," two versions of "V.S.D." (one is called "Tango" and, as the title suggests, represents García's peculiar approach to the tango style), and two covers. He has a special ability to take someone else's songs and to make them sound like his own. He did it on his previous record with Todd Rundgren's "Influenza" and he does it again on this album. His Spanish version of "Pretty Ballerina" is superb, while his version of Stevie Wonder's "Love's in Need of Love Today" (here renamed "Wonder") is outstanding. Despite the range of García's talent, Rock and Roll Yo is only occasionally successful. It's fun, but not much more.
Charly Garcia - Rock and Roll YO (flac 252mb)
1 Dileando con un Alma (Que No Puedo Entender) 4:10
2 Rehén 3:54
3 Asesíname 3:43
4 Linda Bailarina 3:02
5 Asesíname Stone 3:41
6 V.S.D. 3:25
7 Tango 2:42
8 Cretino 5:00
9 Rock and Roll Yo 4:31
10 Wonder (Love's in Need of Love Today) 3:38
11 Dealer (Reprise) 0:52
Charly Garcia - Rock and Roll YO (ogg 92mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Charly García celebrated his 60th birthday with a series of three concerts in which he performed 20 of his songs each night, for a grand total of 60 selections from his lengthy and legendary career. The concerts were appropriately called 60x60 and were later released in a luxurious CD/DVD set collecting all three of those late-2011 performances at Buenos Aires' Teatro Gran Rex. The box also included a lavish photo book, a giant poster, and a limited-edition autographed drawing by García. The video and audio component, however, were also released in more affordable separate volumes under the titles La Vanguardía Es Así, Detrás de las Paredes, and El Ángel Vigía. The concerts were warmly greeted as evidence of yet another step in García's miraculous comeback from junkie death land, as he continued to look healthier than in ages and his voice -- irretrievably hoarse as it may be by now -- is actually capable of singing once more. The show also included props, costumes, projections, voice-over narration by actress Graciela Borges and radio and TV host Juan Alberto Badía, and guests such as Juanse, Fito Páez, and Os Paralamas do Sucesso. Nevertheless, as emotive live performances go, this polished set lacks the passion, chaos, and urgency of García's previous birthday concert El Concierto Subacuático (2009). García's crack supporting band (now renamed the Prostitution) remains virtually unchanged, featuring veterans such as Fabián Von Quintiero, Fernando Samalea, and Carlos García López, but new vocalist Rosario Ortega does not seem as familiar with García's work as Hilda Lizarazu. Moreover, the string trio added for this latest incarnation somewhat smooths out the rougher edges that made El Concierto Subacuático so appealing, and in particular so well attuned to García's new rasping voice. On the other hand, this collection is much more comprehensive in surveying all the different periods of García's extraordinary musical genius, as it includes material from most of his solo albums and also revisits seminal classics from Sui Generis and Serú Girán, with mandatory cameos by Nito Mestre and Pedro Aznar, respectively. Strangely, the set list leaves no room for any La Máquina de Hacer Pájaros or PorSuiGieco songs -- true, these were briefer projects, but one song from each should have been here at least for completeness' sake. In conclusion, as with many sets of this kind, 60x60 is an exceptional collector's item or gift, but those interested in learning about García's astonishing musical legacy are advised to seek virtually any of his 30-plus original albums.
In the words of Charly himself, 'La Vanguardia es asi' covers the rock and roll aspect from his discography, many of his most famous songs are presented one after the other in performances that can only be described as memorable. A great part of the merit goes to 'The Prostitution', the band shines together and each member has his/her moment to shine, pay special attention to Fernando Samalea in the Bandoneon for 'Viernes 3AM' or Christine Brebes in the violin for 'Los Dinosaurios'.
Charly Garcia - La Vanguardia es Asi (flac 445mb)
01 Tango En Segunda 1:38
02 El Amor Espera 4:50
03 Cerca De La Revolución 4:49
04 Rock And Roll Yo 4:19
05 Anhedonia 4:07
06 No Importa 5:14
07 Nos Siguen Pegando Abajo (Pecado Mortal) 3:29
08 Viernes 3 AM 3:56
09 La Grasa De Los Capitales 0:37
10 Me Siento Mucho Mejor 2:55
11 20 Trajes De Lágrimas I 2:03
12 Tu Vicio 3:42
13 Chipi Chipi 3:26
14 Demoliendo Hoteles 3:17
15 No Voy En Tren 2:46
16 Desarma y Sangra 3:21
17 Los Dinosaurios 3:32
18 No Toquen 2:59
19 Confesiones De Invierno 3:58
Charly Garcia - La Vanguardia es Asi (ogg 155mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
The second album of the 60x60 trilogy that commemorates the 60th anniversary of Charly Garcia, "Detras de las paredes" is the album that goes farther in the past of the discography of the artist. The album owes its name to Gustavo Cerati, while recording what eventually became 'Sinfonias para adolescentes' back in 2001, he suggested the album should be named like this; while the idea was discarded at the time, and was eventually used as the name of Sui Generis' live follow up album, Charly decided to use the name again for the second part of this trilogy.
The album opens with 1974's 'Instituciones', Charly and his band play while Nito Mestre takes over the stage in a stunning rendition of this classic from Sui Generis. It is an impressive thing that having such a huge discography, none of the songs included are unknown, even for casual fans. 'Pasajera en trance', Yendo de la cama al living', 'Necesito tu amor', 'Influencia' are just a few of the songs that are included in the first part of the concert. A highlight is 'Rezo por vos', normally a song Charly dedicates to L.A. Spinetta, in here it is dedicated to another person, a picture of a very young Gustavo Cerati with Charly is shown on a screen on stage while 'The Prostitution' plays the song. There are several things that make this album quite special, there's of course Charly, the new arrangements of many of the songs ('No me dejan salir' sounds incredible in the live version of this album), the band and the guests. The last portion of the concert reaches its climax when Juanse appears to sing and play 'La sal no sala' with the band; after that, Pedro Aznar joins the band to play and sing on 'Perro Andaluz' and 'No llores por mi, Argentina'. The selection of songs here will not disappoint fans and casual fans alike.
Charly Garcia - Detras de las Paredes (flac 495mb)
01 Instituciones
02 Pasajera en trance
03 Rezo por Vos
04 Yendo de la cama al living
05 Necesito tu amor
06 Hablando a tu corazón
07 Influencia
08 20 trajes de lágrimas II(Graciela Borges)
09 Fantasy
10 Canción de Alicia en el país
11 No soy un extraño
12 No me dejan salir
13 Cuchillos
14 Inconciente colectivo
15 La sal no sala (con Juanse)
16 Promesas sobre el bidet
17 Perro andaluz (con Pedro Aznar)
18 No llores por mí, Argentina (con Pedro Aznar)
19 Rasguña las piedras
20 Fanky
Charly Garcia - Detras de las Paredes (ogg 177mb )
xxxxx xxxxx xxxxx xxxxx xxxxx
The third and final album from the 60x60 collection that served to commemorate the 60th anniversary of Charly Garcia, "El angel vigia", got its name after Charly somehow related the themes from the songs in this concert to the Wim Wenders film 'Wings of desire', in which angels over the Berlin sky watch over the people, just as in 'Desarma y sangra'. In Charly's own words, this is the album that even though did not include 'superhits', people seemed to enjoy it, which is what he intended. I beg to differ though, as among the tracks in this third disc you can find songs like "Eiti Leda", "Cancion para mi muerte", "El dia que apagaron la luz" and "Asesiname" which in their own way, managed to become somehow successful as singles or critically acclaimed in the case of "Cancion para mi muerte"
Having said that, it is also honest to say that the songs included here are more of a melancholic nature than the ones in the two prior volumes, 'Piano Bar', 'Cancion de 2x3' and 'Deberias saber porque' are a few examples. As the prior two volumes, the third and last part of the text '20 trajes de lagrimas' is included, which leads to a new version of 'Raros peinados nuevos'. There is another additional text included here, 'La chica que se robo al mundo', voiced by none other than Juan Alberto Badia (according to Charly, one of his "favorite voices") that tells the story of a girl named 'Say'. You will have to see the DVD to understand the laughter of the audience while the text plays as Charly is acting it on stage; the text leads to one of the highlights of the album, 'El dia que apagaron la luz' which sounds, in my humble opinion, way better than the original album version included in 'Canciones para adolescentes'. The other highlight of the album, is the beautiful rendition of 'Cancion para mi muerte', while there is a part of the song in which Charly misreads the lyrics, it is forgiven and barely noticeable; the band sounds amazing, the whole theater sings with Charly while the lyrics appear on a screen on stage. Without a doubt, a great moment for Charly and 'The Prostitution' as well as for the audience.
'Popotitos', 'Llorando en el espejo', 'Rap del exilio' are some of the other songs included here. A funny moment in the album comes when Charly presents his guest for 'No se va a llamar mi amor', as in a very narcissistic way he calls on stage "a otro genio... Fito Paez!" (you know, there is one already on stage). While Fito plays the piano and sings with Charly, his voice can barely be heard, which makes sense as the protagonist in this concert is Charly, but unlike Juanse, Pedro Aznar or Nito Mestre, Paez seems to be relegated to play background vocals and play the piano with the band. It is really unfortunate that the version they played together live of 'Desarma y sangra' for this set of concerts, was not included in any of the three albums.
The closing track, 'Eiti Leda' is simply a wonderful track to close a trilogy of albums that cover a career of over 40 years. There are many songs fans may miss (I know I was looking for 'El fantasma de Canterville' for example), but the fact that Charly selected the songs to be included to commemorate this anniversary should give you a good idea of the songs he likes the most and the ones that may not have been as successful as others but that are important to him.
Charly Garcia - El Angel Vigia (flac 422mb)
01 Piano Bar
02 Canción de 2 x 3
03 I'm not in love
04 Plateado sobre plateado
05 La chica que se robó al mundo (voz de Juan Alberto Badia)
06 El día que apagaron la luz
07 Deberías saber porqué
08 Nuevos trapos
09 Popotitos
10 Llorando en el espejo
11 No te animás a despegar
12 20 trajes de lágrimas III (voz de Graciela Borges)
13 Raros peinados nuevos
14 Rap del exilio
15 Asesíname
16 Canción para mi muerte
17 No se va a llamar mi amor (con Fito Paez)
18 Eiti Leda
Charly Garcia - El Angel Vigia (ogg 153mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
No comments:
Post a Comment