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” Love the freedom/ you will always wear it/inside the heart” is repeated in “Collective Unconscious” (1982), that electronic prayer with libertarian echoes, and perhaps, the greatest composition of Charly Garcia (1951). A song that is an inaltable song by the Latin American songbook versioned by Mercedes Sosa and Milton Nascimento, among others. Not to mention “The Dinosaurs” (1983) that embraced the democratic springs of an entire Continent anticipated in “Nothing Happens, Nobody Passs/Just a Military Gand/Tuning Time and Compass” of “Superheroes” (1982). Part of the second founding litter of national rock, one closer to folk roots without forgetting tango, Charly Garcia synthesizes next to Luis Alberto Spinetta and Gustavo Cerati the notorious influence of Argentine rock in the Spanish-speaking world. But within the same Argentine rock it produces empty jumps, such as the novel progressive of La Máquina de Hájaros (1976-1977) —a name inspired by a strip by graphic humorist Crist-, or the definitive incorporation of rhythm to a solemn local rock that prioritized lyrics over music, no only with his “Modern Clicks” (1983) or “How to Get Girls” (1989) but by supporting the sound scatter of The Grandparents of Nothing and The Twists. And, of course, without neglecting the lyrics, with real gems of urban poetry in the modernity of neuroses made flesh, “I know, I am unbearable, but someone in the world thinks of me” (1996), or “Everyone has sorrows, but I miss even your problems,” in “Band-Aids” (1990).
Childhood of Carlos Garcia Moreno, Charly by a courtesy of an English teacher, goes back to the games of a pétit hotel in Caballito, on Calle Moreno 65. There lived surrounded by luxuries and attentions a child Carlos, in a room separated from his brothers for the idea of Mama Carmen, something that would accentuate a lonely sensibility that increased with fantasy worlds, between science fiction heroes and movie stars from old Hollywood, & Marilyn took too many pills yesterday/she had been left alone, they had lied to her/And when we saw her die/Life came to us to say: /"This is not a game, babe, /We are trapped”, in “Marilyn, Cinderella and Women” (1977). He also grew his dowry for music, helped by that absolute ear that only became famous by an article by writer Osvaldo Soriano in the nineties, and if at four years he played piano, at nine he composed listening to Palito Ortega Clan Club , “The heart is soft/The heart forgives/But your heart, looks like concrete” recently appeared in 2010 thanks to Palito in “Kill Gill”, and at twelve he is already a piano teacher. They no longer have the prosperity of yesteryear, melts the formica furniture factory of a rigid father Carlos, but nothing matters for the teenager Charly who sees 27 times” A hard day's night “by The Beatles. Youth ensembles in secondary companions of the Damaso Centeno, letters of recommendations from outstanding folklorists through the links of his mother radio producer, including a Mercedes Sosa dazzled with the child prodigy, and finally the opportunity comes in the fall of 1972 in Mandioca, the stamp of visionary Jorge Álvarez. La Pesada del Rock & Roll, the hard blues band of Billy Bond that accompanied the first recordings with their instruments, contained the laughter before the voice of his teammates Nito Mestre , “I need someone to get me a little/and clean my head/cook mother's stews, grandmother's desserts and candy towers”, from “I need” (1972). One hundred thousand buyers of the debutante LP “Vida” (1972) did not care about the teasing of folk Sui Generis and massively supported the songs of Garcia , which became darker as political violence grew. A “Small anecdotes about institutions” (1974) did not let it be, “the original idea of the album was to put a song for the police, another for the army, another talking about the family tremendous! ”, he recalled Charly with the mutilation of “Botas locas”, which cost him an arrest in Uruguay when he played it live, and “Juan Repressión,” a painting by a parapolicial in the style of the dark Triple AAA — was just released in 1994. This repressive climate, plus an innate craving to revolutionize Charly , which began to experiment with modern instruments such as the Mini Moog, precipitate the end with the historic concert on September 5, “Adiós Sui Generis”, before 30,000 people at Luna Park. The following year formed the progressive ensemble, García and La Máquina de Hájaros, with Carlos Cutaia and Oscar Moro and produces two albums that still expect a better appreciation, “enough to crie/do not let yourself be killed /there are so many mornings left to walk” he sang in 1977 Garcia , “there is no hope in the city,” he said dodging dead by the last military dictatorship.
Since childhood Charly accustomed to writing at all times and place, many lyrics of adolescence were converted even in the two thousand, and one of the songs she waited for her hour was “Eiti-Leda”,” Winter was bad/And I think I forgot my shadow in a subterrane/And your legs increasingly long/ They know it's not good to go back/The city is laughing, baby” Composed by Garcia for Sui Generis opened the way for the first Argentine super group, Serú Giran . David Lebón, Pedro Aznar, Moro and Charly formed in Buzios in the summer of 1978 a dream team where pop went on a walk with jazzy rock, and tango became candombe and fusion. Rejoiced in a first show at Teatro Premier, many critics spoke of “the worst of Argentine music,” aided again by Billy Bond, Charly was on the verge of indigence in Brazil, Seru Giran become “the Argentine Beatles” with “The fat of the capitals” (1979) with the anthology “Friday 3 AM”, “The survivors”, “We will never have root/never have a home/and yet you're from here””, and “Dog andalusian”. Humor, poetry, irony and despair is the mark of Charly's letristics that will accompany him after the end of the group with “Peperina” (1981). “Going from bed to living” (1982), “Modern Clicks” (1983), “Piano Bar” (1984), and the younger heir “Part of Religion” (1987), are encolumnated under the banner of “I want to see many more delirious out there, dancing on any street” Between sadness and the hope, and the ladina smile of the Cheshire Cat of “Alice in Wonderland”, another great influence, Garcia takes snapshots of Argentine fears and joys. “They won't let me out”, “Demolishing hotels”, “I who was born with Videla/I who was born without power/I who fought for freedom/And I could never have it/I who lived among fascists/I who died in the altar/I who grew up with those who were well/But at night it was all wrong” or” Promises about the bidet” are the bottles Charly throws into the sea to find us - horrified? assumed? - with our own creatures in the form of dreams and nightmares.
“Having an enemy and defending yourself from it makes your mouth work,” he said Charly to Miguel Grinberg and Alejandro Piscitelli in the times of “Cheap Philosophy and Rubber Shoes” (1990) - and to simply survive; do what you want, then you get used to living like this. When that goes away, there's a void, or it's more hidden, because to be, there's... there are people who need to have a dad, have the state tell him to do this, or the other thing, and they kind of think life is like that. You are born, go to an office, ascend or descend, die. This mindset is a little trout, we don't have the best state in the world to defend that, so let's say imagination, freedom a lot of people are afraid, they're afraid to lose a safe job and invent another. Or say, for example, oops, now I can write, but what do I want to write,” he ended in the years he was also trying in cinema, was a supporting actor for “What will come” (1988), received an award in New York for best supporting actor — playing a driver, he who He never drove a car! -, he had previously composed for films, Pubis Angelical (1982), and theatre, “Therapy Intensiva” (1984) by Antonio Gasalla. It was also testing new creative societies with Spinetta, Aznar and Enrique Pinti. Closes the decade with a fuel interpretation of the “Argentine Anthem ”, which resumes Jimi Hendrix's way in “Star-Splanged Banner”, which was first denounced for “offense to patriotic symbols” and which today sounds in all Argentine schools.
Fear, Fury and Redemption in Say No More
“I once thought nothing was going to happen to me,” he wrote Charly in “Reloj de Plastilina” (1990) But it is the years of the thousand hospitalizations for addiction, he jumps from a ninth floor in Mendoza and fights with his son in his department of Coronel Díaz and Santa Fe. The last decade of the last century he is relocated with Serú Girán (1992), two river plate stadiums filled, and Sui Generis (2000), now a stadium in Boca Juniors “You saw me grow/you saw me born/ and i saw you laugh/When the glass/turns off on the bad/you'll see, that all/this song/is joyful & iacute; a/Today, today as yesterday/disappear/is everyone, smile” sang in the bathroom of the disc La Diosa for “Knives” by “Say no More” (1996) Charly was increasingly sliding into the dark despite his efforts to recreate himself as a conceptual artist” Say No More” —inspired by a phrase by Paul McCartney in the film “Help” - , close to his admired Salvador Dalí and Prince. From “La hija de la teardrop” (1994) he plays between the compositional pastiche and the low-fi, the famous “wonder” (sic), in an alley without lighthouses or signs of life that ends in “Rock and Roll I” (2003). This was a production crossed by the sadness of the death of another great collaborator of his, guitarist María Gabriela Epumer. “To give you what I said/I became a souvenir/kill me, kill me” he insisted with a cavernous voice an exhausted Charly to close with a beatlesco savior “All you need is love.. love.. love — All you need is love.”
The future is clean assured the mythical producer Rolling Stone, Andrew Loog Oldham , who accompanied him on the rugged and toxic trip to “Kill Gil” (2010). A providential aid from Palito Ortega began a celebratory decade, clean, of his genius with the “Underwater Concert” (2010) at the Vélez stadium — a mural opened in 2020 recalls that historic show-, a collection box “60x60” (2011) and “Random” (2017)” Unprejudiced are those who will come/And those who are no longer care to me/Jailers of Humanity/They will not catch me/Twice with the same network” sang hopefully in the future, in “I am not a stranger” (1983) In music and verses from Charly, Argentineans, I, even though I didn't “learn to live”, knew “what freedom is”
Sources: There are tons of magazines and books on Charly Garcia —and we don't count the teras on the redes. We could say that it is enough to enjoy his music but such a complex figure needs good introductions. In addition to the canonical book of Sergio Marchi” Don't say anything: A life of Charly Garcia” (Planet: 1997, updated in 2007); we add the recent and original “Tonight plays Charly” by Roque Di Pietro (Gourmet Musical. 2020) and, for the first person voice of the musician since the nineties, a 2016 Rolling Stone special. And if we want to understand the context, and confirm that Charly is a natural force of Argentine culture, we refer to the indispensable “How did the hand come. Origins of Argentine Rock” (multiple editions since 1977) by Miguel Grinberg.
Publication Date: 29/03/2021
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