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Lyrics and experiences of a musician essential to understand contemporary Argentina. A bandit who made everything sound different.
“ Ma la freedom/you will always take it/Inside the heart” is repeated in “Unconscious Collective” (1982), that electronic prayer with libertarian echoes, and perhaps, the greatest composition of Charly Garcia (1951). A song that is an unfailing Latin American songbook covered by Mercedes Sosa and Milton Nascimento, among others. Not to mention “The Dinosaurs” (1983) which embraced the democratic springs of an entire Continent anticipated in “No Happens, No One Passs/Just a Military Band Detuning Time and Compass” of “Superheroes” (1982). Part of the second foundational litter of national rock, one closer to folk roots without forgetting tango, Charly García synthesizes together with 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 jumps to the void, such as the novel progressive La Máquina de Hacer Pájaros (1976-1977) —a name inspired by a strip by graphic comedian Crist-, or the definitive incorporation of rhythm to a local solemn rock that prioritized lyrics over music, not only with his “Modern Clicks” (1983) or “ How to get girls ” (1989) but supporting the sound scare of The Grandparents of Nothing and The Twist. 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 about me” (1996), or “Everyone has sorrows, but I miss even your problems”, in “Band-Aids” (1990).
Carlos García Moreno's childhood, Charly by a courtesy of an English teacher, dates back to the games of a pétit hotel in Caballito, on 65 Moreno Street. There lived surrounded by luxuries and attentions a child Carlos, in a room separate from his siblings at the idea of Mom Carmen, something that would accentuate a solitary sensibility that increased with fantasy worlds, between sci-fi heroes and movie stars from old Hollywood, &Marilyn took too many pills yesterday/She had been left alone, she had been lied to and when we saw her die/Life came to say, /"This is not a game, babe, /We're stuck,” in “Marilyn, Cinderella and Women” (1977). He also grew his dowry for music, aided by that absolute ear that was only made famous by an article by the writer Osvaldo Soriano in the nineties, and if at four he already played the piano, at nine he composed listening to the Clan Club de Palito Ortega , “The Heart is soft/Heart forgives/But your heart, it seems concrete” just 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 formic furniture factory of a rigid father Carlos, but nothing matters to teenager Charly who sees 27 times “ A hard day's night “by The Beatles. Youth ensembles in secondary comrades of Damaso Centeno, letters of recommendations from prominent folklorists through the ties of their radio producer mother, including a dazzled Mercedes Sosa with the child prodigy, and finally the opportunity comes in the fall of 1972 in Mandioca, the seal of visionary Jorge Álvarez. The Heavy Rock & Roll, the Billy Bond hard blues band that accompanied with their instruments the first recordings, contained laughter at the voice of their fellow Nito Mestre , “I need someone to patch me a little/and wipe my head/cook mother's stews, grandma desserts candy towers”, from “Necesito” (1972). The hundred thousand buyers of the debutant LP “Vida” (1972) did not care about Sui Generis' folk mockery and massively supported Garcia 's songs, which became darker as political violence grew. To “Little Anecdotes about Institutions” (1974) they did not let it be, “the original idea of the album was to put one song for the police, another for the army, another talking about the family.,” remembered Charly with the mutilations of “Botas Locas”, which cost him a stop in Uruguay when he played it live, and “Juan Represción”, a painting by a paraglider in the style of the dark Triple AAA — it was only released in 1994. This repressive climate, plus Charly 's innate desire to revolutionize, which was beginning to experiment with modern instruments such as the Mini Moog, precipitates the end with the historic concert of September 5, “Goodbye Sui Generis”, before 30,000 people at Luna Park. The following year he formed the progressive ensemble, García and La Máquina de Hacer Pájaros, with Carlos Cutaia and Oscar Moro and produced two albums that would still expect a better appreciation.oacute; n, “stop crying, don't let yourself kill/there are so many mornings to walk” sang in 1977 Garcia , “there is no hope in the city” he said dodging dead by the last military dictatorship.
Since childhood Charly used to write at all times and places, many adolescence lyrics were reconverted even in the two thousand, and one of the songs I expected her time was “Eiti-Leda”,” Winter was bad/And I think I forgot my shadow in a subterraneum/And your legs getting longerThey know it's not good to go back/The city pees us laughing, baby” Composed by Garcia for Sui Generis opened the way of the first Argentine super group, Serú Girán . David Lebón, Pedro Aznar, Moro and Charly formed a team of dreams in Buzios in the summer of 1978 where pop went on a walk with jazz rock, and tango became candombe and fusion. Denoted in a first show at the Teatro Premier, many critics spoke of “the worst of Argentine music”, helped again by Billy Bond, Charly was on the verge of indigence in Brazil, Serú Girán became “the Argentine Beatles” with “The fat of the capitals” (1979) with the anthological ones “Friday 3 AM”, “Los survivors”, “We will never have root/we will never have a home/and yet, you see/we are from here”, and “Perro andalusian”. Humor, poetry, irony and despair is the mark of Charly's latristics 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 minor heir “Part of Religion” (1987), are encolumned under the banner of “I want to see many more Delusional out there, dancing on any street” Between sadness and hope, and the ladine 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 was born with Videla/I was born without power/I fought for freedom/And I never could have/I lived among fascists/I died on the high/I grew up with those who were right/But at night it was all wrong” or”Promises on the bidet” are the bottles that 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 him makes the bocho work,” Charly told Miguel Grinberg and Alejandro Piscitelli in the times of “Cheap Philosophy and Rubber Shoes” (1990) - and just to survive; you do what you want, then you get used to living like that.iacute; When that disappears, there's a void, or it's more hidden, because being, there's... there are people who need to have a dad, have the state tell them to do this, or that, and they kind of think that life is like that. One is born, goes to an office, ascends or descends, dies. This mentality is a little trout, we don't have the best state in the world to defend that, so let's say that imagination, freedom a lot of people are afraid, they're afraid to lose a safe job and invent another. Or say, for example, oh, now I can write, but what do I want to write,” he finished in the years he also tried in film, was a supporting actor for “What will come” (1988), received an award in New York for best supporting actor — playing a driver, He never drove a car!-, previously composed for films, Pubis Angelical (1982), and theater, Antonio Gasalla's “Intensiva Therapy” (1984). He also tried new creative societies with Spinetta, Aznar and Enrique Pinti. Closing the decade with a combustible interpretation of the “Argentine Anthem ”, which takes up the way of Jimi Hendrix in “Star-Splanged Banner”, which was first denounced for “insult to the homeland symbols” and which today sounds in all schools Argentines.
Fear, Fury and Redemption in Say no More
“Once I thought nothing was going to happen to me” wrote Charly in “Clock de Plasticina” (1990) But it is the years of a thousand addiction addiction addiction, jumps from a ninth floor in Mendoza and he fights with his son in his apartment of Coronel Díaz and Santa Fe.The last decade of the last century he is reunited with Serú Girán (1992), two filled River Plate stadiums, and Sui Generis (2000), now a Boca Juniors stadium “You saw me grow up/you saw me born/and I saw you laugh/When the glass/goes out in the wicke/you see, that all/this song/joyfuliacute; toToday, as yesterday/disappear, smile” sang in the bathroom of the album La Diosa for “Cuillos” of “Say no More” (1996) Charly slipped more and more 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 Dali and Prince. From “La hija de la teardrop” (1994) he plays between compositional pastiche and low-fi, the famous “maravillización” (sic), in an alley without headlights or signs of life ending in “Rock and Roll YO” (2003). This was a production crossed by the sadness of the death of another great collaborator, guitarist María Gabriela Epumer. “ To give you what I did/ I turned into a souvenir/ kill me, kill me” insisted with a cavernous voice an exhausted Charly to close with a beatlesco savior “All you need is love.. love.. love.”
The future is clean, assured him by legendary Rolling Stone producer Andrew Loog Oldham , who accompanied him on the rugged and toxic trip to “Kill Gil” (2010). A providential aid from Palito Ortega began a clean, celebratory decade of his genius with the “Underwater Concert” (2010) at the Velez Stadium —a mural opened in 2020 recalls that historic show-, a compilation box “60x60” (2011) and “Random” (2017)”Unprejudiced are those who will come/And those who are no longer care more/The jailers of humanity/They will not catch me/Twice with the same net” sang hopefully in the future, in “I am not a stranger” (1983) In music and verses of Charly, Argentines, I, although I did not “learn to live”, knew “what freedom is”
Sources: There are tons of magazines and books about Charly Garcia — and we don't count the teras on the network. We could say that it is enough to enjoy his music but such a complex figure needs good introductions. In addition to Sergio Marchi's canonical book “ Don't say anything: A life of Charly García” (Planet: 1997, updated in 2007), we add the recent and original “Esta noche toca 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 corroborate 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: 30/10/2020
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