CHARLY GARCÍA, SU VIDA E INFLUENCIA EN EL ROCK ARGENTINO, EN LINEA DE TIEMPO

#CharlieGarcia #Rock #Biography #RecordLabel 1951: Carlos Alberto García Moreno—Charly to his friends—was born into a well-to-do family in Buenos Aires on October 23rd of this year. 1971: Charly and his school friend, Carlos Alberto Mestre—known to everyone as Nito—caught the attention of music producer Jorge Álvarez and Argentine music legend Billy Bond. Interestingly, this happened because their drug dealer—who also acted as Charly and Nito's manager—gave them a tape of the young friends. Intrigued by the duo's songs, they invited them to an acoustic audition, where they were blown away by "Canción para mi muerte" (Song for My Death). Thus, the production of their first LP under the name "Sui Generis" became a reality. Fun Fact: Did you know that Charly was literally born to be a musician? We can confirm this because he was born with perfect pitch, allowing him to identify any note simply by hearing it. We expected nothing less from him. 1972: Lacking recording experience, but with songs of diverse structures and good lyrics, Charly and Nito managed to shape their first professional material. Titled "Vida" (Life), and despite its rudimentary production, this album didn't skimp on gems that would endure through the years. Songs like "Quizás por qué" (Perhaps Why), "Estación" (Station), "Mariel y el capitán" (Mariel and the Captain), and the astonishing "Canción para mi muerte" (Song for My Death) are just a few examples of García's songwriting prowess. It was also in this year that they gave their now legendary performance at the Buenos Aires Rock festival. 1973: Having achieved some success among the youth of their country, the duo decided not to rest on their laurels and released "Confesiones de invierno" (Winter Confessions), an album that perfected the production and refined the songwriting compared to their previous work. That said, it's no surprise that classics like "Rasguña las piedras" (Scratch the Stones), "Aprendizaje" (Learning), "Lunes otra vez" (Monday Again), and the brilliant "Confesiones de invierno" (Winter Confessions) are found on this LP. 1974: Charly, eager to capture the difficult times Argentina was going through in those years, released "Pequeñas anécdotas sobre las instituciones" (Small Anecdotes About Institutions). Unfortunately, the lyrics suffered the weight of censorship under the third Peronist government and changed from their final version. Because of this, songs like the very famous "Instituciones" (Institutions) had to be modified for fear of possible reprisals against the musicians. As a side note, two songs had to be removed entirely due to their strong political content. These were "Botas locas" (Crazy Boots) and "Juan Represión" (John Repression). 1975: Feeling that his time with Sui Generis had come to an end, Charly decided to say goodbye to his first band…but not before, of course, giving a grand farewell concert. With this in mind, the band performed at the legendary Luna Park, delivering one of the most important concerts in Argentine rock history. This concert resulted in the live album “Adiós Sui Generis,” which has become a classic for the band's fans. 1976: Wanting to continue experimenting with other musical genres, García formed “La máquina para hacer pájaros” (The Bird-Making Machine). This new band featured drummer Oscar Moro—who had played with Los Gatos—keyboardist Carlos Cutaia—formerly of Pescado Rabioso—bassist José Luis Fernandez—who had recently played with the band Crucis—and Gustavo Bezterrica, who would later join Los Abuelos de la Nada. With this incredible lineup, they released their first studio album, simply titled “La máquina de hacer pájaros.” This album features great songs like “Bubulina”—which was first performed at Sui Generis' farewell concert—and “Cómo mata el viento norte” (How the North Wind Kills). Charly truly is a genius. 1977: Suffering the first horrors of the dictatorship and facing even more severe censorship, La Máquina (The Machine) remained undeterred and, disguising their subversive lyrics, released “Películas” (Movies), their second and final LP. Excellent songs like “Hipercandómbe” and the critique of the dictatorship in “Qué se puede hacer salvo ver películas” (What Can You Do Except Watch Movies) grace this album. Unfortunately, the band didn't achieve the expected success, and Charly decided to leave due to increasingly noticeable friction. 1978: With the mindset of being part of a larger group and working more organically, this year Charly decided to form, along with David Lebón, Pedro Aznar, and Oscar Moro, a band that would make history: Serú Girán. Confident in the excellent chemistry between them, that same year they entered the studio and recorded their first LP, "Serú Girán." It featured great classics of Latin American music like "Eiti Leda" and "Seminare," creating an album that did everything but disappoint. However, the press and the public weren't very receptive to this first work, shower...