While in high school he met Carlos Alberto "Nito" Mestre. With him and Carlos Piegari, Beto Rodriguez and brothers formed Sui Generis Belia, who, after suffering several defections, was turned into a duet. American folk style, very fashionable at that time, they recorded three albums: "Life" (1972), "Confessions of Winter" (1973) and "little anecdotes about the institutions'. For various reasons, the duo separated in 1975, but not before organizing a farewell concert, during which there was a double album, "Goodbye Sui Generis".
In 1976 he recorded an album with Porsuigieco, along with acoustic rock leaders: Raul Porchetto, León Gieco, Nito Mestre and María Rosa Yorio.
Birds making machine is the name of his next band, an innovative project that symphonic rock shore. In his short life he had two albums released: "The Birds Making Machine" (1976) and "Movies" (1977).
Between 1978 and 1982, Garcia leads Seru Giran, one of the key bands in the National Rock. With this group released five albums: "Seru Giran" (1978), "The Fat of the Capitals' (1979)," Bicycle "(1980)," Peperina "(1981) and" Do not Cry for Me, Argentina "(1982 ).
In that same year he began his solo career. Raul de la Torre commissioned the soundtrack of his film "Pubis Angelical". Simultaneously recorded "Going from the bed to the Living." Aided by the spread that was given at that time to the National Rock through the media (during the Falklands War was forbidden to play music in English), the album was well received by the public. Songs anthologies arose from it, such as "Do not bomb Buenos Aires"
"Collective unconscious" or "I do not want to become so crazy." For this work, the band consisted of Willy Iturri on drums, guitar Bazterrica Gustavo, Puppy Lopez on bass and keyboards Andres Calamaro. This material was presented in a stunning concert - to 25,000 - in the Ferrocarril Oeste Stadium, on December 26, 1982. At the opening of the show, Charlie hit the stage on board a pink Cadillac and, in closing, a shower of missiles destroyed the city of props that formed the backdrop, while the last chord sounded "not bomb Buenos Aires".
In his next solo work ("Modern Hits", 1983), leaned more to the pop-rock, but the song is contesting a place in, for example, 'Dinosaurs'
The Garcia essential trilogy is completed with "Piano Bar" (1984), an album that has rocker in "Demolishing Hotels 'and' Strange new hairstyles" his greatest achievements.
Along with Pedro Aznar - and not without raising some nostalgia - recorded "Tango" (1986). This material was presented at the Paladium nightclub on March 26. Its spread was very low, although it gave the impression that the project was for more.
In 1987 came "part of religion", considered by many as the best album of the Garcia solo. This material was recorded and performed almost entirely by him and reciprocates a strong rock melodic choruses. It is surely one of its most prolific and compact discs, from the cover to the contents of the letters.
In 1988 after composing the soundtrack of the movie "What will come" Gustavo Mosquera (in which he also starred as a nurse), worked on his next solo album, "How To Get Girls" (1989), essentially a job collection of individual songs, which García, for various reasons, had never recorded.
To launch his next album "Barata Philosophy and Rubber Shoes" (1990), Garcia had to overcome a prosecution for "offending patriotic symbols" since that LP included a version of the Argentine National Anthem, which ultimately ended up being authorized by the courts.
1993 was a year of recording silence, but a lot of media presence. The resort in Punta del Este left several pages printed on scandals he was involved always. Followed several admissions to detoxification clinics.
By October started touring again in Ferro ending in late December. The support band, "Pocket Money" suffered the defection of Carlos Garcia Lopez and Hilda Lizarazu, both heading for their individual projects (the Lopez Garcia Band and Man Ray, respectively). Maria Gabriela Garcia called Epumer (ex-widow and daughters), to fulfill both functions, guitar and vocals.
In February of '95 was presented at the International Song Festival, the World Cup Stadium in Mar del Plata, with Paralamas, Antonio Birabent and Faithfull Marianne. Taking advantage of the fury of the acoustic performances, Garcia was presented in the series "Unplugged" of American television network MTV, with a show that included topics of all stages and was put on the air for all Latin America in July and released on CD the end of that year. The material was performed live at the Teatro Gran Rex, in late '95.
In the summer of '99 was the big draw free cycle Buenos Aires Vivo III, organized by the city government in Puerto Madero. More than 150,000 people cheered Garcia in a show dedicated to missing and recorded live for the album "Too Ego '. That same year he returned to the controversy, to organize a private recital for President Carlos Menem. That show was recorded in "Charly & Charly" limited edition disc that was released.
Three years would pass before Garcia returned to the disc, and the format of song in his creations. "Influence" (2002) was in "Your vice 'broadcast cut, but the rest of the material is far more interesting than that catchy tune but superfluous.
Already in 2003 published "Rock and Roll Yo 'court whose first broadcast" Asesiname "was very well.
After hundreds of scandals in his recitals and fights with his son Migue, Charly hopes to release "Kill Gil" in 2007. The plate, recorded in studies of Palito Ortega, located in San Juan, and mixed in New York, contains topics like "Concrete Heart", the bicolor sings a duet with Ramon "Palito" Ortega, "No matter" (which had already sounded several times live) and covers of John Lennon ("Watching the Wheels" Castilian adaptation of "Watching the Wheels") and Stones ("Play with Fire", sung by producer Andrew Loog Oldham)....
Correte Beethoven
Charly Garcia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
(Oh no)
Para aquí, para allá
Para aquí, para allá
Para aquí, para allá
Para aquí, para allá
Para aquí, para allá
Para aquí, para allá (avisen)
Yeah
Estoy harto que me digan
Que me peguen, que me sigan
Que me expliquen qué es el rhythm and blues
Mamá está en la oficina
Papá está en la cocina
Y me cortaron la luz
Para aquí, para allá
La música nos va a matar
Yo sé que sube la fiebre
Tengo neumonía rockal
Este es El Aguante
No voy de levante
Y te la vas a bancar
Para aquí, para allá
La música nos salvará
Yo sé que soy un fusible
Yo soy tan loco que parezco irrompible
No debo nada, nada
Cuídate nena de mi mirada
Para aquí, para allá
La música nos va a garpar
Córrete Beethoven
Córrete Beethoven
Temblando en la mañana
Ya viene la mucama
Y me dice lo que tengo que hacer
Quemaré la vieja radio
Romperé todos los diarios
Y ni hablar de la T.V.
Para aquí, para allá
Nos va a matar
Para aquí, para allá
Córrete Beethoven
Que Borges no soy (zorra)
Córrete Beethoven (zorra, zorra, chorra)
Yeah
Para aquí, para allá
(La música nos va a matar)
Yo me cogí a "Para Elisa"
La "Novena" me idiotiza
"La Patética" no sabe bailar
Se tomó todas las drogas
Quedó sorda, se hizo trola
Y ahora me quiere cobrar
Para aquí, para allá
La música nos va a matar (para ti, baby)
Para aquí, para allá
Para aquí, para allá
Para aquí, para allá
Para aquí, para allá
Para aquí, para allá
Para aquí, para allá
Para aquí, para allá
The song "Correte Beethoven" by Charly Garcia has a rebellious tone and a critique of society's norms and expectations. The first stanza talks about being tired of people telling him what to do and how to feel, and even trying to explain what "blues" is. The second stanza describes a chaotic household with the parents in separate places and the singer's electricity being cut off. Despite this, the music will not kill them, but rather save them. The third stanza talks about the singer being a "fuse" and completely unpredictable, but he owes nothing to society. The chorus, "Correte Beethoven," translates to "Move over, Beethoven," indicating a desire for a new generation to speak their own voice and not be held to the standards of past musical icons.
Line by Line Meaning
(Ja, come on)
An exclamation used to motivate or excite the listener
(Oh no)
An expression of concern or disappointment
Para aquí, para allá
Moving back and forth, indicating a sense of confusion or chaos
Para aquí, para allá
Repeating the previous line to emphasize the chaos and confusion
Estoy harto que me digan
Expressing frustration with being told what to do or how to be
Que me peguen, que me sigan
Referring to criticism or scrutiny; feeling like a target
Que me expliquen qué es el rhythm and blues
Feeling misunderstood or judged for one's taste in music
Mamá está en la oficina
Stating the location of one's mother, indicating they are not available
Papá está en la cocina
Stating the location of one's father, indicating they are also not available
Y me cortaron la luz
Feeling helpless or powerless due to a lack of electricity
La música nos va a matar
Expressing a sense of danger or urgency through the power of music
Yo sé que sube la fiebre
Acknowledging the electrifying energy that comes from music
Tengo neumonía rockal
Metaphorically expressing the power of music through a high fever
Este es El Aguante
Proudly proclaiming a dedication to music and its power
No voy de levante
Indicating that one is not going to look for casual relationships
Y te la vas a bancar
Warning that others will have to accept and deal with one's musical dedication
La música nos salvará
Expressing hope that music can save us from our problems
Yo sé que soy un fusible
Acknowledging one's own instability or susceptibility to overreacting
Yo soy tan loco que parezco irrompible
Ironically describing oneself as unbreakable due to mental instability
No debo nada, nada
Asserting that one has nothing to prove to anyone else
Cuídate nena de mi mirada
Warning a woman to be careful of one's gaze or intentions
La música nos va a garpar
Expressing confidence that music will 'pay off' in the long run
Córrete Beethoven
An exhortation to 'get out of the way' of someone who is dedicated to music
Temblando en la mañana
Feeling anxious or unsettled about the day ahead
Ya viene la mucama
Stating that the maid is on her way, indicating a sense of routine or privilege
Y me dice lo que tengo que hacer
Acknowledging the power dynamic of employing someone to tell you what to do
Quemaré la vieja radio
Taking destructive action against the music of the past in favor of something new
Romperé todos los diarios
Rejecting traditional modes of communication or information
Y ni hablar de la T.V.
Disavowing television as a source of info or entertainment
Córrete Beethoven
Repeating the exhortation to 'get out of the way' of someone who is dedicated to music
Que Borges no soy (zorra)
Rejecting the cultural canon represented by Beethoven and Borges in favor of something new; adding a vulgar insult for emphasis
Córrete Beethoven (zorra, zorra, chorra)
Repeating the rejection of traditional cultural values, with added vulgarities
Yo me cogí a 'Para Elisa'
Using an obscene phrase to assert sexual dominance over a classical piece of music
La 'Novena' me idiotiza
Acknowledging the power of classical music to captivate and impress
'La Patética' no sabe bailar
Using a personification of a piece of music to explain why it is not enjoyable for dancing
Se tomó todas las drogas
Revealing the imagined wild and crazy behavior of a classical piece of music
Quedó sorda, se hizo trola
Describing the imagined effects of a classical piece of music in exaggerated and vulgar terms
Y ahora me quiere cobrar
Asserting that one is being punished or exploited for enjoying music in a new way
Lyrics © ENTERTAINMENT ONE U.S. LP, Royalty Network
Written by: Chuck Berry
Lyrics Licensed & Provided by LyricFind
𝑭 𝒂 𝒄 𝒖
L e t r a:
Estoy harto que me digan
Que me peguen que me sigan
Que me expliquen que es el blues
Mama esta en la oficina
Papa esta en la cocina
Y me cortaron la luz
Para aquí para allá
La música nos va a matar
Yo se que sube la fiebre
Tengo neuronia rockal
Este es el aguante
No voy de levante
Y te la vas a bancar
Para aquí para allá
La música nos salvara
Yo se que soy un fusible
Yo soy tan loco que
Parezco irrompible
No debo nada de nada
Cuidate nena de mi mirada
Para aquí para allá
La música nos va a garpar
Correte beethoven
Correte bethoven
Temprano a la mañana
Ya llega la mucama
Y me dice lo que tengo que hacer
Quemare la vieja radio
Rompere todos los diarios
Y ni hablar de la tv
Para aquí para allá
La música nos va a matar
Correte beethoven
Que borges no soy
Correte beethoven
Para aqui para allá
La música nos va a matar
Yo me coji a para elisa
La novena me idiotiza
La patética no sabe bailar
Se tomo todas las drogas
Quedo sorda se hizo trola
Y ahora me quiere cobrar
Para aquí para allá
La música nos va a matar
Para aquí para allá
Juan de la Cruz Bustos
Toda su vida estuvo atravesada por las pruebas que le puso la música, una vida muy difícil, sentía que lo mataba pero, concluye:
"La música nos salvará".
Muchos lo desprecian por su aspecto o por su tristeza, pero no saben las cosas que tuvo que pasar. Grande Charly, temazo!
𝑭 𝒂 𝒄 𝒖
L e t r a:
Estoy harto que me digan
Que me peguen que me sigan
Que me expliquen que es el blues
Mama esta en la oficina
Papa esta en la cocina
Y me cortaron la luz
Para aquí para allá
La música nos va a matar
Yo se que sube la fiebre
Tengo neuronia rockal
Este es el aguante
No voy de levante
Y te la vas a bancar
Para aquí para allá
La música nos salvara
Yo se que soy un fusible
Yo soy tan loco que
Parezco irrompible
No debo nada de nada
Cuidate nena de mi mirada
Para aquí para allá
La música nos va a garpar
Correte beethoven
Correte bethoven
Temprano a la mañana
Ya llega la mucama
Y me dice lo que tengo que hacer
Quemare la vieja radio
Rompere todos los diarios
Y ni hablar de la tv
Para aquí para allá
La música nos va a matar
Correte beethoven
Que borges no soy
Correte beethoven
Para aqui para allá
La música nos va a matar
Yo me coji a para elisa
La novena me idiotiza
La patética no sabe bailar
Se tomo todas las drogas
Quedo sorda se hizo trola
Y ahora me quiere cobrar
Para aquí para allá
La música nos va a matar
Para aquí para allá
kekrolod xd
neumonia rockal*
Fabra el pro
G r a c i a s
dlr.
qué es el rhythm and blues*
todo asi noma'
Que buen album !!!! Para que sea un bien disco no tiene que ser el mejor disco de la historia del rock, es un terrible disco, no comparen, la obra de charly es una sola, desde el comienzo hasta que termine, el disco es solo un formato, la obra es una sola, ojala el promedio de la musica en nuestro pais fuese este, sabes que........ aguante el aguante
Gracia Indalecionova
Un capo!!!! Mi ídolo por siempre!!
Laura Natalia Quintero
Un visionario siempre Charly!!!
ferdigan
Escuchándola con fiebre 🤧🤒 ESTE ES EL AGUANTE NO VOY DE LEVANTE Y TE LA VAS A BANCAR
MeloLand
Excelente rola....