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)....
El Mendigo en El Anden
Charly Garcia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Cuando los días buenos pasen
En qué esquina me encontrarás?
Cómo sabrás qué es lo que quiero?
Si suave es tu corazón
Ya no volverás aquí
Yo se queme quieres
Está bien
El mendigo en el andén
De un pueblo fantasma
Donde nunca pasa el tren
Yo te veía caminar
Dentro de mi cárcel de cristal
Yo se que puedes sacarme
Si así fue, seguro así será
Yo se que puedes sacarme
The lyrics of Charly Garcia's song El Mendigo en El Anden are full of vivid imagery and longing. The opening line, "Serpentina de carnaval," sets the mood of the song, evoking the colorful chaos of a carnival procession. The singer then asks a series of questions, wondering where he will be found when the good days have passed and how anyone will know what he truly desires. He acknowledges that the listener has a gentle heart but warns them they will not be returning to him. However, he accepts this fate and promises to always be there, even if only as the beggar on the platform of a ghost town train station.
The second half of the song brings a shift in perspective, as the singer describes watching the listener from inside a "crystal prison." He recognizes that they have the power to release him from this prison, but also acknowledges that if they were able to do it once, they can do it again. The song ends on an unresolved note of tension, leaving the listener with the sense that both the singer and the listener are stuck in limbo, waiting for something to change.
Line by Line Meaning
Serpentina de carnaval
A reference to the colorful decorations used in a carnival, which symbolizes the ups and downs of life
Cuando los días buenos pasen
When the good days are gone, when things get tough
En qué esquina me encontrarás?
Where will you find me, where will we meet?
Cómo sabrás qué es lo que quiero?
How will you know what I want, what I need?
Si suave es tu corazón
If your heart is soft, if you are understanding
Ya no volverás aquí
You won't come back, you won't visit me again
Yo se que me quieres
I know you love me, you care for me
Está bien
It's okay, everything is fine
Yo seré siempre
I will always be here, I won't leave you alone
El mendigo en el andén
The beggar on the platform, referring to himself as someone who is waiting and hoping
De un pueblo fantasma
From a ghost town, a lifeless and abandoned place
Donde nunca pasa el tren
Where the train never comes, a metaphor for life being stagnant and unchanging
Yo te veía caminar
I used to see you walk, to move forward
Dentro de mi cárcel de cristal
Inside my crystal prison, suggesting feeling trapped and secluded, like living in a transparent cage
Yo se que puedes sacarme
I know you can save me, take me out from my current state
Si así fue, seguro así será
If it was like that before, it will certainly happen again, encouraging a hopeful attitude towards the future
Yo se que puedes sacarme
I know you can save me, take me out from my current state
Lyrics © Warner Chappell Music, Inc.
Written by: CARLOS ALBERTO GARCIA, OSCAR DAVID LEBON
Lyrics Licensed & Provided by LyricFind
@ernestotoccalino4683
Naaaaaa,sin palabras.
Emoción total.
Yo escuchaba ésto a mis 15 años,tengo 51 y sigo flasheando.
Gracias Serú!
@diegoyanquicastillo3598
yo lo escuche hace unoa 3 o 4 años atrás tenia 24 y ahora tengo 20 y estoy muy flasheado jajajajajaj
seru lo mejor del rock
saludos desde perú
@martinadolfodelapena5063
Qué temaaazo. La mejor banda de todos los tiempos.
@gabrielmendivil2914
¡¡Qué temón!! Me jode que no fuera incluido en el disco " No llores por mí, Argentina". Sólo se escucha el comienzo en fade out, cuando termina el primer tema (homónimo del disco). Una lástima.
@estebanquito6626
que emoción esos acorde de piano al comienzo. Siempre fue un hermoso tema devaluado....
@alejandrocejas8424
Otra genialidad inmortal de estos 4 pibes los amo!!
@migueldiez7965
Está bien llorar de emoción con esta canción?
@ezeecarp8682
Podría llorar hasta la mitad, y despues me pongo a bailar a lo ultimo jajaja es un río de emociones seru, por eso es una de las mejores bandas de América que existieron, lo que provoca
@eggbeats5016
Esto es oro puro ❤
@luisgianni8768
INFLO EL PECHO Y GRITO QUE VIVA LA MUSICA DE MI PAIS