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)....
No Toquen
Charly Garcia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Están muertos, están muertos, están muertos
Váyanse de aquí, váyanse de aquí, váyanse
Muertos
No me toquen mis discos
No me toquen mi ajuar
No me toquen las manos
Están muertos, están muertos, están muertos
Están muertos, están muertos, están muertos
Sáquenme de aquí, sáquenme de aquí
Sáquenme
Ya no me toquen, no
No toquen, no toquen, no toquen
No
No toquen, no quiero que me toquen
No
No toquen, no toquen, no toquen
No
No toquen, no quiero que me toquen
Ya no me toquen
No
The lyrics of Charly García's song "No Toquen" express a sense of frustration and anger towards those who try to interfere with his personal belongings and space. The repetition of the phrase "están muertos" (they are dead) suggests a desire for distance and detachment from these individuals. In this context, García pleads with them not to touch his "discos" (records), "ajuar" (belongings), or even his hands, as he wants to maintain his autonomy and keep what is his own.
The emphasis on the phrase "no me toquen" (don't touch me) carries a powerful message, as it implies that García has been previously violated or invaded in some way. He's had enough and wants to draw a line between himself and those who would cross it. The sentiment is reinforced by the urgency of the verse "sáquenme de aquí" (get me out of here), which implies a scenario where García is trapped or surrounded by people who won't leave him alone.
Line by Line Meaning
Están muertos, están muertos, están muertos
He is referring to the people who try to influence him and limit his creativity. He considers them closed-minded and old fashioned.
Váyanse de aquí, váyanse de aquí, váyanse
He wants those people to leave him alone and stop trying to control his artistry.
No me toquen mis discos
He doesn't want anyone to touch his music collection. It holds significant personal value for him.
No me toquen mi ajuar
He doesn't want anyone to mess with his personal belongings, perhaps including his musical instruments, clothes or accessories.
No me toquen las manos
He doesn't want anyone to restrict or inhibit his ability to create music with his own hands.
Ya no me toquen, no
He is adamant about his demand for creative freedom and doesn't want anyone interfering in his work.
Sáquenme de aquí, sáquenme de aquí
He no longer wants to be a part of the environment that stifles his creativity and wants to leave.
No toquen, no toquen, no toquen
He emphasizes once again that he doesn't want anyone controlling his music or the way he creates it.
No toquen, no quiero que me toquen
He is desperate for independence and a creative space where his art is not influenced by external pressures.
Ya no me toquen
He repeats again that he is not willing to compromise on his creative freedom and demands that no one tries to hold him back.
Lyrics © Universal Music Publishing Group
Written by: CHARLY GARCIA
Lyrics Licensed & Provided by LyricFind
Nico SNM
Qué temazo. No importa en qué tema de Charly leas esto.
fausto valverde
Comentaste adonde querías. Porqe no se puede comentar una lista.
olafma
X99999999...
Marcelo Camicha
@Ezequiel V que se te
Maria Elena Quiroga
👏🏼👏🏼👏🏼👏🏼👏🏼 nahhh muy genial y cierto!!!!
Mauricio S.
Así es ❤️
Flor P
Temazooooo!
Yo víctima de violencia, maltrato y abuso sexual casi que me quiero tatuar este tema.
Literal que TODOS LOS DÍAS lo escucho. Casi como parte de mí proceso de sanación
Facundo Nicolás Menjido
Token es una moneda
La_Ma.r.Gy.k
💖
M.G.
@Franco D. H vos