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)....
Peluca Telefónica
Charly Garcia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
me cuido la nariz
el silencio termina mañana
me voy a desvestir.
El tiempo que yo soñé
es la eternidad, es la dulce fe
de que sigas conmigo por siempre
Y cuando encuentro un amigo
lo tengo que buscar,
y voy al supermercado
buscando un capataz.
El sueño que yo soñé
es la humanidad
es la humanidad
el poeta tenía razón
la balsa hay que tomar.
Cortenla, déjenos vivir en paz,
sáquenla, sáquenla un poquito, sáquenla un poquito.
Cuando vuelvo a mi casa temprano
Me tengo que tomar
Un litro de vino prestado
Que no pienso pagar
El día que estoy aquí, ese amanecer, es dónde querer
y mirar tus ojos en navez
viajando hacia mí.
Telefono, tiráte ya del trampolín.
Papelón, sacáte la gomina, pelá la brillantina.
Ya no tengo monedas de nylon
perdí mi peluquín.
Me sigo pavimentando y llegaré hasta el fin
Alegría, quiero ver tu foto en los diarios
riendote por qué.
The song Peluca Telefónica by Charly García revolves around several themes that depict the struggles of life. The first line of the song, "No le debo nada a Entel," highlights the loneliness of the singer. He is alone and independent, and he owes nothing to anyone, symbolized by Entel, the national telecommunication company in Argentina. He protects himself from the world, even though the silence around him is suffocating. The upcoming dawn and the prospect of a new day carry hope for him. He wants to strip down from all the facades he has put up and reveal his true self.
The next verse introduces the concept of friendship and how difficult it is to find a true friend, represented by searching for a capataz in a supermarket. The singer believes that humanity is the dream he lives for, the one that gives him meaning, despite the hardships. He mentions that the poet is always right, referring to Uruguayan poet Mario Benedetti's poem "La Balsa," which emphasizes the need for a collective journey, despite individual struggles in life.
The last verse portrays the singer's return home, and he needs to take a loan of a liter of wine, which he has no intentions of paying back, suggesting the turmoil within him. The final lines of the song exude a sense of hope, that the singer hopes to see joy and laughter in the newspapers, signifying that the struggles of life are not all-consuming.
Line by Line Meaning
No le debo nada a Entel
I don't owe anything to Entel (a telecom company) - I'm not indebted to anyone.
me cuido la nariz
I take care of my nose - I value my health and wellbeing.
el silencio termina mañana
The silence ends tomorrow - something significant is going to happen soon.
me voy a desvestir
I'm going to undress - I'm going to become vulnerable and reveal myself.
El tiempo que yo soñé / es la eternidad, es la dulce fe
The time that I dreamed of / is eternity, it's the sweet faith - I have a vision of something eternal and peaceful.
de que sigas conmigo por siempre / por siempre por aquí.
That you'll stay with me forever / forever around here - I want someone to be with me for all eternity, someone who will never leave.
Y cuando encuentro un amigo / lo tengo que buscar,
And when I find a friend / I have to look for them - friendship is important to me, even if it requires effort and search.
y voy al supermercado / buscando un capataz.
And I go to the supermarket / looking for a foreman - I look for strong leadership and guidance in my life.
El sueño que yo soñé / es la humanidad
The dream that I dreamed / is humanity - I have a grand vision of human unity and cohesion.
el poeta tenía razón / la balsa hay que tomar.
The poet was right / we have to take the raft - there's a difficult journey ahead, but we have to undertake it.
Cortenla, déjenos vivir en paz, / sáquenla, sáquenla un poquito, sáquenla un poquito.
Stop it, let us live in peace / take it out, take it out a little, take it out a little - I want to be free from interference and disturbance.
Cuando vuelvo a mi casa temprano / Me tengo que tomar / Un litro de vino prestado / Que no pienso pagar
When I come back home early / I have to drink / A liter of borrowed wine / That I don't plan to pay for - I enjoy living in the moment and don't worry about the future consequences of my actions.
El día que estoy aquí, ese amanecer, es dónde querer / y mirar tus ojos en navez / viajando hacia mí.
The day that I'm here, that dawn, is when to love / and look into your eyes instead / traveling towards me - I find meaning in love and connection.
Telefono, tiráte ya del trampolín. / Papelón, sacáte la gomina, pelá la brillantina.
Telephone, jump off the diving board already. / Come on, take off the gel, remove the glitter - I encourage someone to let go of their ego and pretenses.
Ya no tengo monedas de nylon / perdí mi peluquín.
I don't have nylon coins anymore / I lost my wig - I'm vulnerable and exposed, but it's liberating to be honest about who I am.
Me sigo pavimentando y llegaré hasta el fin
I keep paving my way and I'll reach the end - I persevere and strive towards my goals, no matter how difficult the path.
Alegría, quiero ver tu foto en los diarios / riéndote por qué.
Joy, I want to see your photo in the papers / laughing at what - I seek happiness and laughter, and want to share it with others.
Lyrics © Universal Music Publishing Group
Written by: CHARLY GARCIA, LUIS ALBERTO SPINETTA, PEDRO AZNAR
Lyrics Licensed & Provided by LyricFind
@Artylandia
- ¿Ese es tu walkman?
- Qué moderno que es (...)
Todo muy superado, muy liberal
No le debo nada a Entel
Me cuido la nariz (Teléfono)
El silencio termina mañana
Me voy a despedir (Chau)
El tiempo que yo soñé
Es la eternidad, es la dulce fe
De que sigas conmigo por siempre
Por siempre por aquí
Y cuando encuentro un amigo
Lo tengo que buscar
Y voy al supermercado (-ado, -ado, -ado, -ado)
Buscando un capataz
El sueño que yo soñé
Es la humanidad, es la humanidad
El poeta tenía razón
La balsa hay que tomar
- Estoy viviendo aquí en este mundo abandonado
- ¿Te alcanza la renta?
- No, ¿a quién?, ¡ah-uh!
Córtenla
Déjennos vivir en paz
Sáquenla
Sáquenla un poquito, sáquenla un poquito
Cuando vuelvo a mi casa temprano (-prano)
Me tengo que tomar (Tomar, tomar, tomar)
Un litro de vino prestado (-ado, -ado)
Que no pienso pagar
El día de estoy aquí
Es amanecer, es poder creer
Y mirar tus ojos de nave
Viajando hacia mí
- Oye, oye, pana; mira, pero, ¿cómo te traes esta vaina que no lo puedo creer? Mira
- Oye, brother, ¿tienes perico?
- Oye, ahorita mismo, pues tú sabe'
- Eso es lo que queremos y no otra cosa. Máximo nivel
- Todo muy liberal, yendo por Santa Fe, escuchando buena música, muy FM
- ¿Tiene pilas?
Telefón
Tirate ya del trampolín
Papelón
Sacate la gomina, pelá sin brillantina
Ya no tengo monedas de nylon
Perdí mi peluquín (Jajaja)
Me sigo pavimentando
Y llegaré hasta el fin
¡A-le-grí-a!
Quiero ver tu foto en los diarios (¡O-ri-o-ri-e-a!)
Riéndote porque...
@Gorinesa
no dejo de encontrar hits de charly... hace un año que empece a escucharlo. deje de escuchar trap por esto.
@rexbanner7785
gran decisión, te felicito Rodrigo!
@MrDemiplate
Señal que vas por buen camino, después de que te chupes toda la discografía de Charly y sus bandas pasá a Cerati y al flaco Spinetta, despues de todo eso podés alcanzar la iluminación y la gente que escucha trap la vas a mirar raro.
@Gorinesa
@Demiplate a cerati lo escuché todo el año pasado. Pero a charly nunca. Ese comentario lo puse hace un mes y ya me escuché todo, todo absolutamente todo de charly... es increíble. Es el único que me hace tener experiencias espirituales al escucharlo, su arte da paz.
@garrafa_sanchez182
es por ahi, me renovaste mi fe en esta mediocre sociedad en la que vivimos
@joydivision1988888
Me pasó al revés , me puse a escuchar trap para ver que onda, pero no che, no me pegó ninguna imagen, si me gustó mucho Wos, pero no me vuelve loco. Y con Charly me pasó lo mismo, nunca le di bola al rock argentino de pendejo, escuchaba mas rock internacional, y llegando a mis 30 me voló la cabeza , la primera cancion que escuché fue No soy un extraño y ya no tuve vuelta atras con Charly.
@carlosdiaz7573
Charly, Spinetta y Aznar.
Usaron esta triple colaboración para divertirse y hacer una letra totalmente falopa con una melodía pegadiza. Esto es ROCK
@anaferrari8081
La vida misma .
@el_petaquitas9954
La universidad misma.
@valentinaayala9445
La vida de ellos , como la cancion de fito haste fama ... tal cual no sabes si es mucho o poco en las historia, queda en la imaginación de nosotros....