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)....
Telepáticamente
Charly Garcia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
No te queda ni un día después
El reloj que tenés adentro sonó
¿Dónde estás? ¿Cuál es tu frecuencia, mi amor?
Levitándome al mar
Telepáticamente te voy a buscar
Sola entre la gente sin poder hablar
Son cuatrocientos días, cuatrocientas noches también
Por favor (oh, mi amor) dime qué frecuencia tenés
Replicándole al sol
Tan solo telepáticamente, me vas a buscar
Hasta que sola, entre la gente te llevará
Ya no digas nada
No pidas perdón
Cuando todo el tiempo
Se olvidó de vos
Cuatrocientos días sin poderte ver
¿Cuál es la salida? ¿Cuál es la pared?
(Oh, mi amor)
¿Dónde estás? (oh, mi amor)
¿Dónde está que no puedes ver?
Replicándole al sol, Solo telepáticamente
Te iré a buscar, sola entre la gente
Sos una mas
¿Dónde está la herida? ¿Dónde está el dolor?
¿Dónde está la quía? ¿Dónde está el amor?
Cuatrocientos días y ninguno más
Sin telepatía no lo lograrás
¿En qué frecuencia estás?
Casi sin salida, yo encontré una solución
Porque ¿Dónde estás? (¿dónde estás?)
Replicando cosas de hoy
Oh, mi amor (¿Dónde estás?)
¿En qué playa te encontrarás?
Internándome al mar
Sólo telepáticamente, me vas a encontrar
Porque telepáticamente yo te quiero amar
The lyrics of Charly García's song "Telepáticamente" describe a search for a lost love through the power of telepathy. The singer addresses their loved one as if they can hear their thoughts, urging them to reveal their frequency so they can be found. The desperation in the lyrics is palpable, with the singer feeling like they are levitating in the sea, searching for their lost love for four hundred days and nights. They are unable to speak and cannot find their loved one in a sea that is like a wall. The singer pleads with their loved one, asking them to reveal their frequency so they can be found, and assures them that they will be able to find them through telepathy.
The song is a powerful exploration of loss, love, and human connection. The lyrics speak to the desire to connect with someone, even when the circumstances seem insurmountable. The singer is willing to go to great lengths to find their loved one, even if it means using the power of their mind to do so. The song is a testament to the power of love and the lengths we will go to in order to find it.
Line by Line Meaning
Ya no tenés salida
You feel stuck without a way out
No te queda ni un día después
You don't have any time left to spare
El reloj que tenés adentro sonó
Your internal clock is ticking
¿Dónde estás? ¿Cuál es tu frecuencia, mi amor?
Where are you? What vibe are you sending out, my love?
Levitándome al mar
Drifting away into the sea
Telepáticamente te voy a buscar
I'll search for you telepathically
Sola entre la gente sin poder hablar
Feeling alone in a crowd and unable to express yourself
Son cuatrocientos días, cuatrocientas noches también
It's been 400 days and nights
¿Dónde irás cuando el mar es una pared?
Where will you go when the sea is a wall that blocks you?
Por favor (oh, mi amor) dime qué frecuencia tenés
Please (oh, my love) tell me what energy you're sending out
Replicándole al sol
Reflecting on the sun
Tan solo telepáticamente, me vas a buscar
You'll look for me only through telepathy
Hasta que sola, entre la gente te llevará
Until you lead yourself to be alone among the crowd
Ya no digas nada
Don't speak anymore
No pidas perdón
Don't ask for forgiveness
Cuando todo el tiempo, se olvidó de vos
When all the time, you were forgotten
Cuatrocientos días sin poderte ver
400 days without being able to see you
¿Cuál es la salida? ¿Cuál es la pared?
What's the way out? What's the obstacle?
(Oh, mi amor) ¿Dónde estás? (oh, mi amor)
(Oh, my love) Where are you? (oh, my love)
¿Dónde está que no puedes ver?
Where is it that you cannot see?
Replicándole al sol, Solo telepáticamente
Reflecting on the sun, only telepathically
Te iré a buscar, sola entre la gente
I'll search for you, alone among the crowd
Sos una mas
You're one more person
¿Dónde está la herida? ¿Dónde está el dolor?
Where is the wound? Where is the pain?
¿Dónde está la quía? ¿Dónde está el amor?
Where is the guidance? Where is the love?
Cuatrocientos días y ninguno más
400 days and not one more
Sin telepatía no lo lograrás
Without telepathy, you won't be able to achieve it
¿En qué frecuencia estás?
What frequency are you on?
Casi sin salida, yo encontré una solución
Almost without a way out, I found a solution
Porque ¿Dónde estás? (¿dónde estás?)
Because where are you? (where are you?)
Replicando cosas de hoy
Reflecting on things of today
Oh, mi amor (¿Dónde estás?)
Oh, my love (where are you?)
¿En qué playa te encontrarás?
On what beach will I find you?
Internándome al mar
Immersing myself in the sea
Sólo telepáticamente, me vas a encontrar
You'll find me only through telepathy
Porque telepáticamente yo te quiero amar
Because I want to love you telepathically
Contributed by Eliana E. Suggest a correction in the comments below.
rockosur
Este tema queda mucho mejor con esta versión que la de estudio.
Lewis Flores
esta version me gusta mucho en especial los arreglos que le hace con los teclados
juan guillermo dib
se acordó de Serú Girán....
Medardo Núñez
De principio a fin: pura genialidad.
Maria Eugenia Farias Hild
Tenés todo Charly García, musicalidad, dulzura, fuerza, expresión, todo!!! El mejor músico de rock argentino!!!
Agustin Correa
sin ninguna duda ni media nada !!!! el mas grande de la hsitoria del mundo ! genio total
Diego Gvirts
el solo de teclado que hace a mitad del tema es increible
mariana rey
EL GENIO PEDIA Q LE BAJEN EL RITMO A ESTE TEMA, IGUAL SIGUIO TOCANDO POR QUE ES UN GENIO
Lucho Alzú
@Fernando Jiménez 0:40
Fernando Jiménez
No me di cuenta