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)....
Terapia Intensiva
Charly Garcia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Vivo sólo en la TV
Nunca podré decirte cómo es
Nunca podrás tocarme
Sólo verme en un papel
No dejes de mirarme
En la pared
Soy de Puerto Rico
Te daré un surubí
Soy un rico tipo siempre
Y vos sos tan virgen para mí
Frotándote las piernas
Llorando en la capilla
Un amor de chicas muertas
The lyrics in Charly García's song "Terapia Intensiva" describe a sense of unattainable love and unfulfilled desires. The singer insists that they will never truly be able to love someone and that they only exist as a television character, incapable of human connection. The object of their affection will never be able to touch them, only see them on a screen or in a picture on a wall. The singer then shifts focus to themselves, claiming that they were born for their love interest and that they are wealthy and powerful, while their love interest remains a virgin. The final line describes a love between "dead girls," suggesting a twisted and perhaps even dangerous obsession.
The lyrics of "Terapia Intensiva" capture a theme that is present throughout Charly García's music - an exploration of the darker, more complicated aspects of human relationships. García often touches on themes of obsession, addiction, and brokenness in his lyrics, challenging his listeners to confront the uncomfortable realities of love and desire. The song also showcases García's unique musical style, which incorporates elements of traditional rock and roll, jazz, and blues, creating a sound that is both familiar and innovative.
Line by Line Meaning
Nunca Podrás amarme
You will never be able to love me
Vivo sólo en la TV
My existence is only visible on TV
Nunca podré decirte cómo es
I can never tell you how I am
Nunca podrás tocarme
You can never touch me
Sólo verme en un papel
You can only see me on paper
No dejes de mirarme
Don't stop looking at me
En la pared
On the wall
Yo nací para ti
I was born for you
Soy de Puerto Rico
I am from Puerto Rico
Te daré un surubí
I will give you a fish
Soy un rico tipo siempre
I am always a rich guy
Y vos sos tan virgen para mí
And you are so innocent to me
Frotándote las piernas
Rubbing your legs
Llorando en la capilla
Crying in the chapel
Un amor de chicas muertas
A love for dead girls
Lyrics © Universal Music Publishing Group
Written by: CARLOS ALBERTO GARCIA
Lyrics Licensed & Provided by LyricFind
fernandobocadillos
Interesantes sonidos, desconocia estos temas, son geniales!
G SM
Uh, yo tenía ese disco en vinilo. Esta canción una parte tiene la melodía de zoca cola. Con lo cual no tiene nada de malo. Lennon decía que componer es unir esto con aquello. Gran genio García.