SERÚ GIRÁN

¿Cuanto tiempo más de paranoia y soledad? (How much more time of paranoia and loneliness?) Pedro Aznar, Track 8.

This is an album easy to be loved by both the Symphonic and the Fusion progtribes. And not in any concessive or self-indulgent way. It's rather like if those two main undercurrents converge in one powerful, yet effortless musical flow of amazing ideas, where the composers never fail, and also never repeat themselves, being always able to retain the listener's attention with a new fresh change of signature or with another unforeseeable melodic turn. Not only the intruments shine brightly, but also the vocals, which open the album in great choral manner, and just keep setting the emotional tone from there on. And talking abut vocals we come now to talk about the lyrics, which are another strong point here, at least assuming that you are prepared to deal with the picture of alienation of all sorts. From society, from mankind, from friendship, from radio, from city, from life itself, just be ready to poetry singing to exclusion from everything that matters. Or don't be, if Spanish is not your thing. In any case, the music conducts proceedings in its own language with pristine clarity.

La Grasa De Las Capitales is an atmospheric recording, but containing myriads of moods and moments, instead of only one. So, we have two symphonic mini-suites opening and closing the tracklist, full of power and virtuosism the first, and subtle melodic nuances the last. Track 2, San Francisco y el Lobo, brings an exquisite vocal melody on acoustic guitar. Track 3, Perro Andaluz (so titled after a Luis Buñuel movie) merges tuneful melody, classical arrangements and final fusion workout, all with stunning elegance. Track 4, Frecuencia Modulada, is the light number, making fun of the FM music of the era, but never diluting the musicianship, as shown in the tremendous vocal performance by Lebon. Track 5, Viernes 3 AM, is a quintessential García song, underlined by one of the best fretless bass lines by Aznar. Track 6, Noche De Perros stretches on towering basslines, culminating on the strength of Lebon electric guitar. Drummer and percussionist Oscar Moro shines all over the album, but Track 7, Los Sobrevivientes is where he leaves a unique mark to an atmospheric feel like no other.

A deeply dark, somber masterpiece. Lots of nice melodies too, but just don't stay there in the surface, listen hard and go under, you won't be disappointed.

Prog in Latin America is quite deep, to where you can arguably find bands from now and from the past, some of which create some well known prog albums that are still well regarded to this day. You can find groups like Crucis and Invisible that show off a symphonically enriched prog landscape. Bubu and La Máquina de Hacer Pájaros who give off a more jazzy prog outlook. And, on today's subject, Serú Girán, who takes you on a progressive pop rock side of the olden days of the late 70s.

Serú Girán is a band that came from the remnants of La Máquina de Hacer Pájaros, with Charly Garcia and Oscar Moro from that band, as well as David Lebon, and Pedro Aznar of Alas and Pat Metheny Group, making this band kind of a supergroup in a way. That said, I noticed some people not quite agreeing with the connotations of this band being considered prog rock. Heck some go as far as saying they aren't prog at all, but make no mistake, while they may not be as progressively inclined as ELP or Uriah Heep, if you put them next to bands like Alan Parsons Project, ELO, or Klaatu, bands which I coin as progressive pop rock, then you'll see they are quite proggy in that aspect.

Well let's talk less about Serú Girán and more about?Serú Girán, their debut album.

Now I am gonna say something that may be a hot take, but this is my favorite album from the band, so far as of writing this. I do not think it is a full on masterpiece, but in my listening of their discography, compared to the two albums I have heard from them so far (Grasa de las capitales and Peperina), this album ranks above those as my favorite.

The music here is both very pastoral and almost nature-like, with some elements that make it have this almost urban edge to it. I really like the sound this album exudes, mainly due to this balance between a more classically entwined prog rock sound, with this funk rock and jazz pop essence that makes this both a very complex, but also a rather fun poppy time, and one that I like a lot. I think the track that perfectly showcases this intertwining of romantic classical natures with the more modern pop sound of the time has to be the first one, being Eiti-Leda, which is my favorite track off the album. Such a beautiful track by the way, definitely a good way to start the album.

I will also go out on a limb and say this album's sound is also oddly city pop-esque. I wouldn't say it is 100% city pop since that genre is more of a Japanese thing, not an Argentinian thing, but tracks like Autos Jets Aviones Barcos, and or Serú Girán have moments that make me feel like I am listening to a Masayoshi Takanaka or Yuji Ohno song, which I think is really cool, since I really like city pop. Seriously, if you like the music Serú Girán is putting out, check out Taeko Ohnuki's Sunshower, you'll thank me later.

City pop aside, there are things that kinda irk me about this album, namely the length of the album, and in conjunction the track listing. This album feels too short for me. Obviously I am not really expecting an hour worth of music with like 4 tracks that are 15-20 minutes long, each with multiple passages, nor am I opposed to the shorter tracks we got here, but I feel like there should've been more. I guess in that respect their later albums are better, but still I kinda wished there were a bit more songs, maybe bumping this album to be around 40 minutes. On the flipside though, I guess that means I really like the album enough to ask for some more music after the fact.

I also think the track listing could do some work, in more of how top heavy this album feels. The B-side tracks are pretty good, but compared to songs like El Mendigo en el Anden and Seperata, they kinda fall short from being truly amazing, especially with such a bizarrely weird and kinda bad ending like Cosmigonon. These faults do not quite break this album for me, in fact I still really adore it, but I cannot deny these things do not at least make me raise an eyebrow on occasion.

If you want some high quality prog pop rock, similar to ELO or The Moody Blues, or wanna check out what some of the guys over at La Máquina de Hacer Pájaros did after disbanding, then it is worth checking out this album, and especially this band. You'll be surprised with the charm and beauty this album has, trust me.

Let's start with the Argentinian progressive rock history with THE band, I don't know if it's the only supergroup, but it's THE supergroup or Argentina.

Serú Girán, formed by Charly García on keyboards, David Lebón on guitars, Oscar Moro on drums and Pedro Aznar on bass; has been one of the most important bands in Argentinian rock history.

Its debut in 1978 was very original at that time as there wasn't a big prog scene, excepting previous bands of García (like La Máquina de Hacer Pájaros, with Moro on drums) or Spinetta (Almedra, Pescado Rabioso w/ Lebón on guitars...) among others.

Combining the excellence of their 4 members they created this unique sound, mixing classic progressive rock ("Eiti Leda") with jazz fusion influences ("Autos, Jets, Aviones, Barcos"), classic rock and blues ("Voy a mil"), orchestral arrangements (like "Serú Girán"), beautiful melancholic songs ("El mendigo en el andén", "Separata" or their anthem "Seminare").

A must in Argentina rock history, and in prog history in general!

First, I should say that I consider this to be a Ecletic-Prog release, I am not familiar with the rest of Serú Girán discography to say if the other albums are not prog, but I think that this is certainly a prog album, something that is showed right at the first song, "La Grasa de las Capitales", here we have everything a prog fan could like: rhythm changes, classically oriented sections broke by jazzist moments, mellotrons, synths, all in a song with only 4 minutes.

All songs are short and most of them have some "pop" elements into them, making this an accessible album for non- prog listeners, this is a thing that maybe will turn down some people but I don't think this is a bad thing, in fact, in my opinion, is not an easy task to incorporate progressive elements into songs and still maintain them prog-rock. This is something that great bands like Rush and Caravan do.

Speaking in caravan, this album reminds me much of the canterbury scene, not because the sonority is similar but the feel of the songs is most this soft-rock vibe that can bring some relaxing moments to a stressful day. But don't be fooled, even if is soft and has some accessible moments there are still plenty of complex sections in the songs and creative instrumentation.

Talking about the instrumental, everyone here is awesome, the guitars have incredible solos, the piano sections are technical and beautiful, the drums have plenty of jazzy moments that are so well executed and even the bass have some great lines in some songs. Is easy to see that every member of the band is a top-notch musician. The compositions give space to everyone in the group to have his highlight moment.

The songs are all creative, having some unique elements to make them different from one to another but still maintaining a thematic cohesion in the album. There is the more proggy songs (like the title track and "Canción de Hollywood"), there is ballads (as "Paranoia y Soledad"), psychdelic rock ("Noche de Perros") and even some funky music ("Perro Andaluz").

In my opinion, this is a very solid album with incredible moments and a great example of how to make an album "radio- friendly" and still present some deepness and creativity into it. I recommend it to every prog-rock fan, especially those who are into early progressive stuff and like classic rock too. If you like this album I recommend checking out the other works of Charly Garcia (in "sui generis" and "la maquina de hacer pájaros"), he is probably the greatest prog-rocker of Argentina (and one of the best in South America) and every fan of the genre should listen to it.

Review #10: Serú '92

For being one of the best bands in Argentina, not only in prog, but in national rock in general, I was quite disappointed that their comeback was with an album so lacking in what Serú really is.

Serú '92, Serú Girán's fifth and last release, is a comeback album after the band's dissolution for a period of time, until their return and farewell with this album.

During the band's partial split there were many projects in between: On Charly's side, he continued on the local scene being the star figure of the time, with excellent new wave albums like "Yendo de la Cama al Living" or "Parte de la Religión" (two beautiful works that, hopefully one day, will be added to the wonderful progarchives.com). Without discrediting anyone, the rest of the band (David Lebón, Pedro Aznar, Oscar Moro) released their solo albums without much exposure to the scene.

For anyone who wants to further discover this wonderful band, there is no way I would recommend this album, it's not worth it. Listen better to "La Grasa de las Capitales" or "Serú Girán (homonymous album)". In "Serú Girán" there is a song with the same title, very experimental and psychedelic, I recommend their first album to start their discography.

Queen Elizabeth: 3/5

Pleasant World: 3.5/5

No Puedo Dejar: 3.5/5

That Train: 2.5/5

Every Man, Every Woman: 4/5

Sinking The Titanic: 3.5/5

Transformation: 3.5/5

Let Me In: 3/5

We'll Meet Again: 4/5

If You Give Me Your Love: 4/5

Move When You Talk: 3.5/5

4/10, 2 stars

The beginning of a sonorous search that was to become the biggest band in Argentina. Serú Girán starts from an unknown place, with a very progressive Charly García as leader. After dissolving his previous band La Máquina De Hacer Pájaros and leaving jazz/fusion behind, Carlos began to search for a more popular sound. Let's just say that the first album didn't exactly go well for them: At their first shows they got more tomatoes thrown at them than applause. People didn't understand what the project was all about. The song that gives the album its name is a concoction of invented words (it is worth noting that during those years Gentle Giant's music was becoming popular in Argentina) that was enormously rejected by the Argentine public. Charly García was coming off the back of two very high albums and this was clearly going to go down too badly. Ironically, this album has one of the most hated songs by the public and at the same time the anthem of Argentine rock: Seminare. A song written by Charly and sung by David Lebón. A fact that amuses me a lot is that the memorable solo of this song is taken from a little musical box that the band leader had. The highlight of the album is the song "Eiti-Leda", a beautiful display of creativity and unique melodies.

3.5 stars. SERU GIRAN were a four piece band out of Argentina who to my ears were influenced by country-mates INVISIBLE. Mostly because of the vocals and at times jazzy instrumental bits. I do prefer INVISIBLE by quite a lot but that's not fair when this is the only album I have from SERU GIRAN. "Bicicleta" was released in 1980, part of a four album run by the band from 1978 to 1981.

A little too commercial sounding at times for my tastes with those harmonies and the guest horns were a let down on the closer. Just not into their style. The second half drops the rating as only the seventh song stands up to the first side, and it might be my favourite tune on here. Love that they open the album with a 9 1/2 minute track. Lots of piano and vocals and I like that the bass is always noticeable. That third track is pretty good as well and the instrumental which is track 4 is a top three for me.

I like it but I have some issues(with the album).

A legendary, short-lived and very succesful Argentinian band, formed in 1978 by keyboardist Charly García and ex-Polifemo guitarist David Lebon, following the demise of La Máquina de Hacer Pájaros.Starting months are somewhat confusing, it appears that Garcia and Lebon travelled to Brazil to write songs for a new band and album.Garcia returned to Buenos Aires after some months and got impressed by the bass playing of Alas' Pedro Aznar, so he was invited to join the new project along with drummer Oscar Moro, whom Garcia new from their common stin in La Máquina de Hacer Pájaros.Originally they worked with singer Billy Bond in Brazil as Billy Bond and the Jets, but after an album Bond decided to dissolve the formation.Seru Giran originated from the disbanding and the remaining quartet worked on new songs, partly recorded in Brazil and partly in Los Angeles, USA.The self-titled debut of the band came out later in the year on Sazam Records.

Basically a Symphonic Pop album, ''Seru Giran'' reveals the talents of the involved members in many pieces, however the shorter cuts are following a more Pop Rock vein, apparently affected by the trends of the time, when playing progressive music was like a curse.Still Seru Giran tried to offer refined and sophisticated arrangements, even if the singing lines are too melodramatic and sentimental and occasional poppy tunes are detected throughout the album.The album is led by a soft orchestral atmosphere due to Gracia's always gifted keyboard plays and the involvement of Daniel Goldberg as a director of the orchestral moves.While the album is pretty short, two tracks exceed the 7-min. mark, ''Eiti Leda'' and the eponymous one, in an attempt by Garcia and the crew to revive the sound of LA MAQUINA DE HACER PAJAROS, flavored by some Orchestral Pop moments.These pieces follow a mellow Symphonic Rock vein with lots of piano, soft guitars and light synth flashes, backed up by a Classical background, which reminds me of 69'-days' KING CRIMSON.The rest of the tracks are more confusing with acoustic parts, discreet jazzy colors, still some symphonic ovetones (even reminding of GENESIS) and plenty of Pop thrown in, resulting a bunch of decent arrangements, still quite far from the true talents of the exhibition team.Generally the album lacks energy, being too smooth at moments, but the material is pretty good with many artistic parts, which hold a progressive interest.

On the thin line between Pop and Symphonic Rock.Equal to Italians FORMULA TRE or LA BOTTEGA DELL'ARTE, but the musicians here were much more experienced, so an even better result was expected.Still recommended to fans of the lighter side of Prog Rock.

Even though "Bicicleta" is almost unanimously acknowledged as Serú Girán's finest hour in their studio recording career, I personally prefer their second album "La Grasa De Las Capitales", but in no way do I mean to imply that I disregard this album's artistic merits. In fact, I view it as the inspired result of the creative momentum that had peaked in the "La Grasa" album and so all four musicians felt energized enough as to pursue the continuing brilliancy when approaching, arranging and performing the brand new compositions delivered by Garcia, Lebon and Aznar. The 9+ minute long opener 'A los jóvenes de ayer' has to be one of the most stunning piano-centered rock songs ever in Argentinean rock history, and arguably a top 3 song in Charly Garcia's individual résumé. Oh, words cannot just describe a portion of the exquisite beauty emanated from the abundant piano flourishes and delicate synth layers that make the nucleus of the extended introductory theme. Also worthy of praise is Moro's rhythmic delivery, which anchors the melodic development and variations consistently while Aznar keeps himself busy alternating his rhythmic and melodic roles on fretless bass guitar. This piece states a balanced combination of tango-fusion, jazz and symphonic prog, and just when things get a bit calmer during the sung portions, they happen to be just an anticipation of the glorious finale section. Glorious, yet not overdone? brilliant! After this magnificent entry, the next track is a definitive Serú Girán classic, the Lebon-penned 'Cuánto tiempo más llegará': a semi-ballad that states a solid mixture of soft rock and Latin jazz, properly ornamented with a rocky interlude that mostly serves as an enhancement of the introspective existential lyrics. 'Canción de Alicia en el país', not unlike 'A los jóvenes de ayer', bears lyrics that reflect the social tension and political drama of living in a dictatorship in metaphors (oh, what a great lyricist Garcia used to be!). 'Canción' is not as epic as the opener though, being more a sophisticated rocker whose appeal is based on the clever multi-guitar interplaying and the noticeably syncopated handling of the drum kit by the greatly talented Moro; in this way, it turns out to be less romantic and more creepy. 'La luna de marzo' is a lovely instrumental performed on Mini-Moog, electric guitar arpeggios and bass textures: it is evocative, and also it is subtle enough as to never let its repetitive framework get annoying or tiring, it is just magical in the sense of surreal delicacy. Side A is the most accomplished one, IMHO. Things become not as great for the sequence of the four remaining tracks, but let me make it clear that there is still greatness in the classically oriented expressiveness of the piano-based ballad 'Desarma y sangra' (even including partial quotations from Baroque chamber) and the Lebon-penned jazzy semi-ballad 'Tema de Nayla' (a moving manifestation of hope amidst the fear of losing someone so dear): the latter features Master Rapoport on the closing electric piano solo that beautifully portrays the running melancholy of the song's nucleus. Less accomplished but also signaled by good musical quality are 'Mientras miro las nuevas olas', which delivers a reflection on the then nascent new wave pop under an Elton John rocker's guise, while 'Encuentro con el diablo' delivers yet another political satire on a blues-rock note (with added touches of "jazzed" reggae). So, "Bicicleta" is yet another convincing fulfillment of Serú Girán's vision: a very good album for any prog rock collector and any rock collection.

After the release of their first record, I heard that Seru Giran was widely criticized of delivering a way too "sophisticated" sound to the audiences, as well as too many "girly" vocal harmonies and orchestral arrangements into their songs.

They seemed to have listened to their audiences, because the sound of their second LP was certainly more "radio friendly" Amazingly, the sound they managed to achieve was in my opinion, more elaborate, interesting and well thought. (Unlike a lot of bands we know that lower the quality of their compositions in order to reach a wider audience).

This album (as the first one) features plenty rock songs and also slower, quieter ballads that exploit the vocal capabilities of their members. I think this album achieves what their first one couldn't: Get the attention of new fans and approach the progressive rock genre to a wider audience, and actually fill a venue with progheads (who I think didn't realize they were progheads). This album has a 4.25 to me.