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SERU GIRAN

Prog Related • Argentina


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Serú Girán is a progressive rock band starring Argentine Rock star Charly García, guitar player David Lebón, the young multi-instrumentalist Pedro Aznar, and the late drummer Oscar Moro. In the late '70s after Charly's symphonic rock project "La Máquina de Hacer Pajaros," which was a commercial failure, came to an end, Charly García moved to Brazil to start a new project and met guitar player and singer David Lebón. He decided to go back to Buenos Aires in search of musicians and "Serú Girán" was born and their eponymous debut was recorded in 1978. They played their first show and the audience were puzzled and disappointed as they were expecting music in the vein of "Sui Géneris." Afterwards, the press highly criticized the band. They continued playing to audiences and some warmed up to the new, more complex sound.

In 1979, they released the more accessible "La Grasa de las Capitales," which featured simpler compositions, and more direct and more aggressive lyrics rather than continue the more abstract poetry in the debut. This album was a success and put them to fame. Their third album "Bicicleta" is widely regarded as their musical peak and most mature album. It focused on adventurous songwriting, strong melodies, and continued those controversial political lyrics that almost caused the musicians to serve jail time. Serú Girán's popularity kept growing and they were dubbed "The Argentine Beatles."

"Peperina" was released in 1981 and was another commercial success with some of the best lyrics Serú Girán has ever written, but most of the songs in "Peperina" are ballads and the progressive rock sound has diminshed. In 1982, Pat Metheny invited band member Pedro Aznar to join his band, resulting in Pedro Aznar leaving and Serú Girán disbanding. Before Aznar left, the band played a farewell show that was recorded in the live album "No Llores por mí, Argentina" which included the popular title track. In 1992, the band reunited and recorded a new studio album "Seru '92" which sold extremely well, but its sound is very different and this album is often considered to be their weakest effort.

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PeperinaPeperina
Import
Universal Int'l 2007
Audio CD$2.13
$35.51 (used)
BicicletaBicicleta
Import
Imports 2001
Audio CD$15.69
$8.50 (used)
No Llores Por Mi ArgentinaNo Llores Por Mi Argentina
Import
Universal Argentina 2007
Audio CD$2.29
$1.65 (used)
El AlbumEl Album
Import
PolyGram Discos 2001
Audio CD$4.10
$3.28 (used)
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SERU GIRAN discography


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SERU GIRAN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 35 ratings
Serú Girán
1978
4.09 | 42 ratings
La Grasa de las Capitales
1979
4.32 | 39 ratings
Bicicleta
1980
3.24 | 26 ratings
Peperina
1981
2.21 | 14 ratings
Seru '92
1992

SERU GIRAN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.18 | 12 ratings
No Llores Por Mí, Argentina
1982
2.83 | 6 ratings
En Vivo
1993
4.53 | 15 ratings
Yo No Quiero Volverme Tan Loco
2000

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SERU GIRAN Reviews


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 Bicicleta by SERU GIRAN album cover Studio Album, 1980
4.32 | 39 ratings

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Bicicleta
Seru Giran Prog Related

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars 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.

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 La Grasa de las Capitales by SERU GIRAN album cover Studio Album, 1979
4.09 | 42 ratings

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La Grasa de las Capitales
Seru Giran Prog Related

Review by AcostaFulano

4 stars 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.

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 Serú Girán by SERU GIRAN album cover Studio Album, 1978
4.00 | 35 ratings

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Serú Girán
Seru Giran Prog Related

Review by AcostaFulano

4 stars I've been a fan of Charly García for almost 4 years now and this man never ceases to amaze me. As a fan of Sui Generis and La Máquina de Hacer Pájaros, I had thought that this man had already peaked his creative peak. A couple of months ago I discovered this legendary argentinian band by reference from a friend of mine. I sure had heard something of it, (having even heard one of my favorite tracks: "Eiti Leda" in a primitive form in the "Farewell Sui Generis" concert. The point is that I was wrong when I thought La Maquina was his peak.

Even though the music of La Maquina was intentionally far more "progressive", and excellently crafted it lacked the melodical mastery and emotion that I think this music achieves. In big part the presence of a strings and wind orchestra in most of the tracks adds to the majestuosity of the music, also the fact that 3 of the 4 musicians sing beautiful 3-part vocal harmonies. All of the tracks are very well thought, the lyrics are very surreal but pretty interesting, and the overall feeling of this album is a very mature one. I don't think this is the band's best effort but it sure is the most genuine one in my opinion. By researching I came into the fact that after this album was released, it was not very well received among the fans, who craved a somewhat more mainstream sound from their Idol.

A special mention to Eiti Leda, a masterpiece of progressive rock in my opinion, Seminare, El mendigo en el andén, and Serú Giran. This 4 tracks in my opinion define the "epicness" of this album. The other tracks are good, but I think they're the reason I give this album a 3.75 instead of a 4 or 4.25.

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 Serú Girán by SERU GIRAN album cover Studio Album, 1978
4.00 | 35 ratings

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Serú Girán
Seru Giran Prog Related

Review by Tycho

4 stars The first album of Serú Girán came after the band spent a whole year in Brazil preparing their new project - the ''brazilian feel'' can be heard in some tracks. The band arrived back in Argentina with their new album full of innovation (yes, even having a full backing orchestra was an innovation then, but they also wanted to have a tie in video released, telling the -perhaps surreal- story the songs narrated). Unfortunately, both the public and the specialized press had a hard time accepting the music, and it wouldn't be until their second album that they got consecrated as the 'Argentine Beatles'.

'Eiti Leda': This is certainly the highlight of the album, without a doubt, one of Charly García's top compositions. A symphonic rock masterpiece, which had already been heard - then named 'Nena' ('Baby') - during the 'Adiós Sui Generis' era. It starts with a really mellow intro showcasing a beautiful melody superbly delivered by García (''I want to see your face / Shining like a black slave / Smiling profusely / Far, far away from home / I don't have anybody to come with me / To see the morning / Nor to give me the injection on time / Before my heart rots off/away / Nor to warm these cold bones, baby'') who's joined by Lebón for the second verse. The song then changes tempo relaying a very colorful landscape of sounds, after which Aznar's bass kicks in, leading the song back to its mellow beginnings. The track ends with a bombastic synth-led instrumental showcasing an excellent orchestra arrangement. (The song really shined when played live - like most of Serú Girán's repertoire - as recorded for example, in the live album 'No Llores Por Mí, Argentina').

'El Mendigo en el Andén' ('The Beggar in the Platform') starts as a slow-paced guitar ballad with Lebón singing to us how ''I will always be / The beggar in the platform / Of the ghost town / Where the train never passes by''. But towards the end the orchestra kicks in accompanying our four musicians and prompting Lebón to change his stance and now shout ''I know you can love me!'' amid the fast paced instrumentation.

'Separata' is a short melancholic song, with a pinch of melodrama (''Something odd was happening to me at the hotel / I was alone, as alone a man sometimes has/needs to be / I knew that home, my home was far, far away from everything / And it would soon be time to get upstage to play / And perhaps / I didn't feel like seeing them / Like being with you all / And I stayed / Alone in my room / Reading about a bird / That flies and doesn't die''). Nevertheless it's beautifully delivered and has very nice melody.

'Autos, Jets, Aviones, Barcos' ('Cars, Jets, Planes, Boats'): This, an up-tempo track, sees García again relating the current situation he and the whole country was living: ''Cars, jets, planes, boats / Everybody's leaving'' sang Lebón, in clear allusion to all the people who were either forcefully- or auto-exiled due to the military regimen. This track shines as a real fusion song, and I'm not talking merely about Jazz-fusion (which is there) but one can't help but find brazilian rhythms - and even some candombe - in this drum-led song.

'Serú Girán': García wrote this song using senseless (nonsense) words... which would go on to shield not only the name of several songs but of the band itself. The song itself is masterfully orchestrated (even has some catchy passages), with many dynamic changes, specially when the nonsense lyrics start and stop. Another highlight of symphonic prog music.

'Seminare' is a pop ballad, perhaps the best known song by the band. García wrote it specifically thinking in Lebón's voice, and it shows. Despite its pop feel, it's a beautiful song with a nice piano/synth base, with the guitar and drums filling out their places perfectly. Its essentially telling the story of a guy trying to convince his girl to accept his humility and/or leave her pretensions behind. (''I give you bread, you want salt / Baby, I'm never gonna give you / What you are asking for/of me / I give you God, you want more / Is it that you will never understand / A poor guy?'').

'Voy a Mil' ('I'm Speeding'): As the title suggests this one is a rocker, which, much like 'Autos, Jets, Aviones, Barcos' ends with a fusion of candombe/brazilian rythms.

'Cosmigonón' is an interesting pure synthesized short instrumental which translates rather well the song's title to music (while not an actual spanish word, 'Cosmigonón' does remind one of the word 'cosmos'), thereby wonderfully closing an amazing album.

I rate this masterpiece 4.5 stars. It's really an excellent addition to anyone's rock collection, specially perhaps for symphonic rock fans.

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 Bicicleta by SERU GIRAN album cover Studio Album, 1980
4.32 | 39 ratings

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Bicicleta
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Review by Tycho

5 stars This is, according to most, the best album by Serú Girán. While I consider the bands first three albums all to be masterpieces, I think its here that the band managed to really coalesce into a single unit. The first album, was mostly led by maestro Charly García and has a more classical music feel to it. The second album saw the band consolidate itself but producing more mainstream rock oriented tracks. On the other hand, Bicicleta saw the band producing a rather proggy album with amazing things to hear. This is mainly evidenced by the whole array of genres that find their way here: rock&roll, jazz, tango, new wave...

'A los Jóvenes de Ayer' ('To the Youngsters of Yesterday') is one of the highlights of the album, its long (mostly jazzy) intro being the perfect opener for such a superb LP. Near the middle of the track the vocals kick in and the tango feel shows off the most. This is not a coincidence: the song was an homage/witty attack by García on certain sectors of the tango community that disregarded Rock. It ends with another instrumental part more fully realized and with Aznar's fretless bass taking the lead.

'¿Cuánto Tiempo Más Llevará?' ('How Much Longer Will It Take?'). This song has been regarded by Charly García himself as the best from the album. While I do not agree with him, I nevertheless do understand why he says so: this David Lebón track is raw power (not in the way heavy metal bands would have you believe raw power should be). It shows off a nice melody, delivered with the full beauty Lebón's voice can manage. The last minute has Lebón asking us ''How much longer will it take?'' to great effect and showing his skills with an electric guitar.

'Canción de Alicia en el País' ('Song of Alice in the Land'). This song starts rather softly with a folky feel during the first two verses... That is soon changed when the ominous drums that will pervade the song until its end, start off. The instrumentation wonderfully fits the desolation and hopelessness the lyrics convey (''Don't tell what you saw in the gardens, the dream is over. [...] A river of heads crushed by the same foot, play cricket under the moon. We are in no-mans land, but its mine. The innocents are guilty, says His Honor, the King of Spades. Don't tell what's behind that mirror, you won't have power, nor lawyers, nor witnesses.'') Charly's genius resides not only in the composition itself but in the way he managed to disguise the song with Carrollian references so as to evade censorship, and at the same time, retain his anti-dictatorship message intact.

'Luna de Marzo' ('March [the month] Moon'). This is the second track by Pedro Aznar published by the band. Its an intrumental, where Aznar lets himself loose with a synthesizer and his production skills. The end result is an atmospheric piece that serves to close the first half of the album.

'Mientras Miro las Nuevas Olas' ('While I See the New Waves') has García wittily telling another group of musicians to take it easy, and that it has all been done before, they are not really revolutionizing anything. This time it's the new wave rocker who gets reprimanded (''While I see the new waves / I'm already part of the sea'' sings Charly García). This is accomplished by inserting many dynamic changes between the more rocker and the softer parts.

'Desarma y Sangra' ('Breaks(s) to pieces and Bleed(s)') This is, simply, a beautiful ballad. It consists primarily of García vocals plus his piano, with some synth notes here and there. It has some cryptic lyrics, which is rather uncommon for García (''I look all around / Wounds that come / Suspicions that go / And here I am / Thinking about the soul that thinks / And because of thinking its not a soul / Breaks to pieces and bleeds'').

'Tema de Nayla' ('Theme of Nayla'). This is, in my opinion, the highlight among highlights in this album. Lebón delivers a beautiful melody, with Moro's drums as a soft backdrop and Aznar's bass harmonizing as the backing vocals. The song ends with a lengthy jazz - or fusion for the more rigorous of you - piano-led (courtesy of Diego Rapoport, per Lebón's request) instrumental section. I'm sure prog fans will know to appreciate the piano here, with the rythm changes and Moro and Aznar filling their parts prodigiously.

'Encuentro con el Diablo' ('Meeting with the Devil'). This is mostly country rock: the Lynyrd Skynyrd influence is notorious here, so much that it has been acknowledged by García himself. Although the myth says the song is about a meeting between the band and the then current dictator of argentina (or, according to other versions, a member of the cabinet), it has been denied by the band. This rather upbeat and humorous track is a fitting conclusion, I think, to the brooding and excellent tracks that preceded it.

All in all this is a wonderful album that leaves the listener lusting for more... Fortunately that lust can easily be quenched by spinning the disc again, as the listener will need several listens to grasp all the intricacies and harmonies which are layered in tracks like 'A los Jóvenes de Ayer', 'Tema de Nayla' or '¿Cuánto Tiempo Más Llevará?'. Its a 5 stars for sure.

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 La Grasa de las Capitales by SERU GIRAN album cover Studio Album, 1979
4.09 | 42 ratings

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La Grasa de las Capitales
Seru Giran Prog Related

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars After a very interesting and revealing debut album that, all things considered, didn't fulfill its potential completely, Serú Girán continued to move on taking advantage of the gradual momentum that they were building with domestic audiences. By the time that they released their second album La Grasa de las Capitales, the music press and the rock fans had generally named them as the new heroes of Argetinean rock. This album had a more aggressive sound, a more robust playing and a tighter set of compositional ideas, which only came to confirm and enhance this new found apple of the public's eye. There are two main facts to take into acccount: the orchestral tendencies are mostly gone and the writing structures tend to bear less ambitious sturctures, but contrary to what one might expect from these descriptions, the album is more cohesive than its predecessor under the standards of art-rock. The namesake opener and 'Un Perro Andaluz' are pretty much centered around the cadences of jazz-pop: the former incorporates effective elements of funk and disco (mosly for humorous purposes) in order to create a frantic mood; the latter revolves around introspective moods, while retaining a similar colorfulness (worth mentioning is the terrific bass solo that sets the pace for the instrumental interlude). The Latin-jazz spirit of 'Frecuencia Modulada' is highly motivated by Moro's immaculate drumming and Lebón's excellent acoustic guiar leads: I wouldn't have minded that this anthem against the pandemic, perpetual banality of commercial pop had lasted a bit longer than its 3 minute span, but it bears enough punch as it is. Among this display of energy and sensuality in an elegant art-rock guise lies the short, delicate acoustic ballad 'San Francisco y el Lobo', a beautiful moment of meditation. The first symphonic-oriented track in the album is the Aznar-penned 'Paranoia y Soledad', a power ballad in which he played almost all keyboards together with his usual bass role: at first listen it may seem too meandering and boring, but repeated listenes will find a refined structured and a fluid evolution of the main motif. The only real meandering part is the sung interlude, which I find unnecessarily overlong. More successful in terms of compositional structure is the other power ballad 'Noche de Perros', one of the finest Lebón moments ever. This track bears a very Floydian sound in its spacey moods, which make sense with the existentialist thoughts portrayed in the lyrics: the final guitar solo is just amazing, floating and expanding itself over the dreamy synth layers and piano arpeggios. Actually, the album's second half is my fave part, and 'Noche de Perros' brought an exquisite overture. Track 6 is yet another ballad, less pompous than the previous two, more intimate, and that's accordingly to the suicide theme of the lyrics: this track will set a paradigm for future Serú Girán pieces as well as early Charly garcía's solo albums. The third and last symphonic-based track in the album is the majestic 'Los Sobrevivientes', a well-constructed kaleidoscope of segued motifs that go from tango-fusion to Baroque to Romanticism to Gershwin-style textures. García really shines as a composer here, and he will continue to do so for the album's closure 'Canción de Hollywood'. This one brings airs of jazz-fusion, traditional ballad and symphonic rock in a similarly concise scheme as in the previous track, only less adventurous and with a more agile swing all the way through: elaborated with noticeable overtones of art-rock, this song provides a very good farewell for an excellent album in terms of mood, melody and clever developments.

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 Serú Girán by SERU GIRAN album cover Studio Album, 1978
4.00 | 35 ratings

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Serú Girán
Seru Giran Prog Related

Review by Carlos

4 stars After quitting La Maquina de Hacer Pajaros, Charly Garcia decided to form a new band called Seru Giran, this debut album IMHO stands confidently along other latin prog gems, this one has the same escence of previous Maquina works, but in some ways this record reminds me of Fragile from Yes...long tracks combined with short tracks...and the sound reminds me of PFM early recordings. Seru Giran and Eiti-Leda are very symphonic tracks, the last one considered a classic to this very day and Charly as a solo artist has perfomed this track circa 1997. Lyrics of Seru Giran are quite a jigsaw puzzle really don't know what they mean, but it's a very well performed track...

Separata and Cosmigonon are the short ones, the one a very melancholic piece sung by Charly and probably a track I wish it was a little bit longer...and Cosmigonon with its killer guitar performance of David Lebon along with Charly's synths creates a fantastic spacey ambience...(The guitar riff has some similarities with the guitar solo in Feels Like the First Time/Foreigner).

The Other tracks are good fillers and Autos, Jets, Aviones, Barcos has the same feeling of Hipercandombe (La Maquina de Hacer Pajaros/Peliculas) very funky and joyful.

It's not their best album for me, but I really respect this work and because of that I rate it with 4 stars...

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 No Llores Por Mí, Argentina by SERU GIRAN album cover Live, 1982
3.18 | 12 ratings

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No Llores Por Mí, Argentina
Seru Giran Prog Related

Review by Marcos

3 stars Don't cry for me, Argentina...

No llores por mi Argentina is the classic live album by SG. They recorded it when the band was in its best age and It was the unique live album until 1993. However, songs sound better than the original versions. Just pay attention to Eiti Leda, Salir de la melancolía, Canción de Alicia en el país... Awesome live versions.

Also, there are a new song called No llores por mi Argentina (studio) and another song called Popotitos which is a version of a song by another artist.

Highlights: the bass solo in Eiti Leda, the strongest part in Cuanto más llevará, the vocal arrangement in Cancion de Alicia en el país... One of the best bands in the early 80's. For me, this album could be a masterpiece of Prog- Related. Here, in the Archives, 3.5 stars.

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 Peperina by SERU GIRAN album cover Studio Album, 1981
3.24 | 26 ratings

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Peperina
Seru Giran Prog Related

Review by Marcos

3 stars The last classic by Serú...

Peperina is a strange album. In this album, the progressive side is in the Harmony, in my opinion. I really like the orchrestation too, It´s awesome.

Peperina is a kind of tea which is common in Cordoba (a province of Argentina). The song Peperina is an ironic reference to a journalist called Patricia Perea (from Cordoba) who 'hated' Serú Girán. The work is a mix of a ballad and a bit of rock'n'roll. The arrangement and the instrumental part is really interesting. The synth's solo is incredible. I love this song.****' / Llorando en el espejo is a typical emotional Garcia's ballad. Again the instrumental part drives me to the obsession.**** / After a typical Garcia´s song... a typical Lebon´s song. A nice ballad which pass through many modes (scales).*** / Cara de velocidad: a piano... and then an instrumental Rock'n'roll. I never understood very well this composition.*** / Esperando Nacer is a beautiful blues (not a tradicional blues); one of the best songs in this album. I can´t describe anymore. Just listen to it and pay attention to the instrumental part.****' / 20 trajes verdes: a classical composition for piano. Nice, but no more.*** / Cinema Verite is a strong ballad. In the lyrics, the singer watches the real life like a movie. Interesting story and nice music.**** / En la vereda del sol is a latin song with a nice arrangement, modulations and instrumentation.*** / José Mercado is a reference to José Alfredo Martinez de Hoz, an argentinian economist who was a really bad minister. The music is quite strange. A pattern on a semitones scale and the voices. It's not complex but strange.***' / Salir de la melancolía: a jazzy-influenced song. Great Harmony with an awesome arrangement. Short song but very nice.**** / Lo que dice la lluvia is a great composition. First, the piano plays a very emotional music. When the voices appear, the composition achieves the climax. After that, there are a synth solo and a bass solo. Great piece.****'

This is not a masterpiece, but Serú Girán shows its talent again. Peperina is the last album before the dissolution.

Average rating: 3.45 stars.

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 Bicicleta by SERU GIRAN album cover Studio Album, 1980
4.32 | 39 ratings

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Bicicleta
Seru Giran Prog Related

Review by Marcos

4 stars I want to ride my Bycicle...

Third studio album by 'Serú'. The style is the authentic sound by SG. At this album, the lyrics about politics are more frequent. There are also, some melancholic lyrics.

A los jóvenes de ayer: the beginning couldn't be better. A los jóvenes de ayer is, may be, the most progressive work by Serú. The introduction is a tango-influenced composition with metter changes, complex harmony and skilled musicians. When the song starts, it's a rock ballad, but after that the composition becomes a prog work again. Just listen to this great song... and enjoy it.*****

Cuanto tiempo más llevará: a nice song at the beginning; a strong theme at the major climax part.****

Canción de Alicia en el país: this song is an allegory. Charly García is a clever lyrics writer and he used the Alice's Adventures in Wonderland to speak about Argentina (In my country, there was a military government). The music is awesome, too. It's quite eclectic... rock'n'roll; minor mode, major mode...; vocals...****'

La luna de Marzo: an instrumental piece... a synth's solo over a cyclic base. Nice composition.****

Mientras miro las nuevas olas: long live rock'n'roll! Probably, the less progressive song here. But it's OK. The lyrics are quite melancholic.***

Desarma y sangra: is a perfect song... It's a journey for modes (scales). Here, we can see the classical music influence in Charly. I can't describe some more. Just linten to it.*****

Tema de Nayla: a typical Lebon's song. A classic rock ballad, but with the typical SG's sound. Pay attention to the keys solo: an interesting jazz-rock arrangement.***'

Encuentro con el Diablo (Meeting with the Devil): It's another reference to politics. A military governor had a meeting with some argentinian rockers. Then Garcia wrote this song. The music isn't too nice, but the lyrics make to this song interesting.***

Awesome album by SG. Excellent addition to any prog music collection.

Average rating: 4 stars

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