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SUI GENERIS

Prog Related • Argentina


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Sui Generis picture
Sui Generis biography
Founded in Buenos Aires, Argentina in 1971 - Disbanded in 1975 - Reunited briefly in 1980 and again in 2000-2001

Sui Generis is one of the most important rock and roll (or folk rock) bands in Argentine history, enjoying enormous success and popularity during the first half of the 1970s and a following that has lasted to the present. Although long since disbanded, Sui Generis reunited in 2000 for a concert in Boca Juniors' Stadium in Buenos Aires.

Sui Generis was formed in 1969 by the merging of two bands: "To Walk Spanish", originally led by Carlos Alberto "Charly" García Moreno and "The Century Indignation", originally led by Carlos Alberto "Nito" Mestre. The newly-formed band's member list consisted of, Charly (piano), Nito (flute) Alberto Rodríguez (drums), Alejandro Correa (bass) (later replaced by Rolando Fortich), Juan Carlos Bellia (guitar) and Carlos Piégari (guitar and vocals).

Sui Generis is the predecessor band of SERÚ GIRÁN and LA MÁQUINA DE HACER PÁJAROS.

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SUI GENERIS Videos (YouTube and more)


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Buy SUI GENERIS Music


Si O Si: Diario Del Rock ArgentinoSi O Si: Diario Del Rock Argentino
Bmg Argentina 2008
$7.01
Obras CumbresObras Cumbres
Sony Bmg Europe 2002
$23.99
$59.95 (used)
Pequenas Anecdotas Sobre Las InstitucionPequenas Anecdotas Sobre Las Institucion
Sony Import 2010
$9.62
$14.01 (used)
VidaVida
Bmg 2015
$29.16
$37.69 (used)
Confesiones de InviernoConfesiones de Invierno
Sony Import 2010
$9.61
$11.79 (used)
Adios Sui Generis 1Adios Sui Generis 1
Sony Import 2010
$5.83
$11.79 (used)
Adios Sui Generis 2Adios Sui Generis 2
Sony Import 1996
$8.99
$2.79 (used)
Sui Generis en EstudioSui Generis en Estudio
Sony Import 2008
$15.71
$16.85 (used)
Adios Sui GenerisAdios Sui Generis
IMPORTS 2006
$24.99 (used)

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SUI GENERIS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

SUI GENERIS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.51 | 33 ratings
Vida
1972
3.60 | 37 ratings
Confesiones De Invierno
1973
4.12 | 50 ratings
Pequeñas Anécdotas Sobre Las Instituciones
1974
3.54 | 17 ratings
Sinfonías Para Adolescentes
2000

SUI GENERIS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.78 | 21 ratings
Adiós Sui Generis
1975
4.45 | 20 ratings
Adiós Sui Generis - Vol III
1995
3.91 | 11 ratings
Si - Detrás de las paredes
2001

SUI GENERIS Videos (DVD, Blu-ray, VHS etc)

4.27 | 11 ratings
Adiós Sui Generis
1976

SUI GENERIS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.40 | 10 ratings
En Estudio
2008

SUI GENERIS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.75 | 8 ratings
Alto en la torre
1974
4.80 | 5 ratings
Alto en la torre / Entra
1974

SUI GENERIS Reviews


Showing last 10 reviews only
 Sinfonías Para Adolescentes by SUI GENERIS album cover Studio Album, 2000
3.54 | 17 ratings

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Sinfonías Para Adolescentes
Sui Generis Prog Related

Review by mariorockprog

3 stars 2.75: The fourth and last album by Sui Generis, was created after a brief reunion of two years in 2000. It includes a few unreleased song of their first era, and six new songs, also there are cover songs that Charlie Garcia selected. The reunion happened after a car accident of Nito Maestre, since then Charlie visited him more frequently and decided to make a new album, I think for the new generations. There were some tension between both of them, mainly because Charlie decisions in the covers and in using his band. Musically have diminished its quality, although it has really good moments, most of the songs are really simple rock songs. Vocally also doesn't sounds at his best and lyrically there a few things that has something to say. I considered it a good album, however far from their style and maybe would not be enjoyable for a prog listener.
 Pequeñas Anécdotas Sobre Las Instituciones by SUI GENERIS album cover Studio Album, 1974
4.12 | 50 ratings

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Pequeñas Anécdotas Sobre Las Instituciones
Sui Generis Prog Related

Review by mariorockprog

5 stars 4.5: The third and best album by Sui generis, an Argentina band that includes Charly Garcia one of the most prolific musician in the progressive area of Latin America. In this album, two new incorporation were added to the band, Rinaldo Rafanelli and Juan Rodriguez, who improved the sound of the band. the making of the album was pretty influenced by political situation of Argentina, there was a lot of repression, in fact they had to replace two track and change the lyrics of other of the songs because of its political content. Very progressive content, if you have to define album it would be a combination between symphonic, folk and heavy prog, there are a lot of good moments and the keyboard passages are very immersive in the music, also the change in the music rhythm make it very enjoyable. Lyrically it has a lot of metaphors and intrinsic meaning about the situation and in some times seems that he also talks about girls and romantic situations. Vocally, it continues with the Charly Garcia style of singing and how he makes beautiful melodies and added variations to the music. Finally, I considered it a excellent addition to any prog collection and an essential to know the evolution for the progressive movement in Latin America.
 Pequeñas Anécdotas Sobre Las Instituciones by SUI GENERIS album cover Studio Album, 1974
4.12 | 50 ratings

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Pequeñas Anécdotas Sobre Las Instituciones
Sui Generis Prog Related

Review by granmogol

4 stars One of the most striking elements of SG - not detracting from their musicianship - is their lyrics, to the point that I do not know how a non-Spanish speaker can ever fully appreciate this band the way we Argentinians do. This last SG record, although subject-wise is a conceptual album, is I believe a carry over from the previous albums in that it rests on its individual pieces or songs (this of course is the merit solely of Ch.Garcia) who can conjure potent cinematographic images and words of surrealism mixed with the most everyday suburban to comic and memorable effect (cf. the misterious room where gentleman or judge-like diners discourse "one in English, another one in French, and another one in freakin' rage ")
 Pequeñas Anécdotas Sobre Las Instituciones by SUI GENERIS album cover Studio Album, 1974
4.12 | 50 ratings

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Pequeñas Anécdotas Sobre Las Instituciones
Sui Generis Prog Related

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars SUI GENERIS (Latin phrase meaning "of its own kind/genus) was one of the most popular bands in all of the history of Argentina with huge popularity during the first half of the 70s. Originally experimenting with psychedelic music in the 60s, the group changed its sound to be a folk band. The band found instant popularity amongst the youth.

After two albums of folk music mainman Charly Garcia decided something new and fresh was in order. The band incorporated more musicians and became more of a folk rock band and the result was "Pequeñas Anécdotas Sobre las Instituciones (Small Anecdotes about the Institutions)." The album was disliked at the time mainly because it caught people off guard being much more progressive and abandonned the more simplistic lyrics for commentary about the social and political situations that plagued the country at the time. Although unpopular at the time it is now considered a classic in South America.

For me this is a very pleasant listen of progressive folk rock with catchy melodies, interesting song structures and instrumentation. It is also cool to have an insight into the history of Argentina, a country I know next to nothing about. All lyrics are in Spanish. This was their last studio album and mainman Charly Garcia went on to put together the more progressive bands of La Máquina de Hacer Pájaros and Serú Girán.

 Pequeñas Anécdotas Sobre Las Instituciones by SUI GENERIS album cover Studio Album, 1974
4.12 | 50 ratings

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Pequeñas Anécdotas Sobre Las Instituciones
Sui Generis Prog Related

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars "Pequeñas Anécdotas Sobre las Instituciones" is the Sui Generis' third and last studio effort that incarnated the ultimate development of Charly Garcia's vision for this folk-rock act. In fact, this band had been born out of earlier acts devoted to the practice of late 60s art- rock, and so it came to be that when the influence of prog rock was beginning to catch flame in some areas of Argentinean rock (the first gigs of Crucis and Ave Rock, the reinforcement of Arco iris as a major fusion-rock name), Garcia became more than willing to instill this line of work into Sui Géneris. It is common ground that this was their most accomplished work and that it only made sense that it should sell more poorly to an audience that was determine to accept their usual folk-oriented side exclusively. Sure, songs like 'Dime quién me lo robó', 'Un hada, un cisne' and 'Tribulaciones, lamento y ocaso de un tonto rey imaginario' were artsy songs from previous albums that were highly acclaimed by the SG audiences all over the place, but now this same audience was asked to proceed with a leap of faith and embrace this artsy trend as their beloved band's redefining method and not just as a casual resource. Of course, only a limited range of their audience accepted it, but all in all, it didn't affect their appeal to the public's eye in terms of gig attendance. Well, musically speaking, the artistic satisfaction of Garcia's did not match Mestre's, so it was only natural that this peak of art should signal the band's descent into conflict and separation. In fact, a planned and aborted fourth release was supposed to enhance the new progressive trend started in this album. Another fact that revealed the chasm between the band's own evolution and the audience's appreciation was the limited acceptance of the band's augmentation as a quartet: this line-up change was the result of the need to have bassist/ guitarist Rafanelli and drummer/percussionist Rodriguez become active contributors to the band's refurbished sound, not just as back-up performers. Well, now that I have described the band's state-of-affairs to some extent, here are the tracks themselves. The opener 'Instituciones' makes such a lovely statement of the dominant symphonic factor: this band is headlong for a demonstration of how Genesis- meets-PFM would sound like, and they do it quite fine. 'Tango en segunda' is more like a jazz-prog attempt, soft and reasonably constrained, which is apt for the creepy lyrics: the amalgamation of guest David Lebon's guitar and Garcia's synth is well constructed. The segued follower 'El show de los muertos' continues in the jazzy vein and bears even more creepier lyrics and musicality. The symphonic thing returns for the warmly sarcastic 'Las increíbles aventuras del Sr. Tijeras' and the dramatic 'Música de fondo para cualquier fiesta animada', while the jazz thing returns in the vividly mischievous 'Pequeñas delicias de la vida conyugal', but nowhere does the artsy direction get as magnificent as in 'Tema de Natalio', the amazing instrumental that delivers an exquisite 6 minute sequence of genuinely progressive motifs. You can almost watch how Garcia enjoys his Moog excursions, gran piano phrases and ARP string orchestrations. Also, the guest presence of violin master Pinchovsky and master organist Cutaia (soon to become Garcia's keyboard partner in LMDHP) provides the ultimate touches of color for this one. The folk thing is also present in 'El tuerto y los ciegos' (arguably, the best acoustic song ever penned by Garcia, and that also includes Pinchevsky's involvement) and the closer 'Para quién canto yo entonces', a correct protest song that signifies the usual Bob Dylan influence. I very much prefer the serene beauty of 'El tuerto': incredible how Garcia felt inspired to write this tiny beauty in a couple of days in replacement of one of the completely censored songs (three or four actual songs also had a few lines censored each in order to be included in the final album). The ultimate Sui Géneris album makes a fine progressive album: I think it is a 4- star folk-rock effort and a 3.75-star prog one. A big farewell for SG, indeed.
 Vida by SUI GENERIS album cover Studio Album, 1972
3.51 | 33 ratings

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Vida
Sui Generis Prog Related

Review by AcostaFulano

3 stars Charly García's talent begins to blossom in this album. Even though most of the songs are quite simple and straightforward, the melodies are beautiful and memorable (as most of Charly's melodies are). Also the first examples of the powerful yet sublime vocal harmonies that Charly and Nito achieved during their time as Sui Generis start to emerge (Very pleasant to hear by the way).The lyrics speak of several aspects of life and some of the lyrics are quite deep for the age they had at that time. The overall sound of the album is a very clean and simple combination of acoustic guitars, piano, and flute.

This album has classics like "Canción para mi muerte" and "Necesito" which are some of the best known fireside songs by Sui Generis, but the real gems in this album are some lesser- known songs that in my opinion demonstrate the musical maturity that Charly was achieving and as a composer: "Dime quién me lo robó", "Cuando comenzamos a nacer", and "Estación". Specially the first 2, which are very dense in content yet pleasant to listen.

Even though I think this is a great album and that every song of it is worth listening, I don't think this is an essential album in any way. I think this album is filled with several good moments and some excellent moments, but overall, giving it more than 3 stars would be unfair with similar rated albums by other bands. This is definitely worth some spins though so try to check it out. I'm giving it 3.5 starts rounded down to 3.

 Adiós Sui Generis by SUI GENERIS album cover Live, 1975
3.78 | 21 ratings

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Adiós Sui Generis
Sui Generis Prog Related

Review by AcostaFulano

4 stars This is a great album. Both on the musical side and because of the emotion it's filled with. Being a big fan of Sui Generis I was quite moved just by looking at the setlist the first time I was getting ready to listen to this album. The band's classics, which they were obliged to play on their farewell concert have such a massive response from the audience that it sometimes even make it hard to hear the music after the first chords (largely because the poor recording quality).

Focusing on the musical side, they gave a certainly different approach to the usual classics such as Canción para mi muerte, Aprendizaje, Natalio Ruiz and Rasguña las piedras. Charly uses their newly acquired synthetizer and moog, giving the old songs a much newer feel (Also noting the musical direction he was moving towards to). In my opinion this versions are good, but I'll stay with the "cleaner" and "more innocent" sound of the classics. The more recent tracks from the Album "Instituciones" are more adequate to the equipment used in the concert as it helps recreate the climate and atmosphere of the lyrics, which are very dark and powerful.

On the vocal side, the vocal harmonies are sublime as in every Sui Generis record, and even more "full" with the addition of the bassist Rinaldo Rafanelli (whose track "La niña juega en el gran jardín" also proves his great ability as a singer). Charly even ventures into singing higher notes that add to the power of this presentation. He really sings for his life in this concert.

There are also quite a few bits of improvisation which show Charly's musicianship in the keys and his chemistry with the audience. He goes crazy with the audience in "Zapando con la gente" in what is to me the climatic highlight of the album.

The conversations going on between the band and the audience in between songs is really touching, as they all new that after that show they would disband. I think that this album marks a key moment in the argentinian and latinamerican music history, and even though it's not a demonstration of extremely superb performance or composition, the mix of emotions that so many people at Luna Park experimented those sold out nights are perfectly captured in this record, and that's why I can't give it less than 4 stars.

 Confesiones De Invierno by SUI GENERIS album cover Studio Album, 1973
3.60 | 37 ratings

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Confesiones De Invierno
Sui Generis Prog Related

Review by Ivan_Melgar_M
Special Collaborator Symphonic Prog Specialist

4 stars Being Peruvian, and due to the proximity of our countries, we've been bombarded by plenty Argentinean bands, some excellent, other terrible, but SUI GENERIS is one of the best ones I ever heard.

The fact is that I grew listening "Confesiones de Invierno", which I never saw as Prog, but with the pass of the years I dare to say has more relation with Progressive Rock most people believe, due to the strong melody, radical changes, orchestral arrangements and intelligent lyrics.

If we want to understand the connection between SUI GENERIS and Prog, we need to know the great admiration that Charly García felt for PROCOL HARUM plus the strong influence of the melodic Italian Symphonic that influenced so much the Argentinean scenario.

As a note I must say that Charly was ahead of the other members of the band, transforming them from an acoustic act into a full Prog expression with the addition of a Hammond organ and a Moog, but that came later.

In "Confesiones de Invierno" he only plays piano, but the Orchestral arrangements by Gustavo Beytelman add the Symphonic touch that matches perfectly with the melodic music and makes it worth of the inclusion in Prog Archives.

The album starts with "Cuando ya me Empieze a Quedar Solo" (When I start to stay alone) and it's dramatic intro with piano and excellent vocals, the pessimistic lyrics begin to create a melancholic atmosphere, the music goes "in crescendo" and it explodes in a short Rock passage and leads back to the sad mood only to move to another climax where the band plays with some orchestral arrangements which along with the beautiful melody give the Symphonic touch. Fantastic track.

"Bienvenidos al Tren" (Welcome to the Train) is a simpler track based in a catchy rhythm, closer to Argentinean early Rock than to Prog, but still the lyrics and arrangements make it worth listening.

"Un Hada, un Cisne" (A Fairy, a Swam) is an unusually long track in which the band moves closer to Fusion territory lead by Charly's excellent piano and Nito Mestre's clear voice, is surprising how easily they morph from song to song, as if we were listening different bands. The only constant is the melancholic mood that prevails all along the album.

"Confesiones de Invierno" (Winter Confessions) can only be described as a masterpiece, the song is in first person as a narration and tells the story of a man who is thrown by his couple from the house because his inability to do anything. from that point his anger and frustration leads the guy to prison, from where he doesn't want to leave. The music is soft but perfectly structured with some explosions specially when the narrator shows his anger against everything, beautiful melody, almost perfect track.

"Rasguña las Piedras" (Scratch the Stones), is another masterpiece in first person, some people believe it's about a woman buried alive and rescued by the singer, others believe it's only the expression of pain from a man who's real love has been buried the day before.

The music is complex and well elaborate, goes from soft and calmed to frantic and almost desperate, the piano an orchestra are out of his world, the vocals are perfect, and on the other side Rinaldo Rafanelli (Bass) with Juan Rodríguez (drums) remembering us we are in front of a Rock band.......Outstanding.

"Lunes Otra Vez" (Monday Again) is another simpler blues based Rock track with some interesting moments, followed by "Aprendizaje" (learning), almost in the same vein, even when the vocals and the acoustic guitar make it much better, nice pair of songs.

"Mr. Jones, o Pequeña Semblanza de una Familia Tipo Americana" (Mr. Jones, or Small Portrait of a Typical American Family), starts with the only phrase in English that I can't repeat, but don't be afraid is a 50's styled Rock track that makes mockery of the "typical" American family, with clear references to the Addams Family, very entertaining if you understand the lyrics, so if you don't speak Spanish, get a translation for all the album it's worth.

"Tribulaciones, lamento y Ocaso de un Tonto Rey Imaginario" (Tribulations, Laments and Decline of a Foolish Imaginary King) is an extremely dramatic song with the best piano in performance in the album, radical changes and wonderful lyrics about what seems to be a reference to Argentinean dictators. By far one of the best closers of an album I ever heard.

Now...How can I rate this album?

If I let my nostalgia free (Something hard to do when you grew loving this release), I can't go with less than 5 stars, but this wouldn't be accurate, because the album is excellent but not completely essential for a Prog collection, plus the fact that has a couple of weaker (not bad) tracks, so I will go with 4 stars.

 Pequeñas Anécdotas Sobre Las Instituciones by SUI GENERIS album cover Studio Album, 1974
4.12 | 50 ratings

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Pequeñas Anécdotas Sobre Las Instituciones
Sui Generis Prog Related

Review by pwawrzyn

5 stars This album is the best of Suis Generis. The more evoluated and is a real precursor to la Maquina de Hacer Parajos. It is a mix of folk and true sophisticated progressive rock (like the two first yes albums).

The opening track is very representative of the album : a wonderful folky beggining followed by strong instrumental developement. The singers are really emotional and coulb be compared to some south american Crosby Stills and Nash evolved in a early Yes style. The second song Tango en Segunda is decisive : a jazzy folky intro with pure vocals and herbie hancock like colors (period Thrust) is followed by a strong and nasty instrumental Theme a la Mahavishnu Orchestra (similar the second song of The Inner Mountain Flame) and King Crimson. This track is short but incredibly impressive! A Surpising and Instanteneous classic for early 70's jazz-rock prog lovers! Then the 3rd track comes with a folky early supertramp track (wonderful saxophone intervention). The rest of the album is between catchy songs (best of supertamp, who, early yes) and classic progressive rock tracks!

Highly emotionnal an inventive Prog Rock Classic from argentina (wich was definitely a proggy country in the 70's)! NB :with a wonderful cover and easy to find!!!!!

 Adiós Sui Generis by SUI GENERIS album cover Live, 1975
3.78 | 21 ratings

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Adiós Sui Generis
Sui Generis Prog Related

Review by Zitro
Prog Reviewer

3 stars A highly iconic album. This is the farewell show at Luna Park, which had a huge audience, possibly a record at that time. The music focuses on the electric and symphonic side of Sui Generis with Charly using much more electric piano and minimoogs than pianos. Some songs are new, some are just to interact with the audience ... though I'm not a fan of those. For the rest, think of Yessongs. More loose, longer, and with a sound quality that leaves a bit to be desired.

The highlight for most is of course the twenty minute instrumental section of Un hada Un Cisne or to be more specific, Charly Garcia's keyboard solo. It begins with Grand Piano which its most enjoyable moment is when he reprises and improves on Posludio from the debut album. Afterwards, he plays harpsichord and sounds like a Wakeman-Emerson hybrid in it. Then, he probably heard too much of Wakeman's Six Wives haha. Basically, synth showmanship heavily influenced by Wakeman. After some uninspired bass/guitar soloing, Charly plays an avant-garde synth solo that goes into cacophony near the end. Sounds like those Rondo songs from Emerson live. Another example of Charly's synth showmanship is in the extended Tango en Segunda which has a very long synthesizer solo reminiscent of mid-70s Wakeman (White Rock, Arthur) keyboard work.

A Historical album for sure, but it's not really essential. I say stick with the studio albums, especially the last two.

Thanks to ProgLucky; Atkingani for the artist addition. and to Quinino for the last updates

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