Artist: Soda Stereo
Genre(s):
Pop
Rock
Other
Folk
Latin
Discography:
Me Veras Volver
Year: 2007
Tracks: 18
Doble Vida
Year: 2007
Tracks: 9
Cancion Animal
Year: 2005
Tracks: 10
Nada Personal
Year: 2003
Tracks: 10
Obras Cumbres CD1
Year: 2001
Tracks: 15
Sueno Stereo
Year: 1999
Tracks: 12
El Ultimo Concierto Pt. B
Year: 1997
Tracks: 11
El Ultimo Concierto Pt. A
Year: 1997
Tracks: 11
Comfort y Musica Para Volar: Unplugged
Year: 1996
Tracks: 11
Comfort Y Musica Para Volar
Year: 1996
Tracks: 11
Signos
Year: 1990
Tracks: 8
Languis
Year: 1990
Tracks: 4
Zona de Promesas
Year:
Tracks: 10
Ruido Blanco
Year:
Tracks: 9
Dynamo
Year:
Tracks: 12
Soda Stereo was one of the most authoritative Argentine pop/rock bands of the '80s and other '90s. Their success and influence was bedspread to the lie of Latin America. Created as a trio in 1982 and dissolved in 1997, the set was formed by guitarist/vocalist Gustavo Cerati, bass role player Zeta Bosio (born Héctor Bosio), and drummer Charly Alberti (born Carlos Ficcichia).
In the beginning they were profoundly influenced by new wave and bands such as the Police, Television, and Talking Heads. Musically, they had an changing stylus based on pop that avoided their have formulas, pursuing new sound territories exploration (as U2 did in the international prospect). They were a bulge band that took elements from different styles such as new wave, ska, reggae, soul, noise rock 'n' roll, and electronica in different multiplication in their calling. But it was not only music: from the very go they were very concerned about all the aspects related to to effigy: picture clips, shows, vesture, and graphic intention.
It's not possible to explicate the beginnings and the renascence of the Argentine rock movement in the early '80s without citation the return of democracy after septenary old age of military government activity in 1983. Although Soda Stereo was not a band that american ginseng about political topics, their first-class honours degree steps were signed by the liberate expression and the hopes of the fresh political situation, aligned someways with bands like Virus or Los Twist. Out of all the bands that emerged from that post-dictatorial rule government, Soda Stereo was far the most democratic and imperishable.
With their first record album, the self-titled Pop Stereo, released in 1984, they reached national success with joyful and dry lyrics, and a sound that combined pop, reggae, ska, and new undulation. By those times they were accused of superficial and frivolous. The second base album, Goose egg Personal, reinforced the popularity of the set with some instantaneous classics such as "Zippo Personal" and "Cuando Pase el Temblor" that open the doors of the Latin American musical grocery store. But this was amplified in 1986 when they released Signos, one of the best albums of their career. The musical arrangements and the lyrics reached a refinement never heard earlier from the band's output, and lED the weight-lift to accept them seriously. They embarked in an extensive go through Latin America that brought the hot album Ruido Blanco.
In 1988 the set recorded in New York their one-fifth album, Doble Vida, produced by David Bowie guitarist Carlos Alomar. The trio put-upon acute horn arrangements that gave soul music flourishes that differed from how they antecedently sounded. This album was followed by the EP Languis, a small-scale crop that did well commercially.
The twelvemonth 1990 represented a sudden and successful movement for the ring when they released Cancion Animal. Although it was a giving change, with a raw sound based in guitars, the band's popularity was as it peak. An important part of that change is due to Daniel Melero, an Argentine techno pop pioneer wHO renewed the band's sound and mental attitude. He was called "Soda's fourth" during those multiplication. By the end of 1991 they played to 250,000 people in Buenos Aires' streets and edited the EP King Mix containing some songs extracted from live shows and a new studio song. In the beginning of 1992 Gustavo Cerati and Daniel Melero released the soft duette album Colores Santos, which combined some experiment with synth pop songs. Melero's influence reached until the recordings of the following studio album, Dynamo. This 1992 work was selfsame controversial: some honey it as the band's best, others hatred it, spell the most hardly ignored it. Anyway, this disk, the last-place trafficker of their life history, settled unquestionably the band's concern with experiment. After that the ring started an dead-end street with some solo projects, such as Cerati's Amor Amarillo, and some tragedies and losings. The breakup rumors were on the rise, but that was non going to hap still.
In 1995 they were on the road once again, releasing their calmest and virtually relaxed work, Sueño Stereo, followed by a (kind of) MTV unplugged album, named Comfort y Música Para Volar, that juxtaposed classic songs performed live (non necessarily unplugged) with some outtakes from the lowest studio album.
Personal problems between the members and different artistic criteria, increased by 15 years of coexistence, light-emitting diode the band to announce its end in 1997. Before that the grouping did a leave-taking term of enlistment through Mexico, Venezuela, Chile, and eventually Argentina. On September 20, 1997, Soda Stereo played their last read, in front of 65,000 people.
