LA MAQUINA DE HACER PAJAROS

 

Ran the year 1976, the progressive and symphonic rock it was a massive gender And recognized in the world environment, and also in the south cone of America.
Argentina would develop cult bands as Invisible, Crucis, Alas, Espiritu, and one of great sophistication and called symphonism

LA MAQUINA DE HACER PAJAROS.

OVERTURE 777

After the logical bewilderment taken place by the breakup of the group Sui Generis with a couple of concerts that popularized to the rock in Argentina, Charly García (former member of the same one),  had entered in a period of uncertainties and anguishes.

And trying to channel this, it was overturned to diverse projects, as the ephemeral supergroup             "Porsuigieco" that was born like a meeting of friends, Raúl Porchetto, Sui Generis (Charly García and Nito Mestre), León Gieco, and María Rosa Yorio, to conform a company publisher (musical) and that it finished with format of a disk and several concerts.

The winds of the progressive and symphonic rock hit the door of García, to remember the fantastic one alone of keyboards and piano in Sui Generis's discharged concert (in the topic "Un Hada y un Cisne"), in the line of the Rick Wakeman of "Yessongs", and the arrangements of Institutions (last disk of the band) that already insinuated arrangements in having elaborated style, besides their grateful pleasure for Procul Harum or their head band The Beatles.

The idea of a new project in this line was in progress already.

AH, I SAW YOU AMONG THE LIGHTS

Oscar Moro, former drummer of the pioneer group of the Argentinean rock in Spanish Los Gatos and of Color Humano among other, had mentioned to Charly that wanted to work with him in a future. And it was the first summoned to the new group.

It existed for then in the Buenos Aires of principles of 1976, a band formed by Pino Marrone in guitars, Aníbal Kerpel in keyboards, Gonzalo Farrugia in battery and a called youth José Luis Fernández that played the bass.

This youth would abandon that band to unite to García and Moro.

As fact onlooker it is enough to mention that the alternate of Fernández would be Gustavo Montesano, while that band mentioned then would be Crucis.

TICKETS, PASSES AND PAYMENTS

In a room of common friends' rehearsal they begin to play as trio, Charly García in keyboards, Oscar Moro in drums and José Luis Fernández in bass, to debut with that formation in Córdoba, soon after.

In that show they know to a fan, also musician that played guitar, called Gustavo Bazterrica, that would become the fourth member of the group.

It was all clever one for the great jump to the capital and the popularity, but the musical complexity that sought to give García needed of more "sonority", they invite then to unite to the group to a fifth member, the outstanding keyboard Carlos Cutaia, former Pescado Rabioso (to remember their orchestrations in the theme "Crisalida" of the disk "Pescado Rabioso 2" where it directed to the symphonic orchestra's of the Teatro Colón musicians).

With the enough material for a disk (much of which already came from Sui Generis), they begin to play in local it not stops more than three hundred people, to finish being secured and testear the final details, ran half-filled of 1976.

There were for those years a nice ribbon of graphic humor whose main character was a certain García and the comic was titled "García y La Maquina de Hacer Pájaros", the coincidence made them to adopt that name for the band. The designer and humorist author of that ribbon, called "Crist", made them an amusing comic for the cover of the album premiere where the main character presented to the band, defining it as a progressive bird."

With that material, completely written by García, still against what he sought, since wanted to be more one inside the group and not the leader, (but the quantity and the quality of its musical production could more) they prepare to record its album premiere.

"La Maquina de Hacer Pajaros"

Idem

Talent Microfón - September 1977 - 37:41

Fear

· Bubulina

· Como Mata el Viento Norte

· Boletos, Pases y Abonos

· No Puedo Verte Mas

· Rock and Roll

· Por Probar el Vino y el Agua Salada

· Ah, Te Vi Entre las Luces

Arrangements and address: La Maquina de Hacer Pajaros

Art of Cover: Crist

Oscar Moro: Drums and accessories

José Luis Fernández: Bass, acoustic contrabass, acoustic guitar and voice.

Gustavo Bazterrica: Electric guitars, acoustics and voice.

Carlos Cutaia: Organ, mellotrón, piano and keyboards

Charly García: Piano, synthesizer, piano Fender, keyboards, guitars acoustics and voice leader.

I dial defined by the big musical lines, the elaboration, the counterpoints among the two keyboards, the symphonism and the concept of the purest progressive rock.

From the simple topic used for the first time by Sui Generis in their discharged show " Bubulina " now transformed into a plethoric piece of symphonic lines, cut and rhythm changes, topics melodically beautiful overflowing of sublime acoustic guitars as "Como Mata el Viento Norte" or "Por Probar el Vino y el Agua Salada".

Harder pieces, with marked guitars as I cannot "No Puedo Verte Más" or Tickets, "Boletos, Pases y Abonos".

Until a simple rock taken to summits of arrangements and originality like "Rock and Roll", and the suite of eleven minutes that closes with fastener of gold the album "Ah, Te Vi Entre las Luces" pick and clear exponent of the gender.

They present the disk between the 17 and November 21 1976 in the Astral theater, surprising the public and the critic, a landmark pleasurably had been marked in the musical abundance of that year, with the disks: "Alas" (Alas), "Libre y Natural" (Espiritu), "El Jardín de los Presentes" (Invisible), "Volume 2" (El Reloj), "Transparencias" (MIA), "Polifemo" (Polifemo), "Crucis" (Crucis), that which was not a little.

WHAT CAN ONE MAKE EXCEPT FOR WATCHING MOVIES?

He is born a new year, and with him La Maquina decides to use the basement of a social club of which formed part Gustavo Bazterrica, like generating center and it salts of rehearsal.

It is there where begins to be gestated the new music and what would come.

It existed for then a natural union among the members of the band, as much in the musical thing as in the conceptual thing, all naturally begin to produce ideas, and the music go sprouting naturally, as a result of this.

Almost in parallel, La Maquina leaves tour during the first months of 1977, for the interior of Argentina, achieving a growth in the popularity and the prestige.

The musical ideas went being defined, alone it lacked to unite them, and the "paste" was the letters written by Charly who being based on a great passion by the cinema, conceived a conceptual work, in fact based on it: "El Cine".

DON'T ALLOW TO BE DISCOURAGED

Hard times hung on Argentina for that time, the most voracious in a dictatorship in the government, the difficulty to say the things was uppercase for the musicians. Taking as bottom to the cinema, the letters of García reflected with their characteristic mordacity of critical journalist, that raw prevailing reality.

What can one make except for watching movies?

Charly sentenced in the homonymous topic with meridian clarity before the oppressive one half that surrounded it...

Or their critic for the unalterable suitable society to what happened, in "El Vendedor de las Muñecas de Plastico"

" Buy my doll inflable

the sweettest and kinder

of the toyshops terror

of the industries of the love

he always smiles, always of good humor

as the girls that spend the life in the sweet shops..."

He also manifested their hard personal reality, (it was in full separation crisis with their wife María Rosa Yorio) shown almost in alive meat in "Ruta Perdedora"

"I know that to live a lot, it is better

but I also know that my life is so sad

as a fool I believed myself what you said

Our life will be white and good

Our house will be true

Our city will be beautiful from today

And now I listen that the street screams

Welcome to the losing route..."

Even this way, amid so much fog, García believed that there was a light to the one which to cling, and made it know, in the positive message (that perhaps has served many) and of great beauty of "No te Dejes Desanimar"

Never stop to open up

Don't stop to laugh

Don't cover of solitude

And if the fear oxidizes you

If your moon doesn't light

If your body no longer gives more

Don't allow to be discouraged..."

They followed the tours for the interior, jointly with the moving to a rehearsal room, since the basement was flooded every time that rained, until they enter to the studies Ion to register its second disk, the work conceptual "Películas" published finally in June of 1977.

"Películas"

La Maquina de Hacer Pajaros

Talent - Microfón - June 1977 - 38:49

Fear

· Overtura 777

· Marylin, La Cenicienta y las Mujeres

· No te Dejes Desanimar

· Que se Puede Hacer Salvo Ver Peliculas

· Hipercandombe

· El Vendedor de las Muñecas de Plastico

· Ruta Perdedora

· En las Calles de Costa Rica

Engraving in the studies Ion, winter of 1977

Arrangements: La Maquina de Hacer Pajaros

I design Graph: Juan Oreste Gatti

Charly García: Piano, synthesizer, electric guitar, organ, clavinet, voice

Oscar Moro: Drum and accessories

Gustavo Bazterrica: Electric, classic guitars, acoustics, voices.

José Luis Fernández: Bass, acoustic guitar, voices.

Carlos Cutaia: Piano, organ, assemble of strings, synthesizer, voices.

This was an album marked in the musical thing, for the search, the mixtures, like in "Hipercandombe" or the exotic "Que Se Puede Hacer Salvo Ver Peliculas", those always present beautiful finely orderly melodic lines, in "Marylin, La Cenicienta y las Mujeres", "No te Dejes Desanimar", or "Ruta Perdedora", those elaborated instrumental parts, abundant in structures and turns, as "Overtura 777" or "En las Calles de Costa Rica", giving a mature and magnificent work as a result, of great lucidity and beauty.

The official presentation was in the Teatro Coliseo, with a very good reception, but the true show was a time later in the Luna Park (place for some ten thousand people of capacity), in July of 1977, with the replete auditory, where they offered a mythical show, dresses of white and surrounded of chandeliers.

LOSER ROUTE

It would conclude this way a tragic year for the progressive one, for the breakup of the main bands and bigger exponents of the gender (the principle of the end).

They disappear this way in Argentina, Invisible, Crucis, Espiritu, and the year following Alas.

Regrettably, La Maquina would not remain unaware to the phenomenon.

The close contacts between Charly and the rest of the group (especially with the youngest), it was accentuated little by little.

Gustavo Bazterrica begins to miss rehearsals assiduously, in a style that requires them in big measure, until the concert of August 23 1977 in Uruguay would be its last performance with the group, because they decide that it no longer continues.

They chose as alternate to the guitarist of the band Bubu, Alejandro Cavotti, but anything would be same, the chemistry had broken.

I CANNOT SEE MYSELF MORE

The concerts were happened and with them the questions, now to García (mainly for their behavior in the scenario).

The exploxive was the future third disk that began to be debated in the breast of La Maquina.

Most of the members of the group sustained that, each member of the band should compose two topics of the future work, to what Charly was opposed absolutely, requesting first to listen the topics and to see that material would be chosen for the album.

Charly García told us in 1981:

" La Maquina separates because they wanted to make two topics each one in the Long Play, and I didn't trade with that, because to write not that is to say: to write and it leaves, it is something strong.

Can a type play well something somewhere around super, but to compose? And do you already see what happened, each one of the other ones, what did it compose?.

Neither I wanted to put on in boss type "I compose everything", it was already rotten of being school teacher, then I said "I open up, you continue with La Maquina", and I left. A week they separated.

There was a lot of immaturity in some of them, and in a group all have to throw for the same side.

For me La Maquina was a super group, had everything...

And I like "Peliculas" a lot, it is good, but after that, everything rotted..."

EPILOGUE

The group without Charly rehearses during one week until of common agreement is dissolved, Cutaia and Fernández would face, with more or smaller luck a career soloist, Moro would have to do with a new group I join García. Seru Giran

Charly leaves to a fifth with a friend called musician David Lebon (former Pappo´s Blues, Color Humano, Pescado Rabioso, Polifemo), place where he takes body the idea of making a festival discharged for Charly that will live a time to the Brazil. That festival, mythical by the way, he not discharged alone to García, since they joined to play former members of La Maquina, Crucis, and Sui Generis among other, and called himself the Festival del Amor, but it takes published in vinyl and at the moment outside of I classify.

La Maquina de Hacer Pajaros left an enormous furrow of quality and beauty, and two fantastic disks that would be in the history like part of the best rock progressive and symphonic fact in the Argentina.

Gustavo Bolasini

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