Soda Stereo were an argentine rock band from Buenos Aires, Argentina. They were a power trio made up of singer-songwriter Gustavo Cerati, Hector "Zeta" Bosio on bass, and Carlos Alberto Ficicchia (Charly Alberti) on drums. Their career spanned from 1984–1997, and was followed up by a short comeback tour in 2007-2008. Soda Stereo began as a new wave outfit influenced by The Police, The Specials, Television, The Cure, XTC, and Argentine rock. Their music evolved toward a heavier alternative rock sound throughout the 90’s, eventually drawing influences from classic rock, shoegaze, and Britpop.

Soda Stereo were the first Latin rock group to achieve success throughout the whole of South and Central America, where they have sold more than 7 million copies alone. They are considered to be pioneers of the Rock En Español, Ibero-American Rock, and Latin Rock genres. The band established what would become the template for many other popular Spanish-speaking rock music groups. Soda Stereo has topped the all time lists in much of Latin America and in their native Argentina, where they set landmarks in record sales and concert attendances. In 2002 Soda Stereo was awarded the Legend Prize by MTV Latin America, the first prize to be awarded of its kind.

History

From Stereotypes to Soda Stereo (1982-1984)

In the summer of 1982 Gustavo Cerati at 22 years of age and Hector Zeta Bosio at 23 years of age collided at Punta del Este, Uruguay. Cerati with his group Sauvage and Bosio with The Morgan, a band he shared with Sandra Baylac, Hugo Dop, Christian Hansen, Pablo Rodriguez,(Los Auténticos Decadentes), Charly Amato, Osvaldo Kaplan, and Andres Calamaro. Cerati and Bosio established a friendship and a musical bond that encourage them to start playing together. Cerati first joined Bosio’s group The Morgan, then formed Stress with Charly Amato and drummer Pablo Guadalupe. He also worked on the project Erekto with Andres Calamaro. According to Cerati both projects did not meet his expectations.

At the time Carlos Ficcichia, legal name of Charly Alberti would incessantly call Cerati's house asking for Maria Laura Cerati, Gustavo’s sister. Alberti wanted to ask her out, but she thought he was too “pesado” (stiff) and did not want to go out with him. In one instance when Gustavo answered the phone, they entered a lengthy conversation about music. Alberti mentioned that he was a drummer and the son of the famous Jazz drummer, Tito Alberti, songwriter of a well known Argentinian children's song, “El Elefante Trompita” (Little Trunk Elephant). After hearing Alberti play, they asked him to join the band, but first he had to cut his hair.

After a few experiments (Aerosol, Side Car) the three adopted the name Los Estereotipos (The Stereotypes), referencing a song by The Specials which they passionately listened to for few months. During that time period they record a demo with Richard Coleman on guitars. Soda initially recruited Coleman to beef up the guitar sound but Coleman recognized that the band sounded better without him and quit in good terms, leaving the definitive trio of Gustavo Cerati, Zeta Bosio, and Charly Alberti.

Regarding the meaning and use of the word “soda:”

They say that they make music with bubbles. But instead of referring to luxurious champagne bubbles, they affirm that they assume the representative ordinary and popular Sifón, or carbonated soft drinks

The first show under the name "Soda Stereo" occurred on December of 1982. The occasion was Alfredo Lois birthday party. Lois was Cerati and Bosio's university classmate. He would go on to become Soda's video director as well as their visual and stylistic guru. Lois was later recognized by Cerati himself as “the fourth Soda”.

In July 1983 the band made their debut at the discotheque Airport in the Buenos Aires neighborhood of Belgrano. According to the band:

Our debut was at a fashion show at the Disco Airport, which was close to where we practiced in Buenos Aires. Nobody gave us a nod. The three of us played on a very deficient sound system. But we were happy, even though no one paid attention. We really looked like a punk group, we didn’t know how to play and the sound was loud, even though it was just that On one occasion at the Café Einstein, Luca Prodan approached Cerati, whom he considered “a chetito,” and joined Soda in a cover of a Police song. was in charge of the visuals and the graphic designs featured on the fliers and posters for their live performances. It was Alfredo who decided to edit a video clip before the release of the album, something that is quite common today but totally unusual for the time. The song chosen was “Dietético” (Dietitian). The filming was realized with “borrowed” equipment from Cablevision, where Zeta Bosio worked as a production assistant.

The attention garnered by Soda was manifested in their playing of larger and larger venues. First was “La Esquina Del Sol” in Palermo. “El Recital De Los Lagos” on the 1st and 2 December was their first multi-headlining show with top Argentinian acts . The show was hosted by Argentinean Television personality Juan Alberto Badía.

Soda Stereo presented their debut album at El Teatro Astros on the 14th of December 1984, it was their first show there. The stage was designed by Alfredo Lois, who for the occasion located 26 television sets in the background. The TV's were turned on and out of sync with each other - the theme of “Sobredosis de TV” (TV Overdose). The TV's, together with a large amount of smoke, created an unusual but captivating visual effect

On the 26th of January 1985 Soda played the Rock in Bali festival in Argentinian port city of Mar Del Plata. On the 17th of March they played the Festival Chateu Rock ’85 at the Estadio Olímpico Chateau Carreras in the province of Cordoba. The official biography of the band attach great importance to this appearance indicating that the band played for 15 thousand people and that they were the revelation of the festival. However, Cordoba media outlets claim that, "only half the number of people actually showed up and that Soda were hardly noticed because their first record had was just released a few months earlier.” They also added “Raul Porchetto was the biggest draw of the night”. Regardless, their presence at Chateau sparked a personal relationship between the band the youth of Cordoba, it marked the moment that the band began to take flight toward national stardom.

The success of the band began at a very pecuiliar time, related, on the one hand with the return of democracy to Argentina (December 10, 1983), and on the other hand, with increasing notions of postmodernism, particularly in the way the 80’s youth created their role in a newly democratic society, one that had just emerged from bloody Dictatorship and War.

Years later, Zeta Bosio would reflect on this juncture:

The democracy produced the adrenalin of something new, something was occurring, I knew I was going to make changes without knowing how. There was more air for us to make things and to wander, and we were a band of kids that wanted to make trouble. Our attention was on punk and on trying to show that there was something else that was more direct

On the 13th of October of that year, Soda played in front of a large audience in Buenos Aires as part of the third night of the Festival of Rock and Pop Held at the José Amalfitani Stadium home of the soccer club Velez Sarsfield . They shared the stage with INXS, Nina Hagen, Charly Garcia, Virus, and Sumo, among others. By then Fabian “Vön” Quintero and Gonzo Palacios were “stable guests.”

Nada Personal and Obras 1985-1986

was filmed at the Incan ruins of Pucará de Tilcara, in Jujuy. Soda fused rock and carnavalito (traditional Andean music. The video was nominated as the finalist for the 12th World Festival of Video and TV in Acapulco.]]

Soda’s second álbum Nada Personal was edited on October of 1985. During the summer the group toured the touristic centers of Argentina, playing in Mar de Plata, Villa Gesell, and Pinamar. Finalizing the tour with a consecrating concert at the Festival De la Falda in Córdoba, which featured Andres Calamaro and Charly García on keyboards on “Jet Set.”

In April the band decided to officially present the album at a concert at the Estadio Obras Sanitarias in Buenos Aires. There they realized four historic shows with a total attendance of 20,000 spectators. Footage from the first show was edited into a long play video., the noted music critic and founder of the groundbreaking Rock & Pop Radio in Buenos Aires, thus ending his chronicle of the concert, had this to say:

"We are facing the most powerful group in the country ... The best parameter to measure this presentation is that it was short, it seemed to have lasted ten minutes or so and people were left wanting more. The outpouring of the stadium was a general murmur of the songs from Soda Stereo. The rain, the traffic on Avenida del Libertador was cluttered by those entering and leaving. The last hot dog of the night and a healthy sense of well being, leave no room for existential questions. I then put my jaw back in place and went singing softly “Estoy Azulado” between the rain on Libertador."

After these concerts records sales began to increase at an accelerated rate, quickly passing the Gold certification that they had achieved during the summer, platinum certification, and finally double platinum in the following months. Without abandoning the danceable rhythms, the second LP resulted in more depth in the lyrics and a melodical maturity. The album marked the definitive consecration of Soda Stereo to the Argentenian public.

The Conquest of Latin America (1986-1989)

Chilean Youth received Soda Stereo as popular idols. The song that created this first contact was Personal” (Nothing Personal) which became a radio hit. A little later in February of 1987 Soda a has a strong showing at the Viña del Mar International Song Festival, again in Chile. This, in effect, opened the doors to the rest of Latin America.]]

In 1986 Soda Stereo realized their first Latin American tour, called Signos - still touring with the Nada Personal record. The band played in Colombia, Costa Rica Peru, and Chile with considerable success. In Chile they realized four shows in Santiago, on the 21,22,24, and 25 November, and one in Valparaíso on the 22nd of November of 86 In November 1986 Soda arrived in Peru for the first time and revolutionized the market. Their album sales were enormous and their three shows at the Amauta Coliseum were unforgettable.

At that time Latin Rock was not that popular with the youth of Latin America (with the exceptions of Argentina and Uruguay) and bands were not accustomed to international tours.

On the 10th of November of 1986 the band released their third album Signos. Signos with its lead single "Persiana Americana" (American Blinds) was a key step for Soda Stereo who by now had come under a great deal of stress due to ever increasing factors: sales expectations, external pressures, the risk of failure, and internal tensions. The band was joined in the studio by Fabián Vön Quintiero on keys, Richard Coleman on guitar and Celsa Mel Gowland on back up vocals. Signos became the first Argentinian Rock album to be released on Compact Disc. It was manufactured in the Netherlands and distributed throughout Latin America.

On the 3rd of December Soda made their first appearance in Ecuado. In early 1987 Soda returned to Chile, this time to the Viña del Mar International Song Festival where they won the prize “Antorcha de Plata” (Silver Torch). The festival was broadcasted via television to many Latin American countries, expanding the band’s fame throughout the continent. It did not take long to transform itself into a massive unconditional adhesion which was called “Sodamania”.

On the 23rd of April 1987, Soda broke records for ticket sales in Paraguay with their show at the Yacht Club. Meanwhile Signos reached Platinum status in Argentina, triple platinum in Perú and double platinum in Chile.Soda’s first show in Mexico occurred on the 4th of August in 1987 at the Magic Circus in Mexico City. Soda

The Signos tour was a milestone for Soda as they played 22 concerts in 17 cities to almost 350,000 fans, in the process opening up the idea that Latin Rock can transcend the nationalities of the bands, something that would come to fruition in the upcoming decade. With live recordings from different shows, a live album Ruido Blanco was compiled in 1987. Mixed in Barbados, it was considered by Rolling Stone (Argentina) to be one of the top 5 live albums of Argentinean Rock

In late 1988 Soda began to work on a new album alongside Puerto Rican producer Carlos Alomar. Alomar had worked with David Bowie, Mick Jagger, Simple Minds, Iggy Pop, and Paul McCartney, among others. Doble Vida (Double Life) was recorded and mixed in New York City. It was the first record by an Argentinean band to be completely recorded abroad.

The album produced four singles, "Picnic en el 4B" (Picnic in Room 4b), "En la Ciudad de la Furia" (In the City of Fury), and "Lo Que Sangra (La Cúpula)" (That Which Bleeds (The Dome), and “Corazon Delator” (Tell-Tale Heart). The video for “En La Ciudad de La Furia” was a finalist for an MTV Video Award in the category of best foreign video (there was no Latin MTV at the time).

After more than a year without playing in Buenos Aires, Soda showcased Doble Vida at the hockey field at Obras in front of 25,000 fans. To top of a stellar year, Soda headlined the Three Days for Democracy Festival, which took place in Buenos Aires on the intersection of Avenida del Libertador and Nueve De Julio. The show was attended by 150,000 people and Soda shared the stage with Luis Alberto Spinetta Fito Páez, Los Ratones Paranoicos, Man Ray, and others.

With sales of a million copies of Doble Vida under their belt, Soda began a massive tour in early 1989. The tour began with 30 shows in Argentina, covering most of the country, which were attended by nearly 270,000 thousand fans. These shows were followed by a new Latin American tour (their third), which cemented a massive following in Mexico.

Near the end of 1989 Soda records a new version of “Languis” (from Doble Vida) and a new song titled “Mundo de Quimeras” (World of Chimeras). Both songs were released in the EP Languis (1989) along with remixes of “En El Borde” and “Lo Que Sangra (La Cúpula)”. Following the release of Languis Soda played two sold out shows at The Palace in Los Angeles, becoming the second Rock en Español to play in the United States, following Miguel Mateos.

The Consecration: Canción animal (1990-1991)

, released in 1990, is considered to be one of the best albums of all time of the Latin Rock genre.]]

In early 1990 the band co-headlined a show for 32,000 people with British new wave band Tears for Fears at the Jose Amalfitani Stadium in Buenos Aires.

Soda Stereo then traveled to Criteria Studios in Miami, Florida to begin work on their fifth album. They would enlist the help of Daniel Melero, Andrea Álvarez, and Tweety González (all very important figures in the Argentinian rock scene of the time.

The resulting album Canción Animal(1990) is considered to be one of the best albums in the history of Latin rock. It contains their most well known song “De Música Ligera” (Of Light Music), as well as other classics such as “Cancion Animal” (Animal Song), “Un Million de Años Luz” (A Million Light Years), “En el Septimo Dia” (On the Seventh Day), and “Te Para Tres” (Tea For Three). These songs are considered to be the band's strongest and at the same time are their most popular,. Overall, the album is considered as the most consistent work by the band, along with Signos. Some of the Grand Rex shows would appear on the live EP Rex Mix (1991), which included remixed versions of a new song, “No Necesito Verte (Para Saberlo)” (I don’t Need to See You - To Know).

en Buenos Aires. On December 14, 1991 Soda gave a free concert here to more than 250,000 people.]]

By late 1991 Soda’s continental success brought the band to the attention of MTV News Europe who began to take notice of what was taking place in Latin America, particularly with Rock en Español. MTV unconditionally dedicated a whole show to Soda - a first for non English singing band.

In May 1992 Soda embarked on a tour of Spain with shows in Madrid, Oviedo, Sevilla, Valencia, and Barcelona.The lackluster results of the Spanish tour, compared to the fervor they were accustomed to in Latin America, left a sour taste in their mouths. Nevertheless, it did serve as a valid experience, specifically in bringing the band back to earth. To put it bluntly: Spain was in no way a failure, but was far from the success that Soda had been used to in Latin America, in the end it was a good learning experience. Massacre, and El Otro Yo were also considered part of the movement. The band also showcased the album in its entirety in a local talk-show, Fax. This was the first stereophonic TV transmission in Argentina. Dynamo did not sell as expected, in large part because the band decided to change record company immediately after recording it. Sony at the time, had no intentions of promoting a group that had just emigrated from BMG and BMG could not promote another foreign product.

In January of 1993 Soda began their sixth tour of Latin America, visiting Mexico, Chile, Paraguay, and Venezuela. During the middle of the tour, the trio decided to take a long rest which fueled rumors of a break up. There had been talk of dates in the United States, Spain and other countries, but diverse factors during late 1993 and early 1994 forced the group to take a “rest” from Soda Stereo.

1994 was the worst year for Soda. On the 4th of July, Zeta’s two young sons died in an absurd transit accident in Argentina. This event would deeply affect Zeta on both a personal and professional level. By unanimous decision Soda decided to distance themselves from the myth for a while and at the same time to evaluate the possibility of a definitive separation.

During this hiatus, Gustavo released his first solo project: Amor Amarillo (Yellow Love), (ironically, Gustavo had mentioned that he had no interest in a solo career). Zeta dedicated himself to the production of other pands (Peligrosos Gorriones and Aguirre). Charly disappeared from the music scene to focus on personal projects.

At the end of 1994 Zona de Promesas, a compilation of remixes and classic Soda songs, including the unreleased song that gave the album its name, was released,

Sueño Stereo (Stereo Dream) (1995-1997)

Soda Release Sueño Stereo, the last of their 7 studio albums. In this album the speaker was utilized as a powerful symbol: the cover contains three speakers (a bigger one in the middle), posing as ovules surrounded by spermatozoa speakers. The image of the speaker is also used in the video for Ella usó mi cabeza como un revólver ("She Used My Head Like a Revolver")]]

After a three year absence, on the 29th of June 1995, Soda release Sueño Stereo (Stereo Dream), their 7th and final studio album. The album was an instant hit quickly reaching platinum disc in Argentina 15 days after its release. The album was powered by the radio hit “Zoom” and the promotional video for “Ella Uso Mi Cabeza Como Un Revolver” (She Used My Head Like a Revolver), which in 1996 won the viewers choice award presented by MTV Latin America. This was a maximum accolade given that this award at the time, since the actual award would not be established until 2002 for Latin MTV.

According to Cerati:

Sueño Stereo took two years to conceive. It would be illogical to say that this was Soda’s masterpiece, but it was the most real expression by the group at the time, because we were stripped of the need of having a group in the future, or of being the best for another ten years. We had already passed through a lot of things and the band itself felt classic. On the other hand, we were very proud of what Dynamo had promoted and its subsequent interpretation. Then, Sueño Stereo had the pressure of not pressuring us. The band had to deliver something important, it couldn’t be a little record. Besides, we had to find ourselves again after a while and allow the music to flow, without thinking too much about taking or step or something like that. In the end, Sueño Stereo is one of the most innovative records of our career, without us trying to make it so -because of its sonic combinations, its lyrics, and because of its sound.

Band Breakup (1997)

A long silence preceded the final farewell, except for band’s participation on a Rock En Español Tribute album, Tribute a Queen: Los Grandes del Rock en Español. Soda covered “Someday One Day,” from Queen’s 1974 album, Queen II , and sung it in Spanish, as “Algun Dia.”

Finally, in May 1997 Soda Officially announced their separation through a press release. The following day, Argentiniean newspapers echoed the news. The Argentinian daily Clarín devoted a large front page spread to the breakup. The following day, Gustavo Cerati's farewell note was published on the Clarín supplement for juveniles “Yes.” The farewell letter read:

These lines were inspired from what I have seen on the street these days, fans who have approached me, the people around me, and from my own personal experience. I share the sadness that has been created in many by our separation. I, myself, am immersed in that state because few things have been so important to me in my life as Soda Stereo. Everyone knows that it is impossible to lead a band without a certain level of conflict. It is a fragile equilibrium in the battle of ideas that very few are able to handle for fifteen years, as we proudly did. But, ultimately, different personal and musical misunderstandings began to compromise that equilibrium. At that juncture, excuses are generated for not confronting ourselves, excuses for a future group that we no longer believed in as we did in the past. To end for the heatlh of the band is, in its redundancy, to enforce value our mental health and above all to show respect for all of our fans who followed us for such a long time. A big hug.

The band carried on with a farewell tour, making stops in Mexico, Venezuela, and Chile. Their last concert took place on 20 September at the River Plate Stadium in Buenos Aires was recorded and released in two parts, El Último Concierto A and B. A DVD of the farewell show was released in 2005. The show ended with the song “De Musica Ligera” and a memorable farewell by Cerati,

“¡No sólo no hubiéramos sido nada sin ustedes, sino con toda la gente que estuvo a nuestro alrededor desde el comienzo; algunos, siguen hasta hoy! ¡Gracias.... totales!”

“We would have not been anything without you, if not with all of the people that were around us since the beginning; some continue till this day, thank you... totally!”

A compilation CD was released later that year titled Chau Soda ("Bye Soda"); it contains the most elaborated version of Signos.

Post Soda

Regardless of the constant rumors of a reunion, which ironically started shortly after the breakup, little was heard regarding Soda, except for a TV special on “El Ultimo Concierto” (The Last Concert) produced by HBO and an MTV documentary titled Soda Stereo: La Leyenda (Soda Stereo: The Legend). Finally, in 2002 the trio was reuinited at the MTV Latin Music Video Awards where they were awarded the Legend award in honor of their musical and visual trajectory.

Seven years after the breakup and the absence of any new official releases seemed odd. Near the end of 2003 Sony Music announced the release of the first DVD by Soda Stereo, on that contained much unreleased material from compiled by Gustavo, Zeta, Charly, and people close to the band.

The finished product arrived on the streets on November 2004. It was titled, Soda Stereo: Una Parte de La Euforia(1983–1997) (Soda Stereo: A Part of the Euphoria (1983–1997)). On September 20, 2005 an Argentinian DVD of Soda’s last concert, which took place exactly 8 years before at River Plate stadium was released. It was titled El Ultimo Concierto (En Vivo) (The Last Concert – Live). The DVD, in contrast to the HBO production, featured a 5.1 audio and included two songs that were not aired on the HBO concert, “Juego de Seduccion” and “Sobredosis de TV.” It also included a multi camera option for a soundcheck of “Primavera 0” and a 25 minute documentary about the tour featuring footage of sound checks and concerts in Mexico, Venezuela, and Argentina. It also featured an interview with the long lost “fourth Soda” Alfredo Lois, the director of the DVD, one his last works before his death.

You Will See Me Return(2007)

. Ticket for the Bogotá (Colombia) show. Soda Stereo reuinited one million fans during their 2007 reunion tour.]]

The reunification of Soda stereo was a mandatory topic for journalists whenever faced with a former member. So much so, that Zeta Bosio once declared:

One day I dreamed that I was not going to be asked about a Soda reunion!.

In 2007, ten years after the breakup, the band decides to reunite for one time with the goal of accomplishing a grand continental tour. On the 6th of June 2007, the official news came out: Soda Stereo will return to the stage with a sole American tour called Me Veras Volver (You Will See Me Return), a phrase that’s emblematic of their song “En La Ciudad de la Furia”

In early July Sony/BMG released a new compilation album titled Me Verás Volver (Hits & +). The CD contained 18 studio recordings remastered in 2007. The CD did not contain any new material but it did contain a code to receive exclusive web footage such as live versions. The album reached number one in Argentina and in Chile.

On the 20th of September 2007, exactly 10 years since their final concert, Soda Stereo gave a long awaited press conference at the Club Museum in Peru, in a historical building designed at the turn of the century by the famous French architect and structural engineer Gustave Eiffel. This was the same building which years before was used as the location for their video of “En La Ciudad De La Furia”. They surprised those there with a mini concert of two songs, “Sobredosis de TV” and “En La Ciudad de La Furia,” played in their original form. The song were played solely by the three of them. During the press conference the trio clarified that after the tour they intend on resuming their individual pursuits.

in Santiago, Chile on the 24th of October of 2007.]]

The tour was scheduled to begin on October 19 at River Plate Stadium in Buenos Aires, and originally only two concerts were scheduled as well as performances in several American countries. However, from the time the tickets went on sale it became apparent that the original program would be completely overwhelmed and that the band was faced with a huge continent-wide cultural event. The first two shows sold out in only 24 hours (a total of 90,000 tickets). The band quickly added one more show to the schedule, and after three days, the tickets for the first three shows were sold out, so two more shows were added.

Finally on the 19th of October 2007, the time came for the triumphant return of Soda Stereo at the River Plate Stadium in Argentina. A massive banner that contained a large sentence with the name of their songs intertwined was unveiled.

The band was accompanied by one of the main “fourth Soda’s” Tweety Gonzalez (keyboards), as well as Leandro Fresco (keyboards, percussion, and backing vocals), and Leo Garcia on guitars and backing vocals. The concert lasted more than three hours. Soda played a total of 28 songs. The show opened with a recording of “Algun Dia” their cover of Queen's “Someday One Day” meanwhile images of the history of Soda Stereo appeared in the background.

The expected amount of fans attending the five shows was more than 300,000, making Soda Stereo one of the most watched public events in the history of Argentina. Soda became the only band to play more than five times in the Estadio Monumental in Argentina in a single tour. Me Verás Volver featured 22 concerts throughout America including three shows in the US -all but two were sold out[42].

in Guayaquil (Ecuador). The public awaits the return of Soda Stereo.]]

In October 2007 Sony/BMG released Comfort Y Música Para Volar on DVD. The DVD included all of the songs recorded for the MTV unplugged session.

On the 21st of December 2007 the last concert was held at the River Plate Stadium in Buenos Aires. Three extra songs were played for this show, “Si No Fuera Por,” “Terapia de Amor Intensiva,” and “Lo Que Sangra (La Cúpula).” The band was joined by Andrea Álvarez for “Picnic en el 4B”, Richard Coleman for “No Existes”, Fabián “Zorrito Vön" Quintiero for “Danza Rota” and “Profugos”, Carlos Alomar for “Lo Que Sangra (La Cúpula)” and “Terapia de Amor Intensiva,” and Gillespie for “Signos” and “Fue.” Cerati returned to use his famous expression “gracias totales,” and after playing “De Musica Ligera.” Finally, Cerati played the riff of “Sueles Dejarme Solo” and smashed his guitar.

, 2007.]]

Solo work

Gustavo Cerati

Cerati worked with Daniel Melero in his 1992 album Colores Santos, he co-wrote and produced most of the songs and although the album was never formally presented, two singles were released, "Vuelta por el Universo" and "Hoy Ya No Soy Yo". Cerati's second solo album was Amor Amarillo (1993), it contained collaborations by Zeta Bosio and Cerati's (then) wife Cecilia Amenábar.

After Soda's separation, Cerati released the studio albums Amor Amarillo (1993), Bocanada (1999), +Bien (2001) and Siempre Es Hoy (2002). In 2002 he released 11 Episodios Sinfónicos that contained some Soda Stereo and solo songs played live with a symphony orchestra. Cerati's last release, Ahí Vamos!, is considered as a back-to-basics return. His last album to date is Fuerza Natural, which changes several things about their previous albums and has been very well received by fans and critics.

Cerati was also featured in Shakira's song "The Day and the Time" in her album called Oral Fixation, Volume 2 in 2005. The Spanish version of this song is called "Dia Especial" and can be found in the 1st volume of Fijacion Oral.

Zeta Bosio

Bosio has had a low profile over the years. He is working with Proyecto Under, an online portal for musicians. He also produced albums with many bands, such as Aguirre and Peligrosos Gorriones. In a recent interview, he declared that he has no interest to play in a band. He is also the artistic director of an independent label, Alerta Records. In 1997 he produced Nacion Hip Hop, a CD compilation of local underground rap artists that is considered the founding stone of Argentine's hip hop scene. He also worked closely with hip hop act Tumbas (who opened for Soda Stereo in their last concert) and DJ Tortuga, who later became part of the experimental hip hop trio Koxmoz.

Charly Alberti

Alberti released only one studio album without Soda Stereo in 1994, Plum, along with his then girlfriend, supermodel Deborah de Corral, and since 1997 Alberti became interested in informatics, he was involved in running his company Cybrel Digital Entertainment, that aimed at generating and implementing content based technologies. He was named an Applemaster for his contributions to the music world.

In 1998, he started two new projects, URL Magazine, a culture magazine, and URL Records, a discographic label. He is also the founder of YeYeYe and Musike, two portals about music and entertainment. Alberti stated that he does not want Mole's sound to sound like Soda Stereo, he wants "Mole to live by itself."

Legacy

Soda Stereo has left a strong legacy among Spanish language musicians both in the rock scene and outside.

Discography

Studio albums

Soda Stereo (1984)

Nada Personal (1985)

Signos (1986)

Doble Vida (1988)

Canción Animal (1990)

Dynamo (1992)

Sueño Stereo (1995)

Videography

Ruido Blanco (1988)

Canción Animal (1991)

Una Parte de la Euforia (2004)

El Último Concierto (2005)

Comfort y Música Para Volar (2007)

Gira Me Verás Volver (2008)

Live and remix albums

Ruido Blanco (1987)

Languis (EP) (1989)

Rex Mix (1991)

Zona de Promesas (1994)

Comfort y Música Para Volar (1996)

El Último Concierto A (1997)

El Último Concierto B (1997)

Gira Me Verás Volver #1 (2008)

Gira Me Verás Volver #2 (2008)

Compilations

20 Grandes Éxitos (1994)

Chau Soda (1997) (U.S. #46)

Rock del Milenio (1999)

Obras Cumbres (2001)

20 Exitos Originales: Soda Stereo (2005)

Lo Escencial (2007)

Me Verás Volver (2007)

References

External links

Soda Stereo official web site

Gustavo Cerati official web site

Charly Alberti official web site

Category:1980s music groups Category:1990s music groups Category:Argentine rock music groups Category:Post-punk music groups Category:Alternative rock groups Category:New Wave groups Category:Musical groups established in 1982 Category:Rock en Español musicians Category:Musical groups reestablished in 2007

Diego Esteban Capusotto is an Argentinian TV presenter, actor, and humorist who is noted for his participation in TV shows like Cha Cha Cha, Todo por dos pesos, and Peter Capusotto y sus videos.

Career

At 25, he began to study acting at the Arlequines Theater. He has starred in several movies. The first, Zapada, una comedia beat (1999), was not released commercially. He followed up with Mataperros (2001), India Pravile (2003), Soy tu aventura (2003), Dos ilusiones (2004) and Regresados (2007), also known as D-Graduated. His most recent film was Pajaros Volando (2010).

His television career began in 1992 with De la cabeza, a series in which he worked with actors and comedians like Alfredo Casero, Fabio Posca, Mex Urtizberea, and Fabio Alberti. After the program was killed off by a falling out between Posca and the other actors, Capusotto teamed up with Casero and Alberti in a new comedy project, Cha Cha Cha, which was broadcast intermittently between 1992 and 1997. Capusotto and Alberti would team up again, in 1998, on the cast of the TV series, Delikatessen, starring Horacio Fontova, and again in 1999 when the program Todo por dos pesos (99 Cent Store) made its debut: this program would finally establish Diego Capusotto as an icon of Argentinian comedy. For this series, in which he established some of his best and most famous characters like "Irma Jusid", "El Hombre Bobo", and "Peter Conchas", Capusotto received the Martin Fierro Award for Comedy Performance in 2001.

Todo por dos pesos went off the air in 2002. In 2003, Capusotto played a mentally ill person in the series Sol Negro, produced by Sebastián Ortega and with performances by Rodrigo de la Serna and Carlos Belloso, among others.

On March 25, 2004, Capusotto returned to the theater together with Fabio Alberti to present the comedy show Una noche en Carlos Paz, written by Pedro Saborido and directed by Néstor Montalbano, where they continued the shtick of Todo por dos pesos. The show was followed by Qué noche Bariloche, which premiered in 2006.}}

In 2006, the series Peter Capusotto y sus videos (Peter Capusotto and his videos) debuted, a program which, along with showing rock music videos, features Capusotto parodying the different facets of the rock-and-roll lifestyle in various sketches, and taking rock personalities and stereotypes for an intertwining critique of several aspects of the Argentinean society and culture, with "Luis Almirante Brown (Artaud for millions)", "Pomelo, ídolo de rock" ("Pomelo, rock idol") and "Perón y rock" as some of the highlights. The program has become a cult hit, and video clips from the show are frequently viewed on YouTube.

On December 17, 2007, after Peter Capusotto y sus videos was nominated for the Clarín Awards, Capusotto received awards in the Musical Performance and Best Comedy Program categories.

On July 2, 2008, at the Martín Fierro Awards he received the award for Best Comedy Performance for Peter Capusotto and his videos.

On 2009, he again received a Martín Fierro Award for Best Comedy Performance for Peter Capusotto and his videos.

TV shows

Movies

Theater

Personal life

He had two brothers, but both are deceased. His older brother died of peritonitis, and his younger brother died of complications from Prader-Willi syndrome at the age of 2.

References

External links

Category:Argentine actors Category:Argentine film actors Category:Argentine stage actors Category:Argentine comedians Category:People from Buenos Aires Category:Argentine people of Italian descent Category:1961 births Category:Living people