The family home was a large apartment located on the fifth floor of José María Moreno Street 63, in the heart of the Caballito neighborhood, and ten blocks from Parque Centenario, where Charly often went to draw dinosaurs at the Argentine Museum of Natural Sciences.

[30] In 2004, García paid tribute to his childhood piano teacher by unexpectedly appearing at the centenary celebration of the Thibaud Piazzini Conservatory to perform two of his own compositions from the Serú Girán era, "Desarma y sangra" and "Veinte trajes verdes," the latter dedicated to the composer Erik Satie.

In the second half of 1968, both bands merged to form Sui Generis, [48] a name chosen by García to signify not only the musical originality he aspired to but also as a defense of the 'freak,' the odd, the 'nerd,' and their path, in the face of derogatory comments they received at the time.

[55] Charly stated that his model for both To Talk Spanish and Sui Generis was the American band Vanilla Fudge, from whom he took the use of the organ, multi-part musical themes, psychedelia, and symphonic rock in their early stages.

[57][58][52] In December 1969, when most of the group members were concluding high school, the sextet Sui Generis was invited to perform at the graduation party in front of hundreds of people, held at the Instituto Santa Rosa (Rosario 638).

[50] At the end of 1971, Charly was drafted by the Army to serve a year of mandatory military service, an institution that was traditional at the time but rejected by a significant part of the youth, including those who had made long hair a symbol of rebellion and change.

After his hopes of escaping through a "low number" (in the preliminary lottery) were dashed, Charly resorted to all possible tricks: seeking "arrangements" with officials known to his parents (which at least managed to have him sent to the Campo de Mayo regiment, in the Buenos Aires suburbs); simulating physical and mental illnesses and fainting spells; disobeying orders; making life impossible for the soldiers; etc.

[47] Carlos Piegari wrote the lyrics for several songs later performed by some of Charly García's bands, such as "Natalio Ruiz", (Vida, 1973); "Tu alma te mira hoy" (PorSuiGieco, 1976), "Monoblock" (Sinfonías para adolescentes, 2000).

[30] This moment is reflected in songs like "Confesiones de invierno" ("She kicked me out of her room, shouting: 'You have no profession'"), "Quizás porque" ("Perhaps because I am none of that is why you are here in my bed"), and "Cuando comenzamos a nacer" ("And you discover that love is more than one night and together we watch the sunrise").

Among the main songs are "Canción para mi muerte" (also released as a single), "Dime quién me lo robó" (about his religious crisis), "Necesito", "Quizás porque", "Natalio Ruiz" (lyrics by Carlos Piegari), "Mariel y el capitán", "Estación", and "Cuando comenzamos a nacer".

It was like a clarification of the hermetic codes that rock had handled until then, but without falling into unabashed protest or pamphleteering.Fito Páez, who was 9 years old at the time, reflects thus: Charly invents a new way of telling the pop world, renewing it, refreshing it, and giving it gravity and grace.

At that time, Charly had no defined political commitment, beyond a strong rebellion against the hypocrisy of "adults", social prejudices, or the rigidity of the educational system,[77] but this was not the case for María Rosa Yorio or Jorge Álvarez, who had a clearly left-wing stance, including sympathy for the revolutionary currents of Peronism.

An article of the time, from the magazine Pelo, highlights the presence of "girls who are not the usual ones at concerts, who had come in groups of four or five", drawn by songs in which "true love, tenderness as a genuine gesture of giving" were intertwined.

[65] The overwhelming success of "Canción para mi muerte" at that time generated a sort of thematic and musical misunderstanding, which tended to pigeonhole the duo outside of rock, within the romantic pop genre.

The album's title carries the name of the song of the same title, an intimate theme that Charly asked Nito to perform alone, reflecting the fears and sacrifices involved in launching into the life of an artist, against his family's opinion: She kicked me out of her room, shouting at me"You have no profession"I had to face my conditionIn winter, there is no sun.And even though they say it will be very easyIt's very hard to get betterIt's cold and I need a coatAnd the hunger of waiting weighs on me.Like in Vida, the album again is composed of songs that almost entirely entered the popular songbook.

It is accompanied by other classic songs from Charly García's songbook, such as "Cuando ya me empiece a quedar solo", "Bienvenidos al tren", "Lunes otra vez", "Aprendizaje", and "Tribulaciones, lamentos y ocaso de un tonto rey imaginario, o no ".

The Alianza Anticomunista Argentina (Triple A), financed by the CIA and the Italian lodge Propaganda Due and led by Minister José López Rega, known as "the sorcerer" (Charly would allude to him in "Song of Alice in the country"), launched a campaign of persecution and extermination of militants, artists, and intellectuals labeled as "leftists".

"Don't ask anymore!The original project for the album had a political directness that was moderated at the suggestion of Jorge Álvarez (director of the Talent label), for safety, to avoid putting Sui Generis on the Triple A's death threat list.

[30] The album also featured backing vocals by María Rosa Yorio and contributions from guest musicians such as Alejandro Correa (bass), Carlos Cutaia (Hammond organ), León Gieco (harmonica), David Lebón, Oscar Moro (drums), Jorge Pinchevsky (violin), and Billy Bond (chorus).

I showed Charly my stuff while he crossed the room to record "Cómo mata el viento norte" which is on La Máquina's first album.On March 24, 1976, a coup d'état installed a civic-military dictatorship in power, imposing a regime of state terrorism that caused thousands of disappearances, murders, kidnappings, torture, rapes, baby thefts, and exiles, with a network of clandestine detention centers and task forces, in what is remembered as "the greatest tragedy in our history and the most savage" (prologue to the Nunca más report).

Charly García, Raúl Porchetto, Nito Mestre, León Gieco, and María Rosa Yorio formed PorSuiGieco y su Banda de Avestruces Domadas.

The Festival del Amor marked the last performance of La Máquina, at a packed Luna Park, on November 11, 1977, where they shared the stage with Nito Mestre, León Gieco, Raúl Porchetto, Gustavo Santaolalla, the Makaroff Brothers [es], among others.

Patricia Perea, an 18-year-old student and correspondent for the magazine El Expreso Imaginario, covered a concert of Serú Girán and strongly criticized them after their performance in Córdoba, claiming their shows in the interior were inferior to those in the Capital Federal.

During these years, García's band was home to many future Argentine music stars, including Andrés Calamaro, Fito Páez, Pablo Guyot, Willy Iturri, Alfredo Toth and Fabiana Cantilo.

Now, Charly's sound was closer to either punk rock, with violent songs such as "No toquen" ("Do Not Touch"), or a depressive and dark style as shown in "No me verás en el subte" ("You Won't See Me in the Subway").

García formed a new band for touring on summertime (with María Gabriela Epumer, Juan Bellia, Fabián Von Quintiero, Jorge Suárez and Fernando Samalea) and named it as "Casandra Lange".

This new disc contained some interesting songs that made an impact in the Latin American world of Rock, such as "Tu Vicio" ("Your Vice"), "Influencia" ("Influence", translated cover from Todd Rundgren's original "Influenza") and "I'm Not In Love" (featuring Tony Sheridan).

With the strong support of María Gabriela Epumer in chorus and guitar, Charly showed up in many different concerts, such as two in the Luna Park Stadium, Viña del Mar and Cosquín Rock with correct performances.

The songs weren't as good as those in Influencia, his voice often sounds out of tune and, once again the LP contained too many versions and translated covers such as "Linda Bailarina" ("Pretty Ballerina", Michael Brown) or "Wonder" ("Love´S in Need of Love Today" by Stevie Wonder).

In September 2013, Charly performed in an exclusive show called "Líneas Paralelas, Artificio imposible" (Parallel Lines, Impossible Craft) at Teatro Colón, along with two string quartets (baptized "Kashmir Orchestra" in homage to the band Led Zeppelin) and his bandmates "The Prostitution".