Soda stereo

• Gustavo Cerati - vocals, guitar (died 2014)
• Zeta Bosio - bass, backing vocals
• Charlie Alberti - drums

In the summer of 1982, Gustavo and Hector (Zeta) first met in Uruguay - Serati with their group 'Sauvage' and Zeta Bosio with 'The Morgan'. Musical tastes of Cerati and Bosio coincided in many respects and soon they began to play music together. Later, they had the idea to create their own punk rock band, working in the style of their favorite bands - The Police and The Cure, but in their own language and with their own ideas and themes for songs. Carlos Fixicia (Charlie) for some time met with Maria Laura Serati - Gustavo's sister, whom he soon met. Charlie's father was a famous jazz musician, Gustavo and Zeta decided to listen to Charlie playing, and he was soon accepted into the group as a third member.

After considering several options for the name of the group (for example, Aerosol, Side Car), they were called "Los Estereotipos" - "Stereotypes", influenced by the song The Specials. The name lasted several months. Three songs, “¿Por qué no puedo ser del jet-set?”, “Dime Sebastián” and “Debo soñar”, also recorded by Daniel Melero (keyboards) and Ulises Butrón (guitar), date back to this time. Then, as variants of names, “Soda” and “Estéreo” appeared, which transformed as a result into “Soda Stéreo”.

For the first time, under this name, they performed on the birthday of Alfredo Lois, their university friend who later became the director of most of their videos and the creator of everything related to the appearance of the group (hairstyles, clothing, stage design, etc.). d.). Luis was one of those called “el cuarto Soda” (“fourth member of Soda, her quarter”).

In order to add gravity to the music, Richard Coleman was invited as the second guitarist, but after a while Richard himself noticed that before his appearance the group sounded much more organically, and voluntarily refused such an attractive place in the group. Thus, the group finally became a trio: Gustavo Cerati, Zeta Bosio and Charly Alberti.

From that moment, Soda Stereo became part of the underground musical movement of Buenos Aires, and stood on a par with such groups (also forming at the same time), such as Sumo, Los Twist, Los Encargados and others. They performed in the traditional legendary cabaret club "Marabú". In their first performances, they performed such things as “Héroes de la Serie”, “La Vi Parada Allí” and “Vamos a la Playa”, which were never recorded, except for some of the recordings that still appeared on their second demo drive. Once at Café Einstein, Luca Prodan joined the band's performance (usually in tough confrontation with Cerati), just for the joint performance of one of The Police songs.

In 1983, radio host Lalo Mir decided to try launching the band's second demo album in their program, Nine Nights (9PM), on Radio Del Plata, with the songs ¿Por qué no puedo ser del jet-set? "," Dietético "and" Te hacen falta vitaminas ". So the group gradually began to gain fame. They began to be invited to speak in clubs. At one of these concerts in Bar Zero (one of the prestigious underground venues of Buenos Aires at that time), next to Café Einstein, they were noticed by Horacio Martínez, the famous "talent seeker" of Argentine rock. He really liked Soda, and he helped them with their first professional record for CBS, and took care of them until mid-1984, when the company transformed into Rodríguez Ares.

Even then, Soda Stereo was a group that paid a lot of attention to appearance and image, and long before they recorded their first album, they decided to shoot the clip at their own expense. Alfredo Luis became responsible for all the visual and graphic directions of the group's activities (from scenery, to the design of posters on live performances of the group). It was his idea to release a clip to disk, which seems normal now, but it was completely atypical for that time. The song “Dietético” was chosen. The shooting was performed by the Cablevisión cable television team, where Zeta Bosio worked as an assistant producer.

The Dietético video was already aired successfully on Música Total on Canal 9, when in the second half of 1984 the band recorded their first album, Soda Stéreo, where Federico Moura (Virus) who was personally well acquainted with Gustavo, which resulted in a rapprochement between the two groups. The recording took place in the old CBS studio on Paraguay Street, and although the group didn’t sound as bright as in the live performance, everyone was satisfied with the work done. The band was still helped with keyboards by Daniel Melero (who authored one of the band's hits, “Trátame suavemente”) and Gonzo Palacios on the saxophone. They were designated as “invited musicians,” but because they were “invited” almost constantly, fans and the musicians themselves perceived them as equal members of the group.

The official release of the album took place on October 1 and was organized by Ares. It took the form of a performance that had never before been practiced in Argentina. The scene was the central institution of the Pumper Nic chain of eateries (the name and meaning of the song “Dietético” was symbolically beaten in the clip and the place of its shooting), popular among the youth of the 80s. The response in the press was positive and instant.

The venues gathered by the group are gradually increasing - from La Esquina del Sol in Palermo (December 1 and 2) - their first big stage, where they performed with groups of the first magnitude, to Teatro Astros on December 14, 1984, where for the first time the entire disc was performed live. By the end of the year, Soda Stereo was already recognized as “the opening of the year.”

With the advent of fans, the group also had opponents: for example, the Soda vs. rivalry that became classic in Argentina Redondos (the full name of the group is Patricio Rey y sus redonditos de Ricota . In early 1985, the group changed the agency, leaving Rodríguez Ares for Ohanián Producciones, whose director was Alberto Ohanián), and included Fabian Quintero (Fab. “Vön” Quintiero, in the future - the band Los Ratones Paranóicos), which also became one of the “cuarto Soda”.

On January 26, they left Buenos Aires to take part in the Rock In Bali de Mar del Plata Festival and on March 17 at the Festival Chateau Rock '85 Festival held at the Chateau Carreras Stadium (Córdoba). In official biographies, much attention is paid to this event, because the group first performed in front of 15 thousand people. However, Cordoba sources indicate half the number of people and say that Raúl Porchetto was received much better than Soda, which is explained by their newly released disc, which had not yet managed to become popular. However, this performance was the starting point for the formation of the popularity of the group.

The success of the group fell on a turbulent period of time - democracy returned to Argentina (December 10, 1983), but there were concepts of postmodernism and art topics that described the formation of democracy and the end of bloody dictatorships and wars were welcomed. Later, Zeta Bosio described this time as follows: “Democracy has become adrenaline, something new. Something was happening, and we knew that now everything and everything would change, but still did not know how. And we were a boyish group that wanted to make a kind of commotion, shake-up. We paid a lot of attention to the ideas of punk and wanted to show people that there are some other things and values ​​that are more obvious (correct). "On June 21, 22 and 23, 1985 they returned to Teatro Astros in Buenos- Aires with songs that will later be released on their second album - "Nada personal". October 13 of the same year, Soda appeared in front of a large audience of Buenos Aires on the third night of the Festival 'Festival Rock & Pop' at the Estadio José Amalfitani stadium, performing with such artists and bands as INXS, Nina Hagen, Charly García, Virus and Sumo.

The second album, “Nada Personal,” was released in October 1985. During the summer, the group toured several Argentinean tourist centers (Mar del Plata, Villa Gesell y Pinamar), took part in the Festival de La Falda in Cordoba with Andrés Calamaro) and Charlie García. In April, it was decided to officially arrange the presentation of the album in the form of a concert at the Estadio Obras Sanitarias Stadium, where 20,000 spectators visited in total for three days. A documentary was released a few months later. After these concerts, disc sales began to grow rapidly, and the status of gold (which he received during the summer) became platinum. The disc has more mature lyrics and music compared to the debut disc, but there are also dance motifs. The disk symbolized the fact that the public finally accepted the Soda Stereo. In June 1986, the trio recorded the second video clip “Cuando pase el temblor”, again led by Alfredo Luis, in the ruins of Pucará de Tilcara (Jujuy province). This video later became the finalist of the Twelfth World Festival of Video and TV in Acapulco.

In late 1986, Soda Stereo held its first Latin American tour (as part of the presentation of the Nada Personal album). The group performed in Colombia (November 6-7-9-18 in Bogota and November 8 in Medellin), Peru (November 14-15-16 in Lima, November 12 in Arequipa and November 13 in Trujillo) and Chile, with great success. At that time, the countries of Latin America were not integrated among themselves in the music market, and the groups usually toured only in their own country. The success of the Argentinean Soda was especially great in Chile, where the group gave four recitals in Santiago (November 21-23-24-25) and one in Valparaiso (November 22), during the dictatorship of Augusto Pinochet . Gustavo Cerati later spoke about this trip: “It was very unexpected, because they found out about us there only 2 or 3 months before that ... [] ... Actually, it was an interesting time, we then left the country for the first time. In Argentina, some things (in terms of music) were then more progressive, we could judge this because we had been there in many places, underground clubs. After Chile, we were very happy because we wanted fame, popularity, to sell a bunch of CDs, and we thought we were the best band in the world! Actually, this is a rather strange feeling when you cannot just leave the hotel because of all this craziness. Sometimes we thought that we live just like in one of those Beatles films, and this amused us, allowed us to distract ourselves. ”

Disc sales in Peru were huge, the group revolutionized the country's existing music market. All three of their concerts at Coliseo Amauta were sold out. The press described the state of the public as “public hysteria” due to crying, deafening cries of fans, tantrums and fainting. These performances are compared with the famous performance of The Beatles at the Shea Stadium.

On November 10, 1986, the group released their third album, Signos, which included the song of the same name and a hit such as Persiana Americana. Fabián Vön Quintiero (keyboards), Richard Coleman (guitar) and Celsa Mel Gowland (backing vocals) took part in the recording. In addition, “Signos” was the first disc of all Argentinean rock, published in the format of “compact disc” - CD. It was made in the Netherlands and distributed throughout Latin America. During the “Signos” tour, on December 3, they first performed in Ecuador, and on January 9 and 10, 1987 in Uruguay (Punta del Este and Montevideo). On February 11 and 12, 1987, Soda Stereo reappeared in Chile, this time at the Viña del Mar festival, where they won the Antorcha de Plata (Silver Torch) Award, and surprised the media with their fans (120 cases of “mass hysteria” were recorded ").

The Vigna Del Mar festival was broadcast in many Latin American countries, which made Soda famous throughout the continent, after which a large-scale phenomenon called “sodamanía” (“sodomania”, similar to “Beatlemania”) did not slow down. Two months later, on April 23, records of attendance at solo rock concerts in Paraguay at the Yacht Club were broken. Meanwhile, Signos became platinum in Argentina, triple platinum in Peru and double platinum in Chile.

On May 2, the group appeared at the Highland Road de San Nicolás disco (Buenos Aires), where five people died during the break, and more than a hundred suffered various injuries when “Persiana Americana” sounded. Therefore, when on May 8 and 9 the group needed to present the “Signos” disc at Obras Stadium, they were burdened with a strong emotional burden. As a sign of mourning and condolences, the group did not use the scenography or lighting effects that they prepared for this performance.

In the same year, they conducted a second tour, which was even more successful. The band performed in Peru, Bolivia, Ecuador, Chile, Colombia, Venezuela, Costa Rica and Mexico (first presented in Mexico on August 4, 1987, at Magic Circus del DF). They performed 22 concerts in 17 cities, for nearly 350,000 people, thanks he came up with the concept of "Latin rock" (located outside the nationality, and "belonging" to the continent). The material recorded during the tour came out in the form of a live album Ruido Blanco (1987), mixed on the island of Barbados and named the Argentine version of Rolling Stone magazine the fifth album in the list of the best live albums of Argentine rock.

Since 1988, musicians began working on a new disc, produced by Puerto Rican Carlos Alomar, who worked with such giants of the world stage as David Bowie , Mick Jagger , Paul McCartney and Iggy Pop .

“Doble Vida” includes the songs “Picnic en el 4B”, “En la Ciudad de la Furia”, “Lo que Sangra (La Cúpula)”, “Corazón Delator”. The album is fully recorded in New York. It was also the first time that an Argentinean group recorded their disc in another country. The video “En la ciudad de la furia” became the Best Foreign Video at the MTV Music Awards (at that time there was no separate Latin American MTV yet).

After more than one year without performing in Buenos Aires, Soda will present Doble Vida on the hockey field of Obras Sanitarias Stadium before 25,000 people. They closed the Festival Tres Días, dedicated to Democracy, at the intersection of Liberator Street and Street on July 9 in front of 150,000 people, along with artists such as Luis Alberto Spinetta , Fito Paes , Los Ratones Paranoicos, Man Ray and others . When the number of copies sold for the new album reached one million, Soda again went on a tour of 30 concerts, which ended in Mexico. At the end of 1989, they recorded a new version of Languis (a song released on the Doble vida album) and a new song, Mundo de quimeras. They were published as the maxi-single “Languis” in 1989. The disc also includes remixes of the songs “En el borde” and “Lo que sangra (la cúpula)”. The group then gave two concerts at The Palace (Los Ángeles), becoming the second Hispanic group to perform in the United States after Miguel Mateos

In early 1990, Soda Stereo performed at the Estadio José Amalfitani stadium, with the English duo Tears For Fears (audience of 32,000 people). At this concert in the song “Terapia de amor intensiva” he was accompanied by David Lebon (David Lebón, ex-guitarist of the rock groups Pescado Rabioso and Serú Girán, very famous in Argentina). As a result of continental success, the European MTV News network drew attention to what was happening in Latin America in terms of rock development and for the first time dedicated a special program to a group that did not sing in English. In June, Soda Stereo traveled to the United States to release a new record at Estudios Criteria (Miami). An important contribution to the disc was made by Daniel Melero and Andrea ваlvarez, then prominent people in the world of Latin rock. The result was the album "Canción Animal" (1990), considered so far one of the best albums of all Latin rock. The most famous song from the disc is “De música ligera”, in addition, the album includes several songs that have become classics of the group - “Canción animal”, “Un millón de años luz”, “En el séptimo día” and “Té para tres” . The new album meant for the group the first exit to the Spanish public - in May 1992 concerts in Madrid, Oviedo, Seville, Valencia and Barcelona.

Compared to how they were received in Latin America, the reception in Spain was much cooler, which gave the musician the opportunity to take a more sober look at things, not to lose the sense of reality and incentives for further development. The “Animal Tour” (La Gira Animal (1990-1991) in support of the album was simply unprecedented in scale and has not yet been repeated by any group. Only in Argentina, thirty cities were “covered”, including places where never before groups of the Soda Stereo scale appeared (San Juan: Santa Fe de la Vera Cruz, Junín, Clorinda, Puerto Iguazú, Corrientes, Posadas, Chascomús, Mar del Plata, Comodoro Rivadavia, Trelew, Neuquén, Santa Rosa, Trenque Lauquen, Mendoza, Río Cuarto, Santiago del Estero, San Miguel de Tucumán, Salta, Rosario, Buenos Aires, Olavarría, Pergamino) .In other countries: Santiago - Chile, Asunción -Paraguay, Punta del Este, Barquisimeto, Caracas, Valencia, Méridal, , México DF, Monterrey, Guada lajara, Mexicali y Tijuana.

The tour closed with fourteen concerts at the Gran Rex Theater of Buenos Aires. The recording of the last of these concerts on the night of July 9, 1991 was released as a Rex Mix disc (1991), as well as the new song “No necesito verte (para saberlo)”.

On December 21, 1991, on the Ninth of July Street, in Buenos Aires, a free concert was held, which is one of the cycle organized by the Municipality of Buenos Aires, and was called "My Favorite Buenos Aires II" (Mi Buenos Aires Querido II), which, in addition, It was also broadcast on television live. Soda Stereo brought together two hundred and fifty thousand people (and according to some reports, five hundred thousand). This is the largest number of people who ever gathered in the country for music events. The second place is occupied by Luciano Pavarotti, who gathered in the same year two hundred thousand people in the same place. People danced and sang along to the group right on the street. After that, the musicians said that speaking there, they felt “at the peak of their career”, they felt the support of people. Zeta Bosio recalls: “Very strong energy was emanating from the street itself, in addition, this is our hometown, thank God! And I think that all these factors in total gave us the feeling that we already got everything we wanted. ”

After such a furor, a period of some disorder in the group almost naturally happened. Sorati explained it this way: “It is difficult to find an incentive to do anything after this ... To stand in front of a huge crowd of people who are chanting your name in chorus is, of course, a great shock and experience ... And now, it seems like you need to start all over -new ... ”It was at this time that Gustavo began, while still working in Soda, to start the project of the album with Daniel Melero -“ Colores Santos ”, with invited artists Flavio Echeto and Carola Boni.

Starting from this moment, the participants in Soda decided to forget about the scene for a short time and agreed to experiment, to engage in “sound movement”. And at the end of 1992 they released the ninth album Dynamo, and held six concerts in support of it on Estadio Obras. Each show had different guest groups and headliners ( Babasónicos , Juana La Loca, Martes Menta and Tía Newton). The “sonic action”, part of which was composed of the bands Demonios de Tasmania and Los Brujos, was later transformed during the so-called “New Argentine Rock” ( Attaque 77 , Massacre and El Otro Yo).

Gustavo Cerati: “... Then came Dynamo, the essence of which was to take our own Canción Animal and destroy it. It is as if we were performing Canción Animal underwater. We wanted to reproduce these sounds so that in the songs you could see something more, something hypnotic. The idea was to mix more dance music and trance music with songs of our usual style. I know that the disk is loved by those who generally love such music ... This also applies to me. ” Dynamo did not sell as well as expected, but this happened, to a greater extent, because the group had already decided to change the record label. Thus, it turned out that Sony no longer wanted to promote and advertise the project that decided to terminate the contract with it, and BMG could not do it yet, because formally Soda still belonged to Sony Music. In January 1993, Soda Stereo went to the sixth round. In the middle of the tour, the group took a long vacation, which gave rise to rumors about the breakup of the group. 1994 was the worst year for Soda. On July 4, Tobias, the small son of Zeta Bosio, was killed in a car accident, which was emotionally reflected both personally and professionally.

By unanimous decision, they took a “time out” and even considered the possibility of a final breakup. Gustavo took up his first absolutely solo album, Amor Amarillo; Zeta devoted himself to working in other groups (Peligrosos Gorriones, Aguirre), and Charlie left the music for a while and went into personal affairs. At the end of the year, Zona de Promesas was released, composed of remixes of the band’s hits and some previously unreleased songs, one of which gave the album its name.

In 1995, after a three-year lull in the discography, the trio returned with Sueño Stereo, with its seventh and last studio album. Released on June 29, it almost immediately went platinum. Includes hit “Zoom”. The video for the song “Ella usómi cabeza como un revólver” received the MTV 1996 award, according to a popular vote. As for the name of the song, there are still rumors that the word “she” means cocaine, since it is also denoted by the word feminine in Spanish, and the song contains the lines “You will not believe in those things that I did for her” . Gustavo himself does not give an exact explanation of the song.

Gustavo Cerati : “It took two and a half years to complete the disc“ Sueño Stereo “. It would be immodest, probably, to say that this album is a masterpiece for Soda Stereo, but at that moment everything was just that, because we, in fact, were deprived of the need to continue working in the group in the future, or the need to simply be the best in over the next ten years. We have already gone through a lot, and the group itself already felt like a “living classic”. On the other hand, we were very proud of the album Dynamo. All of these factors increased pressure and complicated the work on Sueño Stereo. We could no longer do something mediocre, we had to correspond to the level. In addition, after so much time, we had to get together and just work, so that the music was composed at ease, try not to think about what had happened to us, well, or something like that. After all, Sueño Stereo is one of the most innovative discs in our career. Because of its sound, lyrics, music. ”

Sueño Stereo is filled with symbolism. The loudspeaker was used as the main symbol: the cover depicts three loudspeakers (the largest in the center), resembling eggs surrounded by sperm cells (headphones play their role). The loudspeaker as a symbol also appears in the clip “Ella usómi cabeza como un revólver”, which shows two characters called “sneaky twins” stuffed with countless of these devices, and leather walls also covered with loudspeakers.

This is followed by a tour that began in Buenos Aires (Venezuela, Colombia, Peru, Mexico, and the USA — Los Angeles, Chicago, New York, and Miami), and ended on April 24, 1996 at the Teletón Theater (Santiago, Chile). They also gave a free recital in honor of the 113th anniversary of the city of La Plata (capital of the province of Buenos Aires) in front of 200,000 people.

In mid-1996, they were invited by MTV to record the famous unplugged concert series “Upgrade Concert” in Miami, where they performed songs: Un misil en mi placard, En la ciudad de la furia (with Andrea Echeverri), Entre Caníbales, Pasos, Zoom, Cuando pase el temblor, Té para tres, Angel eléctrico, Terapia de amor intensiva, Disco Eterno, Ella usómi cabeza como un revólver, Paseando por Roma, Génesis. After they were refused several times, Soda still obtained permission to use “plugged” instruments at an “unplugged” concert, such as electric guitars. But they rearranged for recording the classic look of their songs, which became slower and technically complex, plus the female vocals of Andrea Echeverri (Aterciopelados) in the famous version of the song “En la ciudad de la furia”. For this reason, on the disc cover in the word “unplugged” the prefix “un” is as if blurred.

Some songs were released on the disc Comfort y Música Para Volar (1996). The final and full version of this album was released only in 2007. The album also included four new songs that were not included on Sueño Stereo and an interactive track with comics animated in the video and presented on MTV.

On October 30, Soda Stereo became the first Latin American band to perform an interactive live webcast on Mario Pergolini's ¿Cuál es? (Which?) Program in the building of a musical instrument store in Buenos Aires.

The final breakup was preceded by a long lull, with the exception of the group's participation in the recording of the tribute album to Queen ("Tributo a Queen: Los Grandes del Rock en Español"), where they performed the song "Algún día" (original - "Some day"). On May 1, 1997, Soda Stereo officially announced the breakup through a press release. The next day, all newspapers widely discussed this event, and the Clarín newspaper allocated the entire front page for the article. A day later, Gustavo wrote the so-called “Farewell Letter” in “Sí” ( Clarín newspaper supplement for young people):

“I am writing these lines under the impression of what I feel these days - on the street, among the people who surround me, our fans, and in myself ... I share the sadness that the news of our breakup caused you. Yes, I am also in this state, because in my life there were not so many things that are as important to me as Soda Stereo. We all understand that any team is impossible without conflict. This is a delicate balance in the struggle of the ideas of several people - few could keep it for fifteen years, and we are proud that we were able to do it. But lately, various personal and musical setbacks have begun to shake this balance. The excuse for us may be the unwillingness of further confrontation and, finally, the fact that we no longer thought about the future of the group as we did before. This is how we cut us alive, first of all, because of fear for our moral condition and, also, respect for all the fans who have been with us all this for a long time. Many hugs".

The group had their last tour in Mexico, Venezuela and Chile. During the tour, live versions of the songs were recorded on two separate CDs entitled El Último Concierto “A” y “B” (“The Last Concert. Parts“ A ”and“ B ”). This tour ended on September 20 at River Plate Stadium (River Plate) The last song was the legendary “De música ligera” and the famous phrase uttered then by Gustavo: “Without all of you, there would be not only us, but also those people who surrounded us from the very beginning, and some of whom remained with us so far ... ¡Gracias ... totales! (Thank you ... complete, final). "

Ironically, immediately after the breakup, rumors began to appear about the reunion of the group. But there was no news and appearances on TV from the group itself, other than showing their “Last Concert” on HBO and releasing a documentary called “Soda Stereo: La Leyenda” (“Soda Stereo: Legend”), a MTV production. Finally, in 2002, the opportunity again appeared to see the trio together on MTV Latinoamérica, where they received the Legend Award for their contribution to the development of music.

Seven years after the breakup, long-standing recordings that were previously unpublished were found, and Sony Music announced in late 2003 that it was releasing the first Soda Stereo DVD, which contained a lot of unpublished material provided by Gustavo, Zeta and Charlie, as well as people close to the group. The result was the movie Soda Stereo: Una parte de la Euforia (1983-1997), released in November 2004 (Soda Stereo: Part of Euphoria), a documentary that summarized the group’s history, including recordings of Soda’s performances on stage and filming backstage , interviews, soundchecks, telecasts with the participation of the group, etc. However, the DVD contained only that part of the history of the group that somehow related to Sony Music, and not a word about BMG times, and therefore albums such as Sueño Stereo and Comfort y Musica Para Volar. This made the film incomplete. September 20, 2005 in Argentina was released DVD with the recording of "The Last Concert". This DVD, unlike the HBO releases, was mainly concentrated on a concert in Buenos Aires, had a 5.1 audio codec, and included two songs that had not previously been on the discs - “Juego de seducción” and “Sobredosis de TV ". In addition, he included video from various cameras recording the song “Primavera 0” and a 25-minute documentary film about the farewell tour (video from concerts and soundchecks in Mexico, Venezuela and Argentina).

The disc also included an interview with one of the “cuarto Soda” - Alfredo Luis, who died in the late 90s, and this work was one of his last.

Soda unification was a topic that was necessarily covered in any interview with all ex-members of the group, which they were tired of. In 2007, 10 years after the breakup, the group decided to unite again to make a large-scale tour across the continent. On June 6, 2007 (and officially 9), a reunion was announced for the tour called “Me Verás Volver” (a symbolic phrase taken from their song “En la ciudad de la furia”).

The tour began on October 19 at the Estadio Monumental de River Plate Stadium in Buenos Aires. Первоначально планировалось 2 сольных концерта в Аргентине, а затем ещё несколько в других странах. Но с того момента, как стали ясны те доходы, которые приносят их концерты, география тура расширилась до континентального масштаба. Немедленно был запланирован третий концерт в Буэнос-Айресе. Позже они добавили ещё два, а закрытие было намечено на 15 декабря в Кордобе, хотя в Буэнос-Айресе 3 ноября группа объявила, что финал будет здесь же 21 декабря; таким образом, изначально планируемое количество концертов на Ривере было удвоено. В начале июля Sony/BMG выпустили диск Me Verás Volver (Hits & +).Альбом достиг первого места в продажах в Аргентине и Чили.

20 сентября, ровно через десять лет после последнего концерта, Сода Стерео дала долгожданную пресс-конференцию в Club Museum, построенном в историческом здании квартала Сан Тельмо, разработанном Густаве Эиффэлем, где годами ранее Сода сняли «En la ciudad de la furia». Неожиданность была в том, что они начали с исполнения нескольких песен (первоначальные версии «Sobredosis de TV» и «En la ciudad de la furia»), что значило формальное возвращение на сцену. Все песни были исполнены исключительно их трио, на трёх их инструментах. На этой конференции они рассказали, что начиная с 2008 они предполагают вернуться каждый к своей сольной работе. На вопрос журналистов о том, что он скажет на этот раз вместо «gracias totales» 97-го года, Густаво сказал: «У меня нет никаких идей, что я скажу… Может „Olas totales“, почти цунами…» В октябре 2007 Sony-BMG выпустили свою, полную версию DVD «Confort y música para volar». Переполох на континенте, вызванный возвращением Соды (названный «el temblor», «дрожь»), заставил продюсеров всех уровней, включая представителей фестиваля Viña del Mar, искать контакты с группой и просить их о выступлениях и концертах. Но каждый раз Густаво отвечал одно и то же: «Наше объединение — только пузырек воздуха во времени». В конце концов, 19 октября случилось ожидаемое возвращение Соды на стадион River Plate. Огромная афиша содержала фразу, составленную из названий песен Соды: «Cuando pase el temblor en la ciudad de la furia sonará de música ligera y estaremos prófugos detrás de la persiana americana». («Когда утихнет дрожь, в неистовом городе зазвучит лёгкая музыка, и мы убежим за американские жалюзи»). На концерте им аккомпанировал один из легендарных «cuartos soda» — Tweety González, а также Леандро Фреско и Лео Гарсия. Концерт продолжался более трех часов, было исполнено 28 песен. До появления на сцене Густаво, Зеты и Чарли, звучала их трибьют-версия песни Queen «Algún día». Затем появилось трио и исполнило «Juego de seducción», а закончили с «Nada Personal» и «Te hacen falta vitaminas» — самыми ранними песнями группы (эта часть сет-листа была стабильна на всех концертах тура). После трех сольных концертов в Буэнос-Айресе (19, 20 и 21 октября) Сода появилась в Сантьяго, Чили (24 и 31 октября), в Гуаякили (27 октября), опять в Буэнос-Айресе (2 и 3 ноября) в Мексике — Monterrey (9 ноября), Zapopan (12 ноября), DF (15 и 16 ноября), Лос-Анджелес (21 ноября), Богота (24 ноября), Панама (28 ноября), Каракас (29 ноября), Майами (4 и 5 декабря), Лима (8 и 9 декабря) и Кордоба, Аргентина (15 декабря). В общей сложности концерты Соды посетили миллион людей. В диалогах с публикой, которые на концертах Густаво вёл от имени группы, он иногда говорил «gracias…» и весь стадион отвечал ему: «..totales!» Также, однажды исполняя песню «Un millón de años luz» (где есть строчка «no vuelvas sin razón» — не возвращайся без причины), он сказал: «У нас есть большая причина, чтобы вернуться: ВЫ!» 21 декабря 2007 прошёл последний сольный концерт в Буэнос-Айресе, где прозвучали три песни, ранее не исполнявшиеся в туре — «Si No Fuera Por…», «Terapia de Amor Intensiva» и «Lo que sangra (La cúpula)». К группе приглашенный музыкантов присоединились Андреа Альварес, Ричард Коулман, Фабиан ФонСоррито Куинтерио, Карлос Аломар и Гиллеспи. Серати вновь сказал своё «gracias totales» после «De música ligera», и разбил гитару в конце «Sueles dejarme solo». Критики отмечали высокий уровень отрепетированности и слаженности группы, и, кроме того, прекрасные взаимоотношения между музыкантами.

Soda Stereo считается легендарной группой латинского рока. Прежде всего, это была первая местная группа, вышедшая за пределы родной страны, и, певшая на родном языке, выступавшая в Штатах. Сода открыла дорогу многим латинским группам, разрушив вечное противостояние «поп против рока», что сломало представление о том, что популярной музыкой может быть только «pop». В 1996 Серати говорил: «Мы скорее pop-группа, насквозь пропитанная роком». В Аргентине, стране, где были сильны традиции рока на испанском языке («национальный рок»), Сода положила начало интернационализации, которая присоединила местных музыкантов в одну большую всеконтинентальную рок-среду. Во многих частях Латинской Америки, как например Колумбии, Soda Stereo выразила взгляд нового поколения, которое искало способ выделиться «treintones ochenteros» («тридцатилетние восьмидесятых»), которым нравилась доминиканская меренга (морские песни), и они тоже начали слушать испаноязычный рок.

В Чили, Сода не только повлияла не поколение своей внешностью, музыкой и текстами, но и установила сильную эмоциональную связь, между группой и её последователями, что стало определяющим фактором «денационализации» группы, выражающей эмоции уже не только молодёжи одной страны, а просто молодёжи в целом, как одной общности с общими интересами и проблемами, чего до этого rock'n'roll пока не добивался в испаноязычных странах, ввиду идиоматического барьера. Журналист Карлос Полимени писал: «Я был с ними в турне. Я видел, как они выступали, и были англосаксонскими героями, которые пели на кастильском языке». Что-то сходное произошло в Перу и Эквадоре, где культурное проникновение к ним группы считалось «самым важным событием в истории рока» этих стран. В сходном чувстве укрепился и Никарагуа, где «никто не сомневается, что Soda Stereo — опора истории рока в Латинской Америке…»

В 1988 Зета Босио комментировал это явление на пресс-конференции в Венесуэле: «Мы выходим из Аргентины и начинаем продвигаться в Чили, в Перу и в каких-то других странах, где мы были, и где нам говорили, что до нас здесь никогда не было рок-групп. Они говорили нам, что здесь — это вещь из другого мира, и что она здесь не приживётся… И очень радостно видеть, что всё-таки прижилось, и в каждой стране рок набирает собственную силу…»

Но мультипликативный эффект Соды прежде всего сконцентрировался в Мексике. Полемини сказал: «(Это была Сода Stereo), кто разбудил мексиканский рок. Дюжины мексиканских групп моментально реагировали: „почему мы не делаем то, что делают аргентинские группы?“, И это взорвалось в середине 80-х, которые, на мой взгляд, были самыми плодотворными и охватили весь континент». Конечно, музыкально-культурное явление, которое олицетворяла Сода Стерео, превзошло саму группу, по причинам того, что рок-н-ролл стал просто средством выражения бунтарства молодёжи, связанного с переменами в жизни Латинской Америки 80-х — падение диктатур, глобализация, постмодернизм, развитие информационного общества, рост социального неравенства. И как раз тогда Soda Stereo сыграла роль континентального взрыва латинского рока, когда каждая страна уже имела благодатную бунтарскую почву (хотя бы в лице молодёжи).

Как Битлз и « битломания » Сода стала группой своего времени и места, создав мосты между мировым роком и испаноязычным. По этой причине термин «sodamanía», используемый для описания эффекта Соды на латинскую молодежь, является вполне точным. Хотя и до них были такие группы как La Bamba de Ritchie Valens, Los Teen Tops, Nino Bravo и Los Iracundos, Carlos Santana , Rita Lee, Charly García и GIT, то, что сделала Soda можно считать основным (фундаментальным) и трансформационным музыкально — культурным явлением на всём континенте. Soda Stereo изменила все существующие парадигмы, оказала сильное влияние на музыку 90-х годов и начала 21 века ибероамериканской культуры.

Шакира : «Всю свою жизнь я была фанаткой Серати — и времён Соды и после этого. Я была на трёх его концертах. Серати и Сантана обогатили меня… Это мои маленькие чудеса» [1] (исп.)

Густаво Сантаолалья : «Soda Stereo — одна из самых символических групп в Латинской Америке».

Хуанес : «Cuando Pase el Temblor — была первая песня, которую я услышал у них. Она первой начала звучать в Колумбии. Я рад, что они вернулись. Почему бы и нет, если они живы и имеют возможность это сделать? Это, бесспорно, легенда».

Хуан Луис Герра (Juan Luis Guerra): «Soda Stereo — чудесная группа. Я очень рад (имеется в виду новое турне). Это одна из лучших групп латинского рока».

Когда в 2002 они получали Премию Латинского MTV, отражающую международный уровень, достигнутый ибероамериканской музыкой, пресса описывала этот момент, как самый запоминающийся за всю церемонию: «Премию „Легенда“ получает группа Сода Стерео, как самая важная и влиятельная группа испаноязычного рока всех времён».

Studio Albums

1. Soda Stereo (1984)
2. Nada Personal (1985)
3. Signos (1986)
4. Doble Vida (1988)
5. Canción Animal (1990)
6. Dynamo (1992)
7. Sueño Stereo (1995)

«Живые» диски и сборники ремиксов

1. Ruido Blanco (1987)
2. Rex Mix (1991)
3. Zona de Promesas (1993)
4. Comfort y Música Para Volar (1996)
5. El Último Concierto (A y B) (1997)
6. Gira Me verás volver (#1 y #2) (2008)

Compilations

1. Me Verás Volver (Hits & +) (2007)

VHS

1. Nada Personal en Obras (1986)
2. Ruido Blanco (1987)
3. Canción Animada (1992)
4. Haciendo Dynamo (1993)

DVD

1. Una Parte de la Euforia (Documental) (2004)
2. El Último Concierto (En Vivo) (1997) Editado en (2005)
3. Comfort y Música para Volar (En Vivo) (1996) Editado en (2007)
4. Gira Me Verás Volver (En Vivo) (2007) Editado en (2008)

Clips

1. «Dietético» (1984) Dirección: Alfredo Lois
2. «Soda Stereo en el Astros» (1985): Dirección: Alfredo Lois
3. «Cuando pase el temblor» (1986): Dirección: Alfredo Lois. Video finalista del 12 World Festival of Video and TV/Acapulco
4. «Signos en Perú» (1987): Dirección: Alfredo Lois
5. «Ruido Blanco» (1987): Dirección: Alfredo Lois
6. «En la ciudad de la furia» (1989): Dirección: Alfredo Lois. Video finalista del MTV Music Awards por «Mejor Video Extranjero»
7. «De música ligera» (1990): Dirección: Alfredo Lois
8. «De música ligera/Canción animal/Un millón de años luz» (1990): Dirección: Caíto Lorenzo
9. «Cae el sol» (1991): Dirección: Caíto Lorenzo
10. «No necesito verte» (1991): Dirección: Eduardo Capilla
11. «Canción animada» (1992): Video-Home
12. «Primavera 0» (1992): Dirección: Boy Olmi
13. «Haciendo Dynamo» (1992): Dirección: Boy Olmi
14. «Ella usó mi cabeza como un revólver» (1995): Dirección: Stanley Gonczanski. Ganador a Mejor Video Latino en los MTV Video Music Awards 1996
15. «Zoom» (1995): Dirección: E. Capilla- M. Galperín