In 1972, Sui Generis released its first LP, Vida, which quickly became popular among Argentine teenagers. Confesiones de invierno (“Winter Confessions”), their second LP, was released in 1973. This album showcased higher production values and better studio equipment, and was very successful commercially.

1974 was a year of changes. Charlie lost interest in “the piano and flute” sound that Sui Generis had been developing, and decided that Sui Generis needed a change; the band would evolve towards a more traditional rock sound, incorporating bass and drums. To that end, Rinaldo Rafanelli and Juan Rodríguez joined the band. In many live shows, Sui Generis also brought in a gifted guitar player, David Lebón, whom Charly admired very much.

Finally, on September 9, 1975, Sui Generis scenified its farewell at the Luna Park Stadium, giving two shows for 20 thousand people — the largest audience in the history of Argentine rock at the time. The shows have been recalled as delirium-inducing, adrenaline-fueled delivery of great music. Two LPs recorded at the live shows were released that year, Adiós Sui Generis (“Goodbye Sui Generis”) volumes I and II.

In 1976, Sui Generis also recorded a long player with Argentine musicians León Gieco, Raúl Porchetto, and María Rosa Yorio. The LP was called Porsuigieco (mix of Raúl PORchetto, SUI Generis, León GIECO).

In São Paulo, Charly met Zoca’s parents. The Pederneiras being a family of artists, they were fascinated with Charly. Artistically speaking, García was influenced by certain Brazilian artists, notably Milton Nascimento. Despite Sui Generis’ commercial successes, Charly was destitute. In 1978, he lived a nature-centered lifestyle with Zoca in Brazil, fishing and gathering fruit. Soon David Lebón, an Argentine musician and a friend of Sui Generis, joined them. Having a new musical partner, Charly again played, and the seed of a new musical project was planted. Charly was now determined to form a new band, but he was still broke. Making his way back to Buenos Aires, he began a new search for bandmates.

The band returned to Buenos Aires with great expectations for García’s new project. Their first show, in the traditional Arena Obras Sanitarias, was again advertised as “Charly García… and Serú Girán”, due to contractual reasons. Thereafter, however, the name “Charly García” would no longer appear in the advertising — the band would simply go by Serú Girán. That first show was poorly received, the public having expected a new incarnation of Sui Generis. Serú Girán was completely different. The band had a new sound in which Aznar’s fretless bass guitar was a key component, and a striking aesthetic with lyrics full of poetry. Puzzled audiences requested Sui Generis’ old songs. In 1978, disco music was fashionable in Argentina. As a joke, Serú Girán played a song called Disco Shock, angering the public, whose rejection marred the show.

Serú Girán carried on during 1979 and evolved markedly. Their new LP was titled La grasa de las capitales (“Grease”, or “Fat”, “of the Capitals”) and its cover was a joke directed at the magazine Gente. The stronger and more direct nature of the lyrics, which criticized the media, including specifically magazines (especially Gente), fashionable music, radio and so on almost got them sent to jail. The public, however, gave the album an enthusiastic reception. The band’s shows improved progressively, and eventually were performed in larger venues. The “specialized” press changed its tune, and a romance seemed to develop between the people and Serú Girán.

In 1979, Charly almost went to jail because of the band’s lyrics, considered too clear and direct in some quarters. Even as the music’s political message became stronger, it was concealed in an effort to avoid censorship and another close call with the authorities. But the message remained, ready to be heard by ears that wanted to hear it. “Canción de Alicia en el país” (“Song of Alice in the (Wonder) Land”) drew an uncanny analogy between Lewis Carroll’s story and the Argentine military government. “Encuentro con el diablo” (“Meeting with the Devil”) is a reference to the band’s meeting with Albano Harguindeguy, who was frequently referred to, behind his back, as the “Devil”. A military man, he was Security Minister during those years. He gave talks to some artists, ordering them to tone down their work or leave the country — a policy that led many artists to leave Argentina at that time.

Expectations were high in 1980 for Serú Girán’s new long play, which would be called Bicicleta (“Bicycle”) – a name that Charly had favored for the band (but was panned by the other members). The band sounded more mature on this record. The music was modern and strong, a key feature being the melodies. The role of the bass guitar was again central, and Pedro Aznar’s work became more prominent.

Luis Alberto Spinetta was another Argentine rock star of the time. His first band, Almendra, was one of the first in Argentine rock, getting its start before Sui Generis; now he had a band called Spinetta Jade. Perhaps because his style was darker, more complicated, and found harder to understand by many, he was a less popular star than Charly, and they were portrayed as enemies. Luis and Charly put that myth to bed on September 13, 1980, as their bands, Serú Girán and Spinetta Jade, played together in what has been considered one of the greatest shows in the history of Argentine rock.

1981 may have been the best year for the band in terms of live performances. In 2000, a Serú Girán fan found some tape recordings of a December 1981 show at the Teatro Coliseo and took them to Serú Girán drummer Oscar Moro, who “cleaned” them for the CD Yo no quiero volverme tan loco (“I don’t want to go that crazy”) published in 2000.

In early 1982, Pedro Aznar left the band to study at Boston’s Berklee College of Music. (It is a very common mistake to assume that Aznar left Serú for Pat Metheny’s band, one of his favorite musicians. Aznar joined Metheny’s group just one full year later, in 1983). In March 1982, Serú returned to Obras Sanitarias to say goodbye to Pedro and put on a highly successful show which was recorded, and released that year as No llores por mí, Argentina (“Don’t cry for me, Argentina”). With the loss of Aznar, the band initially considered the idea of having David Lebón play both guitar and bass. But Lebón and Charly had some differences chalked up to “musical taste”, and without Pedro Aznar things were not the same. Moreover, both were mature enough to begin their own careers and that was the end of Serú Girán, until the group reunited between 1992 and 1993 for a series of live concerts and a studio album.

In 1982, Argentina was undergoing political change. After the Falklands War (Spanish: Guerra de las Malvinas/Guerra del Atlántico Sur) in June, social chaos erupted and the military government lost part of its power.

In 1983, Charly left Buenos Aires with a small suitcase. When he came back to Buenos Aires from New York, he brought a quality LP titled Clics modernos (“Modern Clicks”) that was different from anything previously done in Argentine rock — it was highly singable rock music you could also dance to. Its strong message referred the past years: Exodus in “Plateado sobre plateado (huellas en el mar)” (“Silver on Silver, Footprints on the Sea”), repression in “Nos siguen pegando abajo” (“They keep hitting us down there”), “No me dejan salir” (“They won’t let me out”) and “Los dinosaurios” (“The Dinosaurs”), a nostalgic but defiant remembrance of those who were kidnapped or killed.

On December 10, the course of Argentine history took a turn as the government became a democracy. Charly performed many well-received shows in 1984, and recorded another album during its last months. García also recorded an LP called Terapia intensiva (“Intensive care”), another movie soundtrack. Piano Bar was released in 1984, completing García’s golden trilogy.

In 1987, García came back with Parte de la Religión (“Part of the Religion”), a very interesting LP. Many songs from that LP became hits. Two of them, “No voy en tren” (“I don’t take the train”) and “Necesito tu amor” (“I need your love”) are the perfect symbol of García’s dichotomies: the first one says “No necesito a nadie a nadie alrededor” (“I don’t need anybody around me”), and the second one says “Yo necesito tu amor/tu amor me salva y me sirve” (“I need your love/your love saves me and is useful to me”). This LP is also featured a song, “Rezo por vos” (“I pray for you”), which was part of a project with Luis Alberto Spinetta that was never finished.

In 1988, Charly made his acting debut at the age of 36, playing a nurse in the movie Lo que vendrá (“What is to come”), the soundtrack of which he also composed. Being a nurse had long been one of García’s obsessions. Later that year, the Amnesty International festival wrapped up in Buenos Aires. Starring international and local rock stars, Peter Gabriel, Bruce Springsteen, Sting, Charly García and León Gieco were there.

In 1989, Puerto Rican pop star Wilkins invited Charly to record his classic “Yo No Quiero Volverme Tan Loco”, alongside Ilan Chester, from Venezuela, as a tribute to “Rock en Español”; the song was featured in Wilkins’ L.A-N.Y. album.

In 1990, Charly had many ideas but no band. Another important member of the band, Fabián “Zorrito” Von Quintiero, had left to join another band, Los Ratones Paranoicos (The Paranoid Mice). Hilda Lizarazu and Carlos García López started a band called Man Ray. Charly was now alone. For his new disc, Filosofía barata y zapatos de goma (“Cheap Philosophy and Rubber Shoes”), he called many of his old friends, who helped record most of the songs. Assisting him, among others, were Andrés Calamaro, Rinaldo Rafanelli, Fabiana Cantilo, “Nito” Mestre, Pedro Aznar, Fabián Von Quintiero and even Hilda Lizarazu. The first issue came once the disc was released. Its last song was a rock version of the “Himno Nacional Argentino”, or the Argentine national anthem. Amid controversy, García’s version of the national anthem was forbidden for some days, but García was victorious, a judge authorizing the song. Many people liked it, seeing it as a fresh, sincere, strong and respectful version of the old song.

In December 1992, Charly again embraced his past and surprisingly re-joined Serú Girán. Charly García, David Lebón, Pedro Aznar and Oscar Moro were back after ten years. A new album was recorded, titled Serú 92. It enjoyed great commercial success, but musically was sharply different from Serú Girán’s other discs.

After not having released any new solo material since 1990, in 1994 García was ready to strike back. The new project was called La hija de “La Lágrima” (“The Tear’s Daughter”). This LP would be an introduction to the future concept of Say No More.

Also during 1994, the Soccer World Cup was being played in the United States. Soccer player legend Diego Armando Maradona was involved in a dispute with FIFA regarding a drug test for ephedrine doping, which he failed, preventing him from playing. After Diego was sent home, Argentina lost two important matches and was knocked out of the World Cup. When the last match was about to end, Charly called Diego on his cell phone and sang to him “live” the Maradona’s Blues, a song he composed for him. Diego cried when he heard “Un accidente no es pecado/y no es pecado estar así” (“An accident is not a sin/And is not a sin to be like this”), and the two struck up a friendship.

1995 was again a musical year. 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”. His idea with the band was to play songs Charly had heard as a teen, such as “Sympathy for the Devil” (Mick Jagger–Keith Richards) and “There’s a Place” (John Lennon–Paul McCartney). He recorded the performances and edit a live album, Estaba en llamas cuando me acosté (“I was on fire when went to bed”). All of the songs in this album are in English except for “Te recuerdo invierno” (“I remember you, winter”), which García had written in the early 1970s but never recorded with Sui Generis. In May, Charly recorded Hello! MTV Unplugged, which is often considered by music critics as the last time that the rock star played his music to his full potential.

Say No More arrived in 1996. Say No More was a new concept for García: “‘Say No More’ would be in music what painting directly on the canvas would be for a painter”, he explained. He also said that the LP “will only be understood in 20 years”. Some sparks of his genius showed, but longtime fans of Charly were not very fond of it at first. Today, however, the album is considered García’s masterpiece, and “Say no more” the classic slogan identifying Charly García and all his music.

During 1997, García recorded Alta Fidelidad (“High Fidelity”) with Mercedes Sosa. Both had known each other since his childhood, so they decided to publish a collaborative work on which Mercedes would sing her favorite García songs of all time.

In 1998, El aguante (“Holding On”) was released. This production featured many covers translated to Spanish by García, like “Tin Soldier” (Small Faces), or “Roll over Beethoven” (Chuck Berry). A significant song which was not included was “A Whiter Shade of Pale”, originally released by Procol Harum, a band that Charly had always admired.

In February 1999, García performed at the close of the free public-rock festival “Buenos Aires Vivo III” (BA Live III). There he played a huge concert for 250.000 fans who attended one of the biggest concerts in Argentina to date. In July 1999, Charly agreed to give a private performance at the Quinta de Olivos (the Argentine Presidential residence), at the invitation of the president, Carlos Saúl Menem. On a televised bit of this event he was seen in good spirits, carrying out antics such as playing with the security cameras, or trying to teach the president how to play the piano. A limited edition of a disc memorializing the famous concert, Charly & Charly, was released that year. Since its release, Charly & Charly has been out of print, and is currently available only in bootleg copies on Internet sites.

In 2000, Charly and Nito Mestre decided to bring Sui Generis back to life. For the special occasion, they both composed the songs for a new LP, “Sinfonías para adolescentes” (“Symphonies for Adolescents”). Of course, things were very different after 25 years, but young and older fans were excited by the idea of the return of Sui Generis. This new period would be marked by García’s new “sound concept” of Maravillización or “Making something marvellous”, replacing the old dark “Say no more” style.

Finally Sui Generis played again in the Boca Juniors’s Stadium, for 25.000 fans on December 7, 2000. Charly respected his fans and his old partner, and played for almost four hours in front of a delighted public, despite of the “differences” between the old and the new model Sui Generis, as regards sound, Charly’s voice and behaviour, etc.

During 2001, ¡Si! Detrás de las paredes (“B [the musical note]! Behind the Walls”) was edited as the second and last Sui Generis’s LP in this new era. It was a mash up between live versions of the Boca Juniors’s concert, new songs (as “Telepáticamente”) and some versions of old songs. (such as “Rasguña Las Piedras”, featuring Gustavo Cerati, former leader of Soda Stereo). Besides on October 23, 2001, Charly reached age 50. For the occasion, a special concert in the Colliseum Theater was organized.

After this interruption in his solo Career, Charly got back to the spotlight after releasing Influencia (“Influence”) in 2002. 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). Even though it included old songs as “Happy And Real” (from Tango IV, 1991) or “Uno A Uno” (“One to one”, from El Aguante, 1998) and different versions of the same songs, this was probably García’s best album since 1994.

Finally in October 2003, Charly released Rock and Roll, Yo (“Rock and Roll, Me”), dedicated to María Gabriela. 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). This time his shows weren’t so convincing, and Epumer’s absence could be felt by the fans.

Also, since 2004, one of his most remarkable “positive” landmarks was to play once again in Casa Rosada, the Argentine Government Palace. This event took place during the presidency of Néstor Kirchner.

On April 30, 2007 Charly performed in the Plaza de Mayo in Buenos Aires at the invitation of the Madres de la Plaza for their 30th Anniversary. Around that time García routinely performed throughout Argentina and South America.

On 14 June 2008 the Clarín newspaper reported that Charly García was taken to a hospital in the city of Mendoza due to a violent episode in which the musician thrashed a hotel room in Mendoza. Sources related the incident to an overdose of drugs and alcohol.

After the long recovery, a cured and stable Charly came back in August 2009 with a new song called “Deberías Saber Por qué” (You Should Know Why). The song became a hit and soon Charly embarked on a large tour through Chile and Perú to promote his return. On October 23 García celebrated his 58th birthday with a concert in Velez Sarfield’s Stadium, Argentina. This concert has been referred to as “The Underwater Concert” because of the heavy rain that fell.

In October 2011, Charly was the last guest on Susana Giménez Show’s final episode. While appearing on the show, he performed the song “Desarma y Sangra”, originally from his band Serú Girán.

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”. At the venue, they made classical arrangements to Charly’s own songs under his own musical direction. Charly has gone to Mendoza City to present various compositions across his life, specially since the 2000s.

In 2016 Charly had several health problems and appeared to walk in and out of clinics and medical controls. In 24 February 2017, after months of speculation about Charly’s health, he surprisingly announced the release of his new studio album, Random, his first studio album in seven years, which is entirely made of new original compositions. Since its release, the album has received mostly positive reviews and important record sales.

On 19 April 2017 Charly accused Bruno Mars and Mark Ronson of plagiarism, stating that their song “Uptown Funk” stole the initial chords and riff of his classic song “Fanky”, from Cómo conseguir chicas (1989).