Soda Stereo Albums (11)
'Gira: Me Veras Volver, Vol. 2'
Release Date 10/28/2008
Tracks 14
Label Norte
See Album Tracklist and Review
'Gira: Me Veras Volver, Vol. 1'
Release Date 10/28/2008
Tracks 14
Label Norte
See Album Tracklist and Review
'Obras Cumbres'
Release Date 12/11/2007
Tracks 29
Label BMG International
See Album Tracklist and Review
'Ruido Blanco'
Release Date 1/1/2003
Tracks 9
Label Sony International
See Album Tracklist and Review
What The Critics Say
This live album was recorded in different countries of Latin America during the 1987 supporting tour for Signos, the album that made Soda Stereo regional superstars. Mainly composed by hits from that album, it also contains a couple of songs from the sophomore Nada Personal and a few from their first record, including "Sobredosis de TV" and "Vita Set" (a medley that includes "¿Por qué no puedo ser del Jet Set?" and "Vitaminas"). You won't get exactly the band's sound at that time because it contains some post recordings and some soul-flavored horn arrangements that weren't included in the live performances. This isn't a necessary Soda Stereo's record for neophytes, but it's a good, solid live album. ~ Iván Adaime, All Music Guide
What The Critics Say
Soda Stereo's final studio long-player, Sueño Stereo helped the band regain public attention after the multi-year gap between Dynamo (a commercial failure) and the release of this album at the end of June 1995. Three hits came from the record: "Ella Usó Mi Cabeza Como un Revólver," "Paseando por Roma," and especially "Zoom." The album was the band's most melancholic, and included the beautiful "Efecto Doppler," which contained drum samples from Echo & the Bunnymen's "All My Colours." ~ Iván Adaime, All Music Guide
What The Critics Say
This album was Soda Stereo's most eclectic, most ignored, and most experimental work. It was also by far the least popular and the most pretentious. Just after its release the band changed labels (from Sony to BMG) and this fact conspired against the album's diffusion. Some fans didn't catch up with the band's intention, while others took it as a landmark of pop experimentation. The band used the sampler intensely and set the sound treatment carefully, but without leaving the pop structure. Daniel Melero co-wrote some of the songs and played keyboards, but the strong influence he had over the band was reaching an end. The album contains one of their most beautiful songs, "En Remolinos," as well as the hits "Primavera Cero" and the smooth and delicate "Fue." ~ Iván Adaime, All Music Guide
What The Critics Say
With this release Soda Stereo reinvented themselves. Lyrically and musically the band acquired an elegant fury never shown before. Although the album supposed a big change to the fan's expectations, it didn't disturb the band's popularity. The songs are among the band's strongest and most popular. Included is the instant hit "Música Ligera," the one chosen by the band to play as their last song in their last show in 1997. "Entre Caníbales" and "Un Millón de Años Luz" reveal almost sexually explicit but delicate lyrics, while the exquisite "Té para Tres" was inspired by Cerati's father's agony. The strong concept and consistency of the album is due in part to Daniel Melero, a former member of Los Encargados. Althought Soda Stereo had played one of Melero's songs in their debut album Soda Stereo, they didn't really work together until this recording, on which he plays keyboards and is also credited as "concept contributor." Along with Signos, Canción Animal is the most consistent work of the band. ~ Iván Adaime, All Music Guide
What The Critics Say
When Soda Stereo released this album they were the most important pop/rock Latin American band. The album confirmed it. Recorded and mixed in New York, the album was produced by David Bowie's guitarist Carlos Alomar. He gave them a sound that brought the album near but timidly to soul music. Alomar even rapped in "En el Borde." A horn section was included in many songs and that gave a flavor that the band never had before and would not in the future, except in the forthcoming EP Languis. Although the album contains some of the most beautiful songs from the band, such as "En la Ciudad de la Furia" and "Corazón Delator," the album lacks the consistency of the previous studio album Signos. ~ Iván Adaime, All Music Guide
What The Critics Say
This album represents a landmark in Soda Stereo's career basically in two aspects: artistically and commercially. Despite the fact that with their first two albums they achieved national success, the band was pegged as frivolous entertainers, related with other Argentinean bands such as Virus or Los Twist; with this album, the press and the audience began to take them seriously. Commercially it represented the breakthrough from Argentina to the rest of Latin America. After the release of the album, they started touring Latin America, achieving a success that no Argentinean pop/rock band had achieved before in countries such as Chile, Perú, and Venezuela. The result of the extensive tour can be heard in the live album Ruido Blanco. Although it's not a concept album, the eight songs on it have coherence and consistency. Maybe it's the band's darkest and obscure album, but strangely it didn't conspire with the audience acceptance, and many hits came out. Songs such as "Signos," "Persiana Americana," and "Profugos" gave the band the possibility of conquering wider audiences and, at the same time, allowed them to explore new musical directions. The general feeling of the album could be resumed in the song that concludes it: "Final Caja Negra." A masterpiece. ~ Iván Adaime, All Music Guide
What The Critics Say
Nada Personal relentlessly stabs the listener with its new wave beats like Jack the Ripper leading a bar band in an attempt to get a Friday night crowd off its feet. The rhythm guitar patterns -- not just jangly, but fibrillating -- also bring to mind one of those wind-up toy animal drummers. "Juego de Seducción" is the main change of gesture in the scenario, a Taxi Driver-style alto saxophone solo atop a rubato float. How expertly the Soda Stereo triumvirate serves up such a concoction should not surprise listeners who are familiar with the versatility displayed by this Argentinean combo as it ruled its country's pop and rock scenes in the '80s and early '90s. The title track, which kicks things off, was a big hit and deserves to be, the chorus a funky hook with the staying power of a Hall & Oates track, plus rhythmic zest sprinkled on by bassist Zeta Bosio and drummer Charly Alberti. These band collaborators stick their nose in here and there in the ensuing songwriting, sometimes coming up with a group composition. Most of the material is dominated by Gustavo Cerati, however, and in this case he seems a bit fixated on Talking Heads; Argentinean nationalists, on the other hand, might say it is the other way around. This material is more easily absorbed as part of the two-in-one reissue package that also includes the later, more diverse Cancion Animal project. ~ Eugene Chadbourne, All Music Guide
