Soda Stereo, from left to right: Gustavo Cerati, Charly Alberti and Zeta Bosio.
|Also known as||Soda|
|Origin||Buenos Aires, Argentina|
|Genres||Rock, alternative rock, New Wave, post-punk, shoegazing, neo-psychedelia, experimental rock|
|Labels||Sony Music Argentina, BMG Argentina|
|Associated acts||Tweety González, Carlos Alomar, Virus|
Soda Stereo was an Argentine rock band that is considered by critics to be the most important and influential Ibero-America band of all time. This power trio made up of Gustavo Cerati on vocals and guitar, Héctor "Zeta" Bosio on bass and backing vocals, and drummer Charly Alberti achieved international success throughout the 1980s and 1990s. The band is widely considered as the forerunners of the Latin American / Ibero-America / Rock En Español movement that emerged during the mid-1980s. Soda’s early sound was influenced by new wave bands such as Virus, The Police, Elvis Costello and post-punk bands such as Television. The band gradually evolved into a heavier sounding alternative rock band, eventually drawing influences from classic rock, progressive rock, shoegaze, neo-psychedelia, britpop, and electronic music.
Soda played an important role in the development and diffusion of Latin American / Ibero-America rock. They were the first Latin American rock group to achieve mainstream success in South and Central America and helped popularize the Rock En Español scene of the 1980s. The band established what would become the template for Spanish-speaking rock music groups and in the process broke numerous ticket and sales records. Soda has sold over 7 million albums in Latin America and their back catalog continues to sell to this day. Four of their albums were included on list of 250 Iberoamerican best albums of all time: Canción Animal (Nº 2), Comfort y Música Para Volar (Nº 15), Signos (Nº 40) y Sueño Stereo (Nº 41) In 2002 Soda Stereo was awarded the "Legend Prize" by MTV Latin America, the first prize to be awarded of its kind.
Formation and Early Years
In 1982 Cerati and Bosio met by chance in Punta del Este, Uruguay. Cerati was playing in Sauvage and Bosio in The Morgan, a band he shared with Pablo Rodriguez of (Los Auténticos Decadentes) and Andres Calamaro. Following the meeting, they decided to collaborate. Upon their return to Buenos Aires, Cerati joined Bosio in The Morgan. At the time Cerati had been working on two side projects; Erekto with Andres Calamaro and Stress. Cerati disbanded his projects to focus on his collaboration with Bosio. During this time, Cerati came into contact with drummer Charly Alberti (Carlos Alberto Ficicchia Gigliotti) who was at the time dating his sister. Alberti, the son of famed Jazz drummer Tito Alberti, author of "El Elefante Trompita" (Little Trunk Elephant) (a famous Argentinean children’s song) joined the band following his audition.
This first version of Soda Stereo featured Cerati, Bosio, Alberti, plus guitarist Richard Coleman. They chose the name "Los Estereotipos" (The Stereotypes), after a Specials song. In 1982 they recorded a four song demo with Richard Coleman and Ulises Butrón on guitars and future Soda collaborator Daniel Melero on keys. Shortly afterward the band adopted the name “Soda Stereo,” a nod to Sifón, an Argentinian carbonated drink.
In December 1982 Soda played their first show at a birthday party for Alfredo Lois, who would eventually become Soda’s video director and visual guru. Soda’s live debut occurred in July of 83 at the Discothèque Airport in Buenos Aires. Soda played the underground circuit of Buenos Aires making a name for themselves alongside other emerging bands of the time. During a show at Club Zero, Soda caught the eye of Argentinian rock producer and “talent hunter” Horacio Martinez. Horacio signed Soda to the Rodríguez Ares management agency and introduced them to CBS. At the time, Soda was known for their strong visual presence which they proved with a self-financed video clip for “Dietetico”.
Their debut album Soda Stereo was released in 1984. The album was produced by Federico Moura, vocalist for Virus. The trio was aided by Daniel Melero on keys and Gonzo Palacios on sax. Soda's sound was an innovative mix of pop infused ska and new wave as well as Argentinian rock. The band toured extensively and began seeking out shows outside of Argentina.
Soda's second album Nada Personal was released in October 1985. It contained several Top Ten hits, including the title track, Cuando Pase El Temblor and Juegos De Seducción. The second LP showed Cerati's lyrical depth and melodic maturity without abandoning the danceable rhythms. The album marked the definitive consecration of Soda Stereo to the Argentinian public. During the summer the group toured the touristic centers of Argentina; Mar de Plata, Villa Gesell, and Pinamar. The band also played Estadio Obras Sanitarias in Buenos Aires, playing four historic shows with a total attendance of 20,000.
In 1986 Soda Stereo realized their first full Latin American tour by visiting Colombia, Costa Rica, Peru, Chile, with considerable success. In Chile they played four shows in Santiago and one in Valparaíso. Soda arrival in Perú revolutionized the market. At that time Latin American Rock was not that popular outside of Argentina and Uruguay, and rock bands were not accustomed to international tours.
In early 1987 Soda staged a triumphant return to the Viña del Mar International Song Festival in Chile, the band performed some of their greatest hits to date including, Persiana Americana, Prófugos, Juego de Seducción and an acclaimed and renewed performance of Trátame Suavemente, for which they were awarded with the "Premio Antorcha de Plata" (Silver Torch prize). The festival was broadcast across Latin America, expanding the band's fame throughout the continent. 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 took place on August 1987 at the Magic Circus in Mexico City.
The Signos tour was a milestone for Soda as they played 22 concerts in 17 cities to almost 350,000 fans. Soda's success proved that Latin American Rock bands could transcend their national borders. Ruido Blanco a live album, featuring tracks from the Signos tour, was released in 1987.Ruido Blanco is considered by Rolling Stone (Argentina) to be one of the top 5 live albums in the history of Argentinean Rock.
In late 1988 Soda began the recording process of Doble Vida (Double Life), the follow up to Signos, in New York City. Puerto Rican producer Carlos Alomar, who had worked with, among others;David Bowie, Mick Jagger, Simple Minds, Iggy Pop, and Paul McCartney produced the album. Doble Vida was the first record by an Argentinean rock 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), "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.
The release of Doble Vida was followed up with a massive Latin American tour. 30 shows were played in Argentina and were attended by nearly 270,000 thousand fans. During this tour Soda cemented a massive following in Mexico. Near the end of 1989 Soda released the Languis EP which contained a new version of “Languis” (from Doble Vida), "Mundo de Quimeras" (World of Chimeras) and remixes of "En El Borde" and "Lo Que Sangra (La Cúpula)". Following the release of LanguisSoda played two sold out shows at The Palace in Los Angeles, becoming the second Argentinian Rock en Español band to play in the United States, following Miguel Mateos.
In early 1990 Soda co-headlined a show with Tears for Fears at the Jose Amalfitani Stadium in Buenos Aires, drawing a crowd of 32,000. Following the show Soda began work on their 5th studio album, Cancion Animal. Cancion Animal was recorded at Criteria Studios in Miami, Florida. Soda was aided by longtime collaborators; Daniel Melero, Andrea Álvarez, and keyboardist Tweety González. Cancion Animal was a departure from the Soda's work in the 80's. The guitar driven album fused elements of classic rock and alternative guitar rock, and in many respects preceded the worldwide guitar rock movement of the 1990s. Cancion Animal is considered by many to be Soda's masterpiece. It is arguably one of the best Latin American rock albums of all time. "De Música Ligera" (Of Light Music), one of Soda’s biggest hits and most recognizable songs, "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), are all Rock en Español classics.
The Massive "Tour Animal (1990–1991)" expanded Soda's reach inside and outside of Argentina. The Tour culminated with 14 shows at the, 3,300 capacity, Grand Rex Theater in Buenos Aires. A collection of live tracks from the Grand Rex shows were released on the Rex Mix EP (1991), which included a remixes of a new track, "No Necesito Verte (Para Saberlo)" (I don’t Need to See You - To Know).
By late 1991 Soda's success brought the band to the attention of MTV Europe who had their eye on Latin America, particularly on the burgeoning Rock en Español scene. MTV dedicated a whole show to Soda Stereo - a first for a non-English singing band. In May 1992 Soda embarked on a tour of Spain playing shows in Madrid, Oviedo, Sevilla, Valencia, and Barcelona. Their arrival in Spain was tepid at best but was seen as a learning experience by the band.
Upon their return to Argentina, Soda embraced “La Movida Sonica” (The Sonic Movement), the new wave of Argentinian guitar rock, also referred to as, "El Nuevo Rock Argentino" (The New Argentinian Rock). Soda returned to the studio to work on Dynamo. Dynamo was christened with six concerts at Obras. Each show featured a different band as support; Babasónicos, Juana La Loca, Martes Menta, Tia Newton, Demonios de Tasmania, los Brujos, Massacre, and El Otro Yo. Dynamo was played live, in its entirety, on the Fax talk show. This was the first stereophonic transmission for a live TV show in Argentina.
Dynamo marked a sonic departure for Soda. It was a much more experimental and visceral sounding record. Some songs made use of samples and had a more electronic dance groove. Other songs such as, "En Remolinos" showcased a noticeable droning guitar sound reminiscent of British shoegaze. According to Gustavo Cerati, Dynamo was a deconstruction of Canción Animal, "It is as if we took Canción Animal and put it under water. And, at a sonic level, we wanted to produce that, the songs had more to do with something hypnotic. The idea was to remix it, to mix it with something more dance and include something more trance in our music. I know that those who understood that record loved it and it is the same with me". Unfortunately, Dynamo did not sell as well as their previous albums, in large part because the band had parted ways with Sony.
In January 1993 Soda began their sixth tour of Latin America, visiting Chile, Mexico, Paraguay, and Venezuela. The trio decided to take a break that year, which fueled rumors of a break up. There had been talks 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 a tragic year for Zeta Bosio. On the 4th of July, Zeta's two young sons died in car accident in Argentina. The event deeply affected Zeta, both on a personal and professional level. Soda decided to temporarily disband. During the break, Cerati released his first solo project: Amor Amarillo (Yellow Love). Zeta dedicated himself to the production of bands (Peligrosos Gorriones and Aguirre) and Charly focused on his personal life. At the end of 1994 Zona de Promesas, a compilation of remixes of classic Soda songs and unreleased tracks was released.
After a three-year absence, on June 29, 1995, Soda released Sueño Stereo (Stereo Dream), their 7th and final studio album. The album was an instant hit in Argentina and Latin America, reaching platinum status in Argentina 15 days after its release. The album was powered by the radio hit "Zoom" and the promotional video for "Ella usó mi cabeza como un revólver" (She Used My Head Like a Revolver), (a Mark Bolan reference), which in 1996 won the viewer’s choice award presented by MTV Latin America. The album became the axis for the extensive Sueño Stereo tour which included four U.S. dates; Los Angeles, Chicago, New York and Miami.
In mid 1996 Soda was invited to record a session for MTV Unplugged. The band convinced the network on performing electric. The show was an eclectic mix of music featuring semi-acoustic versions and new arrangements of soda classics. Some songs made extensive use of effects and orchestration. The result was totally different take on Soda's signature style. The highlight of the show was a soaring rendition of "En La Ciudad De La Furia" featuring guest vocals by Andrea Echeverri of the Colombian Rock en Español band Aterciopelados. Most of the MTV Unplugged tracks were show were released on the album Comfort y Música Para Volar (Comfort and Music to Fly By) (1996). The album contained 4 new tracks from the Sueño Stereo sessions as well as an interactive CD-ROM with pictures and videos from the show.
On October 30, 1996 Soda Stereo became the first Latin American band to transmit a live concert via the internet, with the a show for the Argentinian radio program Cuál Es? (Which is?). The show was conducted by Mario Pergolini on Argentina Rock & Pop radio. The band broadcasted live from the Promúsica (music shop)in Buenos Aires.
In early 1997 Soda released a Spanish language cover of Queen’s "Someday One Day" (“Algun día”), for the Queen tribute album Tribute a Queen: Los Grandes del Rock en Español. In May 1997 Soda officially announced their separation through a press release. The Argentinian daily Clarín devoted a large front-page spread to the breakup. The following day, Gustavo Cerati published a farewell note in Clarin’s youth supplement "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 health of the band is, in its redundancy, to enforce value to our mental health and above all to show respect for all of our fans who followed us for such a long time. Farewell.
The band embarked on a farewell tour, making stops in Chile, Mexico, and Venezuela. Their last concert took place on the 20th of September at the River Plate Stadium in Buenos Aires. It was recorded and released as a double live album, El Último Concierto A and B. A DVD of the farewell show was released in 2005. The show ended with Soda's biggest hit, "De música ligera" and a memorable farewell by Cerati, "No solo 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!" ("Not only would we have been nothing without you, if not for all of the people who were around us since the beginning; some who are still with us to this very day. Total thanks!) 
A compilation CD Chau Soda ("Bye Soda"); was released the following year. It contains the most elaborated version of the song "Signos".
Very little was heard about Soda except for an HBO airing of "El Ultimo Concierto" (The Last Concert) and an MTV documentary titled Soda Stereo: La Leyenda (Soda Stereo: The Legend). In 2002 Cerati, Alberti, and Bozio made a surprise appearance at the MTV Latin Music Video Awards in Miami where they were awarded the “Legend Award” in honor of their musical and visual trajectory.
Near the end of 2003 Sony Music announced the release of the first DVD by Soda Stereo that contained unreleased material 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 a 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 featured 5.1 audio and included two songs that were not aired on the HBO airing, "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 songs performed in Argentina, Mexico, and Venezuela. It also featured an interview with longtime collaborator and director Alfredo Lois.
On the 6th of June 2007, Soda Stereo announced that they would reunite for a sole American tour titled, “Me Veras Volver (You Will See Me Return)” (the opening lines of their 1988 hit, "En La Ciudad de la Furia"). In early July Sony/BMG released a compilation album titled Me Verás Volver(Hits &+). The CD contains 18 re-mastered tracks and a web code for exclusive footage and live versions. The album reached number one in Argentina and in Chile.
On September 20, 2007, exactly 10 years since their final concert, Soda Stereo gave a long awaited press conference at the historic Club Musseum in Peru St. in Buenos Aires. A building designed by Gustave Eiffel. This was the same building that was used in the video for "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 versions with no backup musicians. During the press conference the trio made it clear that they would disband following the tour.
Originally only two concerts were scheduled in Argentina as well as performances in several American countries. However, from the time the tickets went on sale it became apparent that they tickets would be completely overwhelmed. The first two shows, totaling 90,000 tickets sold out in 24 hours. The band quickly added one more show to the schedule. After three days, the tickets for the first three shows were sold out so two more shows were added.
The five shows were attended by more than 300,000 people making the Soda Stereo comeback one of the most watched public events in the history of Argentina. Soda became the only band to play more than five times at River Plate in a single tour. Soda completed 22 shows in the Americas including three shows in the US – all but two were sold out.
The last tour culminated on the 21st of December 2007. Soda’s final concert was held at River Plate Stadium in Buenos Aires. Three songs were added to the set-list, "Si No Fuera Por," "Terapia de Amor Intensiva," and "Lo Que Sangra (La Cúpula)." The band was joined by friends and collaborators; Andrea Álvarez, Richard Coleman, Fabián "Zorrito Vön" Quintiero, Carlos Alomar, and Gillespie. Cerati thanked the audience as he had done 10 years earlier and smashed his guitar.
Soda Stereo has often been compared and contrasted against contemporary Argentine band Patricio Rey y sus Redonditos de Ricota with Soda Stereo representing the music industry, the high and middle classes, having pop-undetones and lyrics not dealing with social issues and Patricio Rey y sus Redonditos de Ricota representing the working classes, independent music, left-wing politics and political dissatisfaction in general.
In the 1980s Soda Stereo was harschly criticized by Los Prisioneros vocalist Jorge González who complained against the ease with which Soda Stereo made apareances on Chilean TV or in Chilean magazines and the ease they had to obtain musical equipment for concerts in Chile. Soda Stereo was invited to Viña del Mar International Song Festival while Los Prisioneros were neglected despite popular acclaim. This situation was because Los Prisioneros were censored by media under the influence of the Chilean military dictatorship headed by Pinochet. In the 2005 book Maldito Sudaca Jorge González recanted from his criticism explaining that he admired Soda Stereo and his former statements were because of envy.
The main influence that Soda Stereo received during their career was of British rock. Among the most influential artists for the band sound are The Beatles and solitaries jobs of George Harrison, Paul McCartney y John Lennon; The Police, The Cure, Television, Talking Heads, Elvis Costello, David Bowie, XTC, The Specials, Squeeze, Pink Floyd, Luis Alberto Spinetta, Queen (in 1997 band recorded tribute song "Algún día") and My Bloody Valentine.
Soda Stereo is widely considered to be the “mythic” Latin American Rock Band. They were the first band to break the geographical barriers of their country of origin and the first band to view Latin America and parts of the U.S. as a unified cultural space. The result of their effort was their widespread identification with the Latin American youth that transcended countries, which had already been the case for Anglo rock, but was not the case for Latin American rock, Ibero-American rock, and Rock En Español - all variants of the same cultural-musical phenomenon.
Soda Stereo paved the way for the ascension of Latin American rock by finding a way to break the divisive "rock vs. pop" ideology that that tore through the heart of popular Latin American music. They did this by first appealing to the affluent and middle classes who listened to Anglo rock, and secondly, by appealing to the broad popular sectors of working classes who listened to “Latino” and “dance” rhythms –both classes mutually despising each other. Gustavo Cerati addressed this dilemma in 1996, when he said: “We are a pop group with a strong, absorbed, rock culture.”
In Argentina, a country with a long tradition of Rock music, which is called "rock Nacional" (national rock) and with a strong national identity, Soda Stereo signified the beginning of the internationalization of rock, that incorporated local musicians in a great rock and roll movement. This movement has forced local analysts to ask the question, "Does it make sense to keep talking about national rock?”. In many parts of Latin America, like Colombia, “Soda Stereo expressed the musicality and poise of a new generation, who sought to differentiate themselves from those who were in their thirties who listened to Dominican merengue, to begin to listen to and to sing Spanish rock”. In Chile, Soda not only marked a whole generation with their look, their lyrics, and their music but with an intense emotional relationship established by between the band and its fans, which was a decisive factor for the "de-nationalization" of the group. Not only for young people of a particular country, but as a uniform social group who shared a common languages and problems, something that rock and roll had not been achieved so far in the Spanish-speaking countries due to language barrier.
Journalist Carlos Polimeni commented in an interview, “I was on tour with them. I saw them take as if they were Anglo heroes who sang in Spanish.” Something that, I underscore, did not derail their first continental hit, Cuando pase el temblor, which was a Huayño-Carnavalito, in line with Andean rock.
Something similar occurred in Peru and Ecuador where the cultural impact of the band was considerably felt. For those countries, Soda was, “the most important act in the history of rock,” and remained in the collective memory of Latin American music. In a similar sense, this has been affirmed in Nicaragua, where “nobody doubts that Soda Stereo is a pillar in the history of Latin American rock.”
In a 1988 press conference in Venezuela, commenting on the phenomenon, Zeta Bosio stated:
We came out of Argentina and started to go to Chile, Peru, then we started to rise, and on certain countries, that we would pass through out of coincidence, we would be the first ever rock band to play there. Detractors would say that rock was something from another world and that it was not going to work…now it is a joy to see that it does work and that it has its own power.
But, the multiplier effect of Soda Stereo, more than its individual success, like the creation myth on the origin of Latin American Rock, would concentrate, above all, in Mexico. Polimeni adds: “It was Soda Stereo who woke up Mexican rock. Dozens of Mexican groups reacted: Why not do what these Argentinian groups are doing?” And that hit during the mid 80’s, which has given us the richest and most established rock of the continent.
As a matter of fact, the musical-cultural phenomenon that was expressed by Soda Stereo in Latin America exceeded the band itself and inserts itself in the deep reasoning of juvenile identity, that have made rock and roll and global cultural movement. Just as the sociocultural conditions of Latin American youth that existed in the decade of the 1980s (the fall of dictatorships, globalization, postmodernism, information societies, and the disintegration of social classes). When Soda Stereo starred in the explosion of continental rock, every country in Ibero-America formed their own “movement of new bands” as they referred to it in Venezuela.
In the manner of The Beatles and "Beatlemania", Soda Stereo was the right band at just the right time, creating an aesthetic-linguistic bridge that connected the Spanish-speaking youth with the global phenomenon of rock and roll. For this reason the term "Soda-manía", used repeatedly to describe the effect of soda on young Latin Americans, is not inappropriate.
The decisive influence of Soda Stereo Latin American rock music on the decades of 90 and early twenty-first century has been reflected in the opinion of the leading musicians of the continent:
I have been a Cerati fan all my life when he was part of Soda Stereo and before I met him I had already gone to three of his concerts. Both Gustavo [Cerati] and Santana have enriched me, they are my little wonders.-Shakira
El temblor was the first song of theirs that I heard, it was the first one to be heard in Colombia. I really dig [the reunion]. Why not, if they are alive? They are totally a legend. They have made history for all Latin American youths, and to see them together again, well, will be a great, great event.-Juanes
In 2002 the MTV Latin Awards were created, a milestone that reflected the identity and the international level reached by the Latin American music, after two decades of growth. As reviewed Latin American press, "the most memorable moment of the night was when the Legend Award was awarded to Soda Stereo, the most important and influential Latin American rock band of all time".
Records and achievements
- The First Latin American artist to release an album on compact disc format for Signos.
- The First Latin American group to broadcast live in stereo. The broadcast was for their album Dynamo on the television program "Fax en Concierto," in 1992.
- The First Spanish rock group to headline a show in the United States (not being part of a festival).
- The first Spanish-language band to successfully tour all of Latin America.
- The First Latin American Rock band to include an interactive track in an album, in this case for their MTV Unplugged album Comfort y Música Para Volar.
- The first Latin American band in transmit a live concert over the Internet. For the Argentinean radio program "Cuál Es?" of Rock & Pop radio, (1996).
- With more than one million attendees during their Me Verás Volver tour (You Will See Me Return) in 2007, Soda Stereo broke the record for the most attendees for a Latin American Rock band in the History of Latin American rock.
- The record for the most sold out shows in 74,000 capacity River Plate Stadium for the Me Verás Volver tour, surpassing the record set by The Rolling Stones by one show.
- Soda Stereo holds the record for fastest selling out of the 74,000 capacity River Plate Stadium. Soda Stereo sold out two shows in one day. They broke Robbie Williams’ record of selling out one show at River Plate in 5 days.
- Soda Stereo holds the record in Ecuador for the largest concert held in history, 45,000 spectators at the Modelo Alberto Spencer Stadium in Guayaquil, during the Me Verás Volver tour in 2007.
- In Chile Soda Stereo broke the record for most concert attendees during their Me Verás Volver tour in 2007, when they sold out the 47,000 capacity Estadio Nacional de Chile, surpassing the record held by Los Prisioneros.
- The record for the largest attendance at pay concert in Venezuela when 55,000 fans gathered at the Hippodrome de la Rinconada in Caracas in 2007, during the Me Verás Volver tour.
- Greater attendance at a pay concert in Colombia. 52,000 people gather Simón Bolívar Park Bogotá, in 2007, during the tour Me Verás Volver.
- Greater attendance at a pay concert at the National Stadium, Panama, with 22,000 spectators, the November 27, 2007.
- Greater attendance at a concert at Estadio Chateau Carreras Córdoba, with 48,000 spectators, the December 15, 2007. With this fact the band snatched los Redondos the record he had gotten years ago at the Córdoba stadium.
- Gustavo Cerati – guitar, lead vocals (1982–1997, 2007 (tour))
- Zeta Bosio – bass guitar, backing vocals (1982–1997, 2007 (tour))
- Charly Alberti – drums, percussion (1982–1997, 2007 (tour))
- One of the collaborating musicians that has been most prominent and have long worked with the band is the keyboardist Tweety González, who accompanied the band on most of his career.
Live and remix albums
- http://rateyourmusic.com/artist/soda_stereo Albums by Soda Stereo - Rate Your Music
- See: Soda Stereo#La banda mítica del rock latino.
- "La vuelta de la mítica banda Soda Stereo, con día y hora" (in Spanish). Infobae.com. Retrieved Jhjghjhune 10, 2007.
- "Soda Stereo se reivindica como el grupo mítico del rock latinoamericano" (in Spanish). 7dias.us. Retrieved May 12, 2007.
- http://www.youtube.com/watch?v=Uc_Jb-NeHYM Soda Stereo's true history, Historias Verdaderas, E! Channel
- "Rock De Argentina". wikipedia. Retrieved September 7, 2010.
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- http://rateyourmusic.com/lists/list_view?list_id=296783&show=100&start=200 Un viaje por los 250 discos de la música Iberoamericana - Rate Your Music
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- Garcia, Fernando (April 18, 1998). "Tito Alberti: El Otro Baterista" (in Spanish). diario Clarín. Retrieved December 8, 2007.
- "Historia de Soda Stereo: Los Estereotipos" (in Spanish). El Galeón. Retrieved December 8, 2007.
- "¿Cómo Surgió El Nombre De La Banda?" (in Spanish). Planeta Stereo. Retrieved December 14, 2007.
- Feijoo, Sebastian (October 13, 2005). "Entrevista en el Pepsi Music Cerati: "A Veces el Rock no Quiere Crecer"" (in Spanish). Retrieved December 8, 2007.[dead link]
- " Argentinean producer Horacio Martínez is credited with the 'discovery' of Tanguito, Los Gatos and Moris".
- "El Cuarto Soda" (in Spanish). Rolling Stone Argentina. 2007. Retrieved December 8, 2007.[dead link]
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- Bobby Flores
- Flores, Bobby (April 11, 1986). "Temblor en Obras" (in Spanish). Revista Rock & Pop. Retrieved December 8, 2007.[dead link]
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- Original quote: Toda mi vida he sido fan de Cerati cuando él formaba parte de Soda Stereo y antes de conocerlo ya había ido a tres de sus conciertos. Tanto Gustavo como Santana me han enriquecido, son mis pequeños milagros. 2006
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