Home · Songs · La Máquina de Hacer Pájaros · Marilyn, la Cenicienta y las mujeres
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From album
Películas
La Máquina de Hacer Pájaros · 1977 · Track 2
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The story behind
In Marilyn, Cinderella and the Women, Charly García's piano isn't just an accompaniment—it's another character. The song moves with a groove that sways between playfulness and melancholy, but it's that keyboard that gives it that distorted fairy-tale air, as if the story it tells—a mix of pop myths and everyday frustrations—were being narrated from the other side of the mirror. The track doesn't follow conventional rhythm: there's a sway in Oscar Moro's drums that seems to escape the meter, as if time itself resisted fitting into a fixed mold. Add to that the choruses repeating phrases with an ironic edge, and the song doesn't sound like a simple progressive rock track—it sounds like a long-legged musical joke.
They recorded it at Ion Studios in 1977, during the creative peak of La Máquina de Hacer Pájaros. The album, Películas, came out that same year and marked a leap in their sound: more layers, more experimentation, as if they'd decided the arrangements couldn't stay still. The album's artwork, by Juan Oreste Gatti, already hinted at that blend of fantasy and chaos that would later seep into the lyrics. It wasn't an album meant to sound clean—it was an album that wanted every instrument to breathe, even if that meant the beat sometimes fell apart. Decades later, Rolling Stone Argentina would remember it, placing it at number 71 on its list of the best national rock albums, but back then they weren't chasing awards: they were chasing music that sounded like something that didn't yet exist.