Latin American rock was born sometime during the ’60s, when young musicians from Mexico and Argentina decided to transpose their love for The Beatles, the Stones and Bob Dylan into their own, cheaply recorded albums with Spanish lyrics.
A decade later, bands such as Arco Iris, Sui Generis and Three Souls In My Mind (later known as El Tri) developed a sweetly naive sound by shamelessly imitating the grandiose soundscapes of prog-rock and psychedelia. By the ’80s, Latin rockers had discovered The Cure, and a new wave-influenced brand of rock en espanol became a serious commercial proposition thanks to big selling acts such as Caifanes and Soda Stereo.
It wasn’t until the ’90s, however, that Latin rock found its true identity through a new generation of musicians who were equally attuned to the sounds coming from North America as well as their own musical roots. When it began combining native folklore with mainstream rock idioms, the genre became one of the most promising movements in Latin music, boasting trendsetting artists such as Mexico’s Cafe Tacuba, Argentina’s Fabulosos Cadillacs and Colombia’s Aterciopelados.
A beginner’s Latin rock collection:
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Fabulosos Cadillacs’ “Fabulosos Calavera” (1997): Argentina’s pioneering fusion band takes its eclecticism to delirious new levels by mixing thrash metal with spaghetti western themes, tango ballads with jazzy pop. Joyful and unpredictable.
Aterciopelados’ “Caribe Atomico” (1998): Colombian chanteuse Andrea Echeverri discovers electronica and, together with musical partner Hector Buitrago, records an album of trip-hop en espanol. Bubbly and sophisticated.
Manu Chao’s “Clandestino” (1998): The former leader of seminal Spanish group Mano Negra, Chao recorded his solo debut on a portable studio while traveling around the world. The result is a sonic carnival, as free-spirited as Chao himself.
Cafe Tacuba’s “Reves/Yosoy” (1999): The most creative band in Latin rock history releases its definitive masterpiece: an utterly bizarre, irresistible two-disc set of melancholy anthems and jarring instrumentals.
Julieta Venegas’ “Bueninvento” (2000): Mexico’s answer to PJ Harvey dreams up a sensuous collection of songs marked by overwhelming feelings of longing and regret. Venegas is the most original female voice in the entire genre.