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Latin Rock | Cheat Sheet
October 25, 2012
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Cheat Sheet: Latin Arena Rock

Cheat Sheet: Latin Arena Rock

by Rachel Devitt

These days, the idea of a Latin rock band of mega-proportions capable of selling out arenas is pretty much par for the course. I mean, there's a little band called Maná out there releasing albums and playing tours, right? Right. But the stadium-level success of artists like Maná, Zoé and even Juanes' folky pop rock is also part of a lineage and a historical trajectory that's become increasingly significant in the history of Latin music.

The late '80s and early '90s ushered in an era of what many people called Rock En Español. What that meant, essentially, was that Latin musicians were doing what musicians around the world were doing at that moment: immersing themselves in post-punk and post-metal, helping to shape sounds like "grunge" and generally putting the focus on chunky guitars, angsty vocals and killer riffs. What we ended up with was a clutch of super-awesome new bands, many of whom leaned a little toward the alt side of things, and most of whom became big stars throughout Latin America and beyond, thanks to an increased interest in and attention on the Latin music market.

Wow, what a moment: In Argentina, Soda Stereo were churning out epic dream rock, and Los Fabulosos Cadillacs were blending in a little ska and punk with their alt. Meanwhile, in Mexico, Caifanes were dishing up post-punk synth-rock, and Café Tacvba were blowing the whole world's mind with their heady, eclectic brew of influences. Over in Europe, Manu Chao was rocking out with his first band, punk outfit Mano Negra. And of course, Maná, who are still going strong today, got their start in that era, too. Bands like these helped pave the way for next-gen rockers -- but they also benefited from the earlier roads paved by big bands like Santana and Los Lobos.

This little Cheat Sheet turned out to be not so little. The list is long and sprawling, spanning multiple genres (Tex-Mex! Punk! Ska!) and eras. And, well, the concept itself is kind of big. Essentially, we're drawing connections here among the massive! formative! major! Latin rock bands that, at one point or another, hit the big time in a major way. Many of them continue to do so, like the seminal Café Tacvba, who drop their seventh album this week. And hey, if nothing else, it makes for a killer playlist.

Albums
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La Historia
Caifanes
It's a rare feat when music from an '80s band can hold up after several decades of changing tastes. But underneath the synths lie great songs, and that's why Caifanes have been so influential on the Latin alternative scene. Songs like "Cuentame Tu Vida" still sound great, while "La Negra Tomasa," "Para Que No Digas" and "Nubes" point in a timeless direction.
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Fijate Bien
Juanes
This album fueled Juanes' meteoric rise to the top of the Latin pop world and (rightly) won him the Latin Grammy for Best New Artist in 2001. These thoughtful, passionately delivered songs are entirely self-penned, and they never fall prey to easy sentimentality. "Podemos Hacernos Dano" is a fantastic Colombian vallenato/pop hybrid, but there's not a loser in the bunch.
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Cicatrix
Monte Negro
Is America ready for a bilingual Fall Out Boy? We're going to argue yes -- and we'd also suggest that Monte Negro have a lot more going for them. They're bilingual, steeped in both American and Latin rock and, well, good. The 2007 album Cicatrix was the product of a band that finally found its sound: passionate, clean, hard-driving and stylistically dynamic. While they don't shy from emo, their range is impressive, with echoes of everyone from Juanes to Zoe. Welcome back, melodic rock.
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Casa Babylon
Mano Negra
Mano Negra was Manu Chao's band; if you want to hear where his innovative, international pastiche style developed, this album's the place. The title track is a frenetic masterpiece (can people actually rap that fast?), dub goes Latin on "Senor Me Tanza," and "Super Chango" offers a welcome dose of Valium. A must-have from one of the most innovative Latin rock bands ever.
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El Objeto Antes Llamado Disco
Cafe Tacvba
It's been five years since Mexico's preeminent alt-rockers last rocked. But don't you worry for one second that that means Café Tacvba's any less rock-godly -- even if they did name their 2012 album "the object formerly known as." Recorded with live studio audiences in four countries, El Objeto gets off to an easy, shoegazing start before picking up the pace and taking off in their usual diverse directions around "Espuma," an airy slice of Afro-pop-flecked indie rock. Then comes the one-two punch of folkloric-kuduro-on-speed jam "Olita Del Altamar" and "Yo Busco," a hipster space oddity.
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Drama Y Luz
Mana
It's hard to describe a Mana album and not use the word "epic." Everything these guys do just evokes an image of a stadium full of fans, arm raised, swaying and singing along, maybe even tearing up at each righteous guitar riff, each dramatic swell, each anthemic chorus. Mana has perfected the art of big rock, but they don't rest on their laurels. Drama y Luz (what a title) stretches its pathos and passion out across dance beats, harmonica rock, '80s synths, Latin chants, accordions and more. Gluing all those elements together are some of the prettiest rock vocals you'll ever hear.
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Sueno Stereo
Soda Stereo
This woozy 1995 release was Soda Stereo's last studio album, and what a stylish way to go! They sound like mid-1960s Beatles put through an alt-rock filter and transplanted to Buenos Aires. "Ella Uso Mi Cabeza Como Un Revolver" is nothing less than addictive, the dozy "Efecto Doppler" is stellar, and "Ojo de la Tormenta" jangles like your favorite earrings.
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Greatest Hits
Todos Tus Muertos
There's something schizophrenic about Todo Tus Muertos' swings from screaming punk to blissed-out reggae, and nowhere is that more apparent than on this remarkable greatest hits comp, which provides a snapshot of one of Argentina's most important rock bands. TTM show up in all their skewed-line glory, praising Mandela and condemning apartheid, channeling the Misfits on "Incomunicado," and bringing down the house with the raw fury of "Dale Aborigen." The primary constant? The band's unwavering commitment to peace and justice, no matter how fast or languidly they play.
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Yo Te Avise
Los Fabulosos Cadillacs
Los Cadis' second album, released in 1987, would catapult the band out of its Argentinean ghetto and into the hearts of Latin Americans everywhere. The group forged the connections that would come to characterize them -- a promiscuous stew of ska, reggae, punk, samba, and Latin American rhythms. More importantly, these songs came to matter in people's lives -- "Yo No Me Sentaria En Tu Mesa" became a soccer game staple; "Cadillacs" opened their concerts for years, "Mi Novia" and the title track became bona fide hits. And a song like "Muy, Muy Temprano" proved these upstarts could move you, too.
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El Dorado
Aterciopelados
This album introduced the Colombian supergroup to the masses -- and introduced the masses to Andrea Echeverri's caressing voice, punk attitude and formidable stage presence. "Florecita Rockera" and "Bolero Falaz" became required listening in Latin America, and the band was quickly catapulted into place next to heavyweights like Los Fabulosos Cadillacs. A classic.
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Abraxas
Santana
Ah, 1970. You could start an album with wind chimes and impressionistic piano and people would listen -- and love it. Thank Abraxas for some of Santana's greatest songs ("Black Magic Woman," "Oye Como Va"), but lesser-knowns like "Incident At Neshabur" and "El Nicoya" are just as interesting. This was the final flowering of San Francisco's vibrant 1960s rock scene.
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Los De Abajo
Los De Abajo
This was Los De Abajo's first album for Luaka Bop, and while it doesn't quite capture the thrill of one of their live performances, it amply demonstrates how the group feeds on everything from Cuban son to cumbia and reggae to find its sound. "El Emigrado" simply trembles with energy, as does "Tiempos Muertos." A good debut from a potentially great band.
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Los Lonely Boys
Los Lonely Boys
Substance and style come together with this Willie Nelson-endorsed Texas brother act. Los Lonely Boys sound the way bands used to sound: like they live for the joy of playing together. They've created border soul music, with Albert King, Jose Alfredo Jimenez and the Beatles their patron saints.
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Juntos
The Move
Alt-Latino heroes Maldita Vecindad and their album-mates Tijuana No take a joy in rock 'n' roll that seems like it's been missing in English-language rock since Radiohead's self-involved angst inspired a legion of imitators. Smart but snarling, the No's "Ali Baba" and "Golpes Bajos" sound great, but start with Vecindad's "Pachuco," "El Cocodrilo" and "Morenaza."
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How Will The Wolf Survive?
Los Lobos
Los Lobos' full-length debut blends rock 'n' roll, Tex-Mex, norteno, mariachi, country and blues in a way that didn't exist before the album came out in 1984. Although they wouldn't win a Grammy until '88, for La Pistola y El Corazon, How Will the Wolf Survive? is generally considered one of the very best albums of the '80s, and for good reason. Even when they are playing an uptempo song, there is this indefinable sadness all over everything, especially in the high-lonesome vocals performed by everybody in the band. "Serenata Nortena" alone was an education for much of the U.S.
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Música De Fondo MTV Unplugged (Standard Version)
Zoe
Latin Grammy-nominated, Mexico City-based Latin indie stalwarts do unplugged right, at once riffing on and expanding upon the sound that made them famous. Música de Fondo has the characteristics of a Zoé album: rich, emotive vocals and impeccable rock craftsmanship. But acoustic instruments (banjo, guitar, strings, etc.) and a generally sunnier style warm up the sharp edges and cool angles of the band's usual post-punk. Don't worry: there's still plenty of brooding. Don't miss "Últimos Días," which manages to pair banjo, strings and these adorably squeaky beats without coming off as cloying.