By Daniel Casas C. @danielcasasc
Editor's note: Daniel Casas has been a special friend of the house for many years. He is one of the journalists we admire most in the Colombian music scene. His extensive career includes his time at Todelar Estéreo, La Prensa, Radiodifusora Nacional de Colombia Frecuencia Joven (where he was programming director, before the creation of the current Radiónica) and El Tiempo, among others, as well as his work for five years as general coordinator of the Rock al Parque festival.
In recent months his contribution to our page has been important, promoting another of his interesting cultural facets, that of a graphic artist. Their images have helped us illustrate the weekly playlists with which we present the latest Latin American music releases. And, in truth, this work has allowed us to give a different and more favorable feel to the compilations we've published in recent months. To wrap up the year and, at the same time, express our gratitude, we've invited Daniel to tell us about it in our section. Set Latino, What are your ten favorite Latin songs of all time?. Their selection ranges from the sound of songs from the eighties to the present day. While listening to the ten tracks of your choice, you can view the gallery we've put together with the promotional flyers we released this year, which include all or part of your drawings. To learn more about your visual work, you can visit your personal Flickr page: https://www.flickr.com/photos/danielcasasc/
The Rodriguezes – Without documents
Despite their short discography, Los Rodríguez have amassed a wonderful collection of songs that blend styles and genres, almost always rooted in the nostalgia of flamenco, rumba, or ranchera, but infused with a charming pop-rock sensibility, a touch of blues, and funk. While one could list the brilliant The Sailor's Milonga and the Captain, the blues of You're trapping me again or the wonderful flamenco-rumba-pop fusion of Lest We Forget, is Without Documents The theme brings up a singular fascination with its melodic form, rhythmic work, exemplary guitar interplay, very flamenco-like clappers, but an openly rock spirit.
Velvety – Malignant
Aterciopelados always shone for its proximity to popular music, with post-punk nuances and a curious charge of controlled audacity. Atomic Caribbean It seems like an exceptional album, a careful exploration of pop nuances and a strong electronic element. Maligno not only delivers a magical tango atmosphere, evident from the constant presence of the bandoneon, but also a nostalgic, bolero-blues feel thanks to the incredible guitar work of the legendary Marc Ribot. Added to this is the enchanting drama of its lyrics. “You fill my days with a fatal melancholy” and the apocalyptic “You are the axe that shattered my whole life.”.
Charly García – Dinosaurs
One could make a very long list of favorite songs by the great Charly García, but Dinosaurs, Quite apart from its specific context during the military dictatorship in Argentina at the time (1983), it reflects a very solid understanding of the true Charly García: an exceptional pianist, a creator of marvelous melodies. A very classic touch, full of subtleties, an anthem.
Soda Stereo – Animal song
Soda Stereo shouldn't be included in a selection of ten favorite Latin American songs, but since I'm doing this, I'll stick with Animal Song, It's reserved for something that was fundamental, defining, and endless in the sound of the late Gustavo Cerati: cadence. This piece certainly has that, especially in the very loose way the drums drive it, the attractive melody, the incredible spaced-out guitar work, and even a short guitar solo with an Arabic flair.
Caifanes – Throw me
Within his sonic adventures, the album The Nerve of the Volcano Caifanes' album became the last for Saúl Hernández's band, who would continue without guitarist Alejandro Marcovich and with the same lineup under the name Jaguares. But equally, this was a collection of songs that revealed in these Mexicans' sound a daring intention to push boundaries, with more powerful sounds, without losing the genuine essence they displayed in their earlier work. The Silence, his previous work. Aviéntame is powerful, with a polyrhythm that contrasts with the dense guitar work and a charming melodic performance by Saúl Hernández.
Silver Revolver – I am a stranger
The debut album from this now-defunct Colombian band showcases not only the talent of its leader, Mauricio Colmenares, as a composer but also as a performer. It's a captivating piece with its melody, its gliding rhythm, its chorus, and a magical guitar duel in its solo—a kind of echo of the one Don Felder and Joe Walsh perform with the Eagles on the classic "Hotel California.".
Andrés Calamaro – Yours always
Salmon, A difficult album, Andrés Calamaro's most difficult and complicated from any perspective. A collection of mostly filler songs for an original 5-CD release with over 70 tracks—a truly audacious undertaking. And from there, this captivating track, with its syncopated rhythms and charming lyrics, emerges as one of the Argentine musician's flashes of brilliance.
Fito Páez – Sunny afternoons, nights on the water
Fito Páez is almost immeasurable. Too much talent to choose just one song from what could be twenty. But The Afternoons of the Sun, The Nights of the Water It's a perfect masterpiece framed by a heartbreaking story, filled with such profound emotion that it feels believable (despite being inspired by a true story), cinematic, accompanied by a seductive piano and the wonderful appearance of the legendary Toots Thielemans on harmonica. Fito and producer Phil Manzanera achieved an indescribable feat of genius here.
Unlimited Company – Contact
Contact It's the celebrated work of Compañía Ilimitada. A production of the best Colombian pop from both the late eighties and its entire history. Carefully crafted, its title track perfectly encapsulates the sound of its era: Latin nuances, space-filling keyboards, the interplay of vocals between Juancho and Pyyo, and superb arrangements. The Street It was more popular, but Contact It beautifully frames the before and after of this well-remembered Colombian group.
Zoé (introducing Bunbury) – Nothing
When in 2010 the Mexican band Zoé invited the Spanish singer Bunbury to join them in the re-release of this song, which they had published the previous year as part of their album Reptilectric, They achieved a fabulous piece with it, in which Bunbury's bittersweet vocals blend perfectly with León Larregui's style, ultimately making it one of the most significant in their repertoire. Great melody, lots of punch, incredible performance.
