Music Inside

This is a good book to read, but it is targeted (maybe not intentionally) to readers already familiar with the subject. The fact that it is written in English makes me assume that it had in mind the angloamerican market where you will hardly find readers familiar with the subject. One mistake the writer makes (as many) is confusing the term Latin Rock with Rock en Espanol. There is no Latin rock movement! I have been to Brazil, Portugal and I have friends in Italy, these Latin countries are as familiar with the Spanish Language Rock and Roll bands as the mainstream audience in the USA is, and viceversa. Spanish Language rock and roll listeners can rarely point an act or a rock and roll song from groups native to the above countries singing in their language.

The author focuses a lot on his personal encounters with some of the acts that formed the Rock en Espanol movement but fails to explain in detail who these groups are, where they come from and even who the band members are and who is on what instrument. That is why I say that this is a good read for the already experienced reader. I loved the new facts that the book provides like the incident with Morrissey where he decided not to interact with the other bands when they shared the tour with Jaguares and Jumbo.

Another inconsistency is his appreciation of Rock en Espanol, he decided to exclude Mana, the biggest selling band from the genre arguing that they do not belong to it but then he includes the Nortec Collective who REALLY do not belong in any rock and roll genre, they are an electronica ensemble who do not even have lyrics in any language, and he includes Santana and Los Lobos !!!??? Santana is or was Mexican and has some songs in Spanish (that are not Rock and Roll by the way) and he has collaborated with Mana and El Tri as a guess but he has never embraced Spanish for a full length album as he has done with English. The Rock en Espanol is or was a movement, marketing endorsed by the record labels, that originated in Argentina during the Falklands war. It is or was a movement to create Rock and Roll in this language for the Spanish Language market. Los Lobos and Santana on the other hand have introduced elements from their heritage to Rock and Roll or have sang strait out folksongs in Spanish but their natural market has been the angloamerican market.

And then the author accuses the Rock en Español musicians for “copying” their anglo counterparts; like if this trend was unique to Hispanic and Hispanicamericans ; in his writing he’s ignoring that the USA/UK culture is the dominant one WORLD WIDE. With their enormous marketing machine, and high quality, I must add, of their music they are able to penetrate every single market.

World wide and genre wide, musician’s influences surface while creating music.

The Hollywood movie industry dominates the world, their movies are played in every single theater out there, and obviously they borrow the music from their own culture to ambient them, therefore the soundtracks of these movies influence the world wide audience. And not apart is the music industry. Record stores in every country, being an Asian, European or American country (using the literal, continental meaning of the word America) you will see the English language act repertoire next to the home grown music, I’ve seen it in Japan, Korea, Israel, Portugal, Poland, etc and I’ve seen the local rock bands playing songs in their native language; showing clearly their UK/US rock and roll influence; for example bands like Algir from Tel Aviv or Xutos from Lisbon. One clear example is the German hard rock band The Scorpions. The author fails to acknowledge this. Just remember that even within English language rock this phenomenon occurs. Isn’t Led Zeppelin’s self titled album a record of covers of old blues songs from the US? And we can say the same thing about The Rolling Stones, Cream and even about the creator of Rock and Roll, Elvis Presley! And didn’t these acts later influenced such groups as Def Leppard, Linkin Park and Creed, whom sound like their influences? The author ignored this and by doing so he insulted the rock bands and the culture they belong to (including his own); in this aspect his view is narrowed to his own surroundings. There’s no inferiority complex in suchs acts as Caifanes, Café Tacuba, La Barranca (which he failed to include) or Soda Stereo and others. These bands are just entertaining us in their language, our language and they are allowing their influences to show while doing so. Remember that before being musicians they are fans as well.

The author, however, has the goal of inducing the reader to fully expand his reading on the subject and he has accomplished this in my case, at least now I want to know more about Babasonicos. :)

Rating: 3 / 5

Yes to everything that has been said in the other reviews. Anyone who wants to know what rock en espanol is about should read this book. The author clearly has in depth and personal knowledge of the subject matter. He also expands the definition of rock and introduced me to some artists I had never heard of.
Rating: 5 / 5

Ernesto Lechner’s book is a must-have for any fan of Latin rock and Latin alternative music, especially those who are looking to learn more about the background and origins of one of the most exciting genres ever to emerge.

Lechner writes clearly, and has a great grasp of the music. Whether or not you are a lifelong fan or a recent newcomer to Latin rock, this is a book worth owning.

The Saul Hernandez-written introduction is also wonderful – what a coup that Jaguares’ legendary vocalist was a contributor!
Rating: 5 / 5