POP MUSIC : Pan-American Punk : Rockers from all over Latin America are finding power in their own words and tunes these days--and the world is listening

From the uncompromising artistry of Argentina’s Divididos to the savage intensity of Mexico’s Maldita Vecindad, there is a new generation of bands that has brought an invigorating spirit and promise to the world of rock en espanol.

Unlike the stereotype harbored by most English-speaking rock fans of Latino bands as watered-down imitations of British and American groups, the best of these espanol groups offer a liberating blend of traditional rock values with regional sounds and themes.

While the bands would welcome attention in the English-speaking markets, their music isn’t tempered by crossover dreams. The focus of these bands remains the hard-core hispano world.

Still, 1994 is the ripest moment ever for los rockeros-- especially in Los Angeles, which, because of its large Latino population, is the unofficial capital of rock en espanol in this country.

The Latin departments of record labels are increasing their number of album releases every year, and MTV Latino was launched last October, bringing rock en espanol to 14 countries around the clock.

By midyear, MTV Latino will be seen in most U.S. cities with a major Latino population, an exposure that could lead Latin radio stations to increase the amount of air time devoted to this music.

Historically, Hispanic radio stations in this country have opted to air softer, pop-oriented material without acknowledging the existence of a huge number of youngsters who can’t stand Luis Miguel or Magneto.

But what about the bands? Who are the main creative forces in the rock en espanol movement?

Here, in order, is my list of the 10 Latin American bands that best reflect the new vitality of the movement. Though several bands in Spain--notably Celtas Cortos, El Ultimo de la Fila, Negu Gorriak and Os Resentidos--are also doing important work, the Spanish rock scene has historical and commercial characteristics that make its bands stand somewhat apart from the contemporary urgency of the Latin American scene.

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1. Divididos (Argentina). Argentina traditionally has produced the most influential and exciting Spanish-language rock bands. It’s a pattern that began in the late ‘60s when such pioneering groups as Los Gatos and Almendra broke from the tradition of simply recording Spanish versions of British and American hits.

By writing their own songs, those Argentines brought a revolutionary energy and sense of cultural identity to the scene. Crucially, they also sang the songs in Spanish and incorporated regional musical strains, including tango, in their work.

During the ‘70s and early ‘80s, Charly Garcia headed a long list of talented Argentine performers who carried on the legacy of those pioneers and passed it on to such ‘80s groups as Sumo, a cult favorite whose wildly eclectic approach--incorporating everything from reggae to metal--served as the foundation for what’s happening now in the country.

When that group dissolved in 1987 after the drug-related death of its leader, Luca Prodan, guitarist-vocalist Ricardo Mollo and bassist Diego Arnedo formed Divididos with drummer Gustavo Collado, who was later replaced by Federico Gil Sola.

Better than any of their colleagues who have experimented with rock and Argentine folk--and there have been many talented ones--Divididos effortlessly adapt sambas and chacareras to create a fierce, bluesy, funky sound that stresses both power and melody at all times. Their first single, “Que Ves?” (“What Do You See?”), for instance, is a catchy but powerful “ chaca -reggae,” representative of Divididos’ peculiar fusion style.

Arnedo is the son of noted Argentine folklorist Santiago Arnedo, and the trio has a strong local influence, especially in the way its abstract lyrics and emotional vocals update the spirit of the tango. But make no mistake: Divididos is a true rock ‘n’ roll band.

2. Maldita Vecindad (Mexico). The student massacre at Tlatelolco in 1968, where 100 to 400 protesters were slain (depending on whether you accept the official or the unofficial version), was a tragic setback for the already persecuted Mexican rock en espanol movement, because several of the country’s most promising rock songwriters were either killed in the government crackdown or subsequently left the country.

There remained such an anti-rock attitude among authorities, especially in Mexico City, that the music had little chance for growth in the ‘70s and early ‘80s. With few exceptions, it was difficult to even be in a band in much of Mexico during those years, much less in a band that had a rebellious edge.

Things started opening up in the ‘80s, first with the guaca- rock trio Botellita de Jerez, led by Sergio Arau (the son of Alfonso Arau, director of “Like Water for Chocolate”), and then with Caifanes (see No. 9 on the list), whose contemporary version of the popular classic “La Negra Tomasa” was such a hit that the media could no longer ignore what was happening in Mexican rock.

But Maldita Vecindad made an even greater impact on the scene in 1989 by becoming the first of the new Mexican rock bands to gain attention in the English-language press--for many the true test of credibility of rock en espanol .

Maldita Vecindad’s debut album that year established it as the first band to prove that Mexicans could compete with Argentine and Spanish rockers. The group’s second album, 1991’s “El Circo” (“The Circus”), had such a strong influence on Mexican hard-core rock that it could be called the “Sgt. Pepper’s” of Mexican rock. It gained rave reviews and sold an unprecedented 500,000 copies.

Maldita is the ultimate Mexico City band, giving the listener a sense of the frantic pulse of life there--bombarding you with heartbreaking images of the circus-like atmosphere and utter poverty that is found in much of the downtown area.

The music itself couldn’t be any less brutal. A savagely intense but often humorous blend of funk, ska, punk, rap, boleros, rancheras and a delicate touch of Caribbean rhythms, all played by Mexican youngsters who grew up loving the norteno quintet Los Tigres del Norte and balladeer Juan Gabriel as much as the Beatles and the Stones.

3. Cafe Tacuba (Mexico). No debut album in Mexican rock had the impact of 1991’s “Cafe Tacuba,” which featured a frantic mix of nortenas , boleros, pop, punk and virtually all the other sounds identified with the musical heritage of the country.

Singer Ruben Albarran’s voice and manner are a strange mix of rural sensitivity and middle-class urban youth rage. He’s joined in the group by Emmanuel del Real on keyboards, Quique Rangel on stand-up bass and Joselo Rangel on Spanish guitar. They bring to the stage unmatched freshness and energy.

The group’s uniqueness has turned off some listeners, who don’t consider it a rock band. But if rock means freedom, irreverence and unpredictability, Cafe Tacuba, which toured as part of the second stage of “Lollapalooza” in 1992, is among the greatest Spanish-speaking rock groups ever.

4. La Lupita (Mexico). The hottest, baddest and most promising band from the BMG-distributed Culebra Records, the most important independent label for alternative rock bands in Mexico. With its 1992 debut album, “Pa’ Servir a Usted” (“At Your Service”), the group offered an enjoyable grunge-funk-pop-metal- nortena combo, even leaving room for little disco flashbacks. But it’s La Lupita’s soaring live performances that suggest that we might be talking about the future of Mexican rock.

Plans for a second recording with production whiz Gustavo Santaolalla (Cafe Tacuba, Maldita Vecindad, Divididos) haven’t materialized so far, but La Lupita should nevertheless be able to top its previous material. A suggestion to the quintet: Give co-singer Rosa Adame a more prominent role. A suggestion to the reader: Don’t miss the group’s next Los Angeles appearance, probably in the spring.

5. Cuca (Mexico). Representative of a traditional leather-clad, straight-ahead type of rock ‘n’ roll, Cuca still manages to do it with an originality and humor frequently missing in this area of Latin rock. Cuca (short for cucaracha , cockroach) favors a slightly twisted approach, with Cuban-born singer Jose Fors--arguably Mexico’s best rock singer--writing lyrics on female beauty (“Pizza Face”) and life origins (“Son of the Milkman”) with a fast-paced edge and wit.

Cuca is the other Guadalajara band: If pop-rock megastars Mana are one side of the coin, Cuca is definitely the other. Following up its 1992 debut, “La Invasion de los Blatidos” (“The Invasion of the Roaches”), the band has just released “Tu Cuca Madre Ataca de Nuevo” (“Your Cuca Mother Attacks Again”). If Cuca maintains its sales pace, it will soon become Culebra’s No. 1 band, despite its somewhat anti-success attitude.

6. Soda Stereo (Argentina). The light-pop trio, led by talented guitarist-singer-songwriter Gustavo Cerati, is the smartest pop-rock en espanol band and definitely the most important Argentine band of the last nine years before Divididos. Soda Stereo is better than it seems, because behind the catchy melodies, standard light-pop sound and sensual, romance lyrics, the group created a radio-friendly product without crossing the often violated line into stupidity.

Cerati, one of Argentine rock’s most creative minds, gives the group a credibility lacking in most similar mainstream projects. Its six albums, despite ups and downs, assure the group a respectable place in rock en espanol’ s hall of fame. Key albums: 1983’s “Soda Stereo” and 1990’s “Cancion Animal” (“Animal Song”), the latter a rare sample of Soda at its rawest.

7. Los Fabulosos Cadillacs (Argentina). Despite their success, the stubborn Fabulosos Cadillacs have been battling detractors from day one. They were considered a bunch of jumping gorditos (clowns) when they arrived 12 years ago as a nine-man ska group, complete with black suits and sunglasses. After silencing their South American competitors with huge sales, they made their Los Angeles debut at the 1989 Latin Rock Festival at the Sports Arena, where they were greeted by flying beer and nachos thrown by hard-core Mexican fans who were there to hear legendary blues band El Tri.

Now, after six albums and an evolution that has resulted in a powerful, everything-goes mix of ska, tropical, rock, Tex-Mex, etc., and vastly improved musicianship, the Caddies are either loved or despised. “Vasos Vacios” (“Empty Glasses”), a compilation featuring two new songs, was released in Argentina in December and will come out in the United States next month. Like Cafe Tacuba, Los Fabulosos Cadillacs are not for all tastes, but their honesty and hard work have kept them on the spot for more than a decade.

8. Bersuit Vergarabat (Argentina). Give this sextet a good producer and budget and it could top its impressive 1991 debut, “Y Punto” (“Period”). Singing in the nasal voice typical of Argentine barrios, the group captures the frustration of disillusioned Argentine youth who have realized nothing changed with the return of democracy in 1983. Bersuit took a step backward with an uneven second album, “Asquerosa Alegria” (“Nasty Happiness”). Still, the group should bounce back as strong as when it appeared on the scene as one of Argentina’s most interesting bands.

9. Caifanes (Mexico). Long gone are the bad old days when they were compared with the Cure everywhere they went. Yes, the music is pretty dark, and their dense-sounding concerts can either make you fly and identify with leader Saul Hernandez’s pain or run toward the nearest exit. But Caifanes should not be underrated. The group’s presence was key for the development of Mexican rock; its version of “La Negra Tomasa” taught Mexican youth that inspiration was not in London or El Norte but right at home.

Caifanes’ peak came with their third album, 1991’s “El Silencio” (“The Silence”), produced by former King Crimson member Adrian Belew. After an exhausting 1992-93 world tour, bassist Sabo Romo and keyboardist-saxophonist Diego Herrera left the group. The main creative team of guitarist Alejandro Marcovich, drummer Alfonso Andre and guitarist-singer Hernandez is working on new material, which is expected to give Caifanes a rawer, more guitar-based sound.

10. Niquel (Uruguay). To name a Uruguayan band among the best in Latin rock sounds like scheduling a Moroccan baseball team in the World Series. But Uruguay did have its quota of rock, first in the early ‘70s and then in the late ‘80s.

Niquel, the lone survivors of the second coming, made the list thanks to Jorge Nasser’s songwriting and vocal skills and their intelligent description of life in a nation they refer to as a “pseudo country.” Moreover, Niquel’s other contribution is “De Memoria” (“By Heart”), a 1987 collection of versions of songs from the “golden years” of Uruguayan rock in the early ‘70s. Don’t look for striking originality or ethnicity in Niquel--just a tight, straight-ahead rock band sugar-coated enough to survive commercially in a non-rock country.

* Times Link: 808-8463

To hear an excerpt from Divididos’ “La Era de la Boludez,” call TimesLink and press * 5724.

To hear an excerpt from Maldita Vecindad’s “El Circo,” call TimesLink and press *5725.

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