The Latin balada, or bolero, is a loose term that refers to highly passionate Latin American songs that deal with the devastation of impossible love, deceit and heartbreak. Derived from the soulful serenades of guitar-strumming Afro-Latin trovadores, the first documented bolero arrived in late-19th century Cuba. In the 1950s, the genre exploded across Latin America, sweeping up regional rhythms alongside influences of northern hemisphere rock’n’roll. With the psychedelic revolution in the 1960s, Latin American bands and artists leaned heavily into warbling organs and squelching guitars, kickstarting the era of psychedelic bolero.

Since releasing Boleros Psicodélicos in 2022, and now following it up with a newly released second volume, Adrian Quesada has become a key figure in the bolero revival. Like its predecessor, Boleros Psicodélicos II (out now on ATO Records) unites a host of Latin musicians – Cuco, Angélica García, Gepe, Ed Maverick and Monsieur Periné – for gloriously hazy renditions of classics alongside original songs, coated in swirling synths and driven by haunted, lo-fi beats. Quesada shares some of the core records that have inspired the album.

1. Los Angeles Negros

Y Volveré

(Parnaso/Odean, 1970)

Chilean band Los Angeles Negros rapidly gained popularity across Latin America in the 1970s with romantic ballads ‘Y Volveré’, ‘Como Quisiera Decirte´ and ‘Mi Niña’, all from this seminal album. “They’re the gold standard when talking about this kind of music, an incredible band,” says Quesada. “You can hear the influence of rock’n’roll, but it has this sound they’ve made their own: combo organ, lots of reverb, dreamy vocals, groove-heavy drums.”

2. Los Grillos

Vibraciones Latinoamericanas Vol. 1

(Grillos, 1975)

Bolivian folk rock band Los Grillos released this sweeping concept LP in 1975, mixing Andean instruments like quenas and zampoñas alongside organs and synths. “The keyboard player made a moog synthesizer sound like an Andean instrument, which they played alongside actual Andean instruments. It was really trippy and revolutionary at the time. Not many copies exist, but I tracked it down and paid the most I’ve ever paid for a record.”

3. Jorge Ben

A Tábua de Esmeralda

(Philips, 1974)

Considered one of Brazil’s most important records, Ben’s guitar-driven melodic masterpiece explores themes of alchemy, mysticism and healing, while touching on Afro-Brazilian identity. “What I love about records like this is when you strip away the ear candy and production and there’s still a good song. I love the light touch at the core, which then has these psychedelic flourishes just sweeping out.”

4. Som Imaginário

Matança do Porco

(Odeon, 1973)

Third album by a Brazilian progressive rock band that fused classical arrangements with elements of psychedelia (NB: members of the group played on Milton Nascimento & Lô Borges’ mind-boggling 1972 classic Clube da Esquina). “It feels like you’re watching a film, it’s not just a collection of songs – they are really taking you on a journey. It starts with epic piano and breaks into really psychedelic-heavy prog, and meanders in and out from there.”

5. Los Fancy Free

Nevergreens Vol. 1

(Intolerancia, 2008)

The third album by an upbeat,
non-conformist Mexico City
band who were active across the 2000s. Fronted by Swedish-born Martin Thulin, they warped grunge, punk, pop and indie into a psychedelic blend. “This album features the song, ‘Ja Ja Ja’, that I listen to all the time. A friend of mine, Carlos Icaza, was in this band. He turned me on to so much music, he’s so knowledgeable. I just know the headiness that went into this record.”

6. Sola

Sola

(RCA, 1971)

A sultry, evocative record where soulful vocals collide with wistful bossa nova, recorded by an Acapulco singer who worked with prolific composer and arranger Manuel Alejandro. “[Sola] was going to be a huge deal but she disappeared and never released any more music. She may have not been setting out to make a psychedelic album, but her voice just carries the whole thing. It’s cheerful, but at the same time sad.”

7. Various Artists

Super Disco Pirata – De Tepito Para El Mundo 1965–1980

(Analog Africa, 2024)

A compilation centred around Monterrey sonidero sound systems that blasted cumbias in the 60s, 70s and 80s, later turning them into rebajadas (slowed-down cumbias): “It’s interesting – taking pre-recorded music that was not intended to be psychedelic, then slowing it down and making it super trippy. I’ve known the rebajada stuff for over 20 years, but never heard the original of these songs.”

8. Juan Pablo Torres y Algo Nuevo

Super Son

(Arieto, 1977)

A Cuban classic from the 1970s by trombonist, composer and arranger Juan Pablo Torres and his band, Algo Nuevo. They used the luxury of government funding in Cuba at the time, to experiment and push boundaries, leaning into leftfield psychedelic styles. “Super funky with Afro-Cuban influence. You hear all the things that made Cuban music so good – they studied jazz, the orchestration is amazing, there’s some really psychedelic guitar licks in it.”

9. Los Solitarios

Nunca Digas

(Peerless, 1972)

From Tijuana, Los Solitarios came to be nicknamed ‘El Símbolo Romántico de México’ (Mexico’s romantic symbol) for their forlorn ballads where quavering vocals met wobbling organs, but they started out, like many other bands, playing British beat and US rock. “At the time, there were a lot of Mexican bands attempting to play rock’n’roll. They were really good at referencing American soul and psychedelia, but with a garage feel, slightly less polished and just as effective.”

10. Santana

Abraxas

(Columbia, 1970)

The second studio album by the US-Latin rock band commanded by Carlos Santana’s prolific, squealing guitar licks. It scored them their first No. 1 album in the US at the height of the psychedelic era. “This album was the first time I heard anything influenced by psychedelic rock. When I was a young kid learning guitar, it was the first album I heard that felt natural to me. There’s really authentic Latin rhythms, yet it also fits in the context of rock’n’roll.”