“Land of A Thousand Dances” by David Reyes and Tom Waldman stands as a definitive chronicle of Chicano rock and roll in Southern California, a vibrant musical movement that resonated far beyond East L.A. As someone who lived and breathed this era, I can attest to the book’s profound significance and its ability to capture the spirit of a unique cultural phenomenon. This isn’t just a music history book; it’s a journey through the lives and sounds of artists who defied expectations and enriched the landscape of rock and roll.
This meticulously researched book introduces readers to the pioneering Chicano rock artists who shaped the genre. From those who topped the charts to the unsung heroes, “Land of a Thousand Dances” illuminates their contributions. It shines a spotlight on hitmakers like Ritchie Valens, The Premiers, The Blendells, Cannibal & the Headhunters, El Chicano, Tierra, and Los Lobos, revealing the stories behind their music and their impact. The narrative is compelling, filled with tales of perseverance and passion, and long overdue.
What makes “Land of a Thousand Dances” truly inspiring is the background of these musicians. Hailing predominantly from middle and lower-middle-class families, often lacking formal musical training, they confronted a music industry that often overlooked or underestimated them. Prejudice and ignorance were hurdles they consistently overcame. Their success, against considerable odds, is a testament to their talent and determination.
The making of “Land of a Thousand Dances” was a decade-long endeavor, reflecting the depth of commitment from authors Reyes and Waldman. My own interview for the book took place back in 1988, marking the beginning of an extensive period of research and interviews conducted with palpable enthusiasm. The book thoughtfully traces the roots of Chicano rock, starting with pre-rock influences like Chico Sesma, a big band swing and jazz musician turned radio DJ, and my father, Lalo Guerrero, a true Chicano musical pioneer. It then progresses through the iconic story of Ritchie Valens, setting the stage for the explosion of musical creativity in 1960s East Los Angeles.
The 1960s in East L.A. were a hotbed of musical activity. My band, Mark & the Escorts, was part of this scene, playing countless gigs at dances, parties, and weddings throughout my early teens. Dozens of bands, both good and exceptional, thrived during this era. Groups like Thee Midniters, The Romancers, Ronnie & the Casuals, Little Ray & the Progressions, The Jaguars with the Salas Brothers, The Emeralds, and the aforementioned Blendells and Premiers were all integral to the scene. Sharing stages with these bands, I can personally vouch for their talent and energy. Looking back, it’s remarkable to consider that we were all just teenagers, creating a musical movement.
Moving into the late 60s and early 70s, Chicano rock continued to evolve, with many bands signing with major labels. El Chicano (MCA), Tierra (20th Century), Macondo (Atlantic), Yaqui (Playboy), and my own band, Tango (A&M), all found platforms on larger stages. The 1980s witnessed the emergence of Chicano punk bands like The Plugz, Los Illegals, and The Brat, alongside the genre-bending success of Los Lobos. Even the 90s contributed to the Chicano music narrative with rap artists such as Kid Frost and Lighter Shade of Brown.
“Land of a Thousand Dances” goes beyond mere musical biographies. It delves into the socio-political context of each era, demonstrating how social conditions shaped the music and the lives of the musicians. It astutely positions Chicano musical contributions within the broader history of rock and roll, highlighting their often-understated influence. The authors also include perspectives from figures like Frank Zappa and Bill Medley of The Righteous Brothers, who grew up immersed in Chicano culture and music, further illustrating its widespread impact.
Despite facing numerous obstacles, many bands from the barrio achieved remarkable milestones. Cannibal & the Headhunters toured with The Beatles in 1965, a phenomenal achievement. The Blendells shared stages with The Dave Clark Five in the same year. Tierra performed at Carnegie Hall in the early 80s, a testament to their musical sophistication. Los Lobos, with their eclectic sound, have collaborated with icons like The Clash, the Eagles, and the Grateful Dead, and even scored a number one hit in 1987 with their vibrant rendition of “La Bamba.”
For those interested in my own journey within this musical landscape, “Land of a Thousand Dances” includes information about me on pages 9, 55, 97, and 106-109. The book also features photographs of my 60s band, Mark & the Escorts, and my 70s band, Tango, offering a visual glimpse into the era. A comprehensive discography at the end provides a valuable resource, listing recordings from all the artists featured.
“Land of a Thousand Dances” is written with both insightful analysis and genuine passion. It’s a book I wholeheartedly recommend to anyone interested in music history, American cultural studies, or simply a great story of musical innovation and resilience. Published by the University of New Mexico Press, “Land of a Thousand Dances” by David Reyes and Tom Waldman is available at bookstores and online retailers like Amazon.
For the Record – Clarifications from Mark Guerrero
While I deeply appreciate the inclusion and positive portrayal in “Land of a Thousand Dances,” there are a few minor points I’d like to clarify for historical accuracy.
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Page 55: The book suggests that The Beatles’ arrival in America prompted me to switch from acoustic to electric guitar and form a band. While The Beatles were indeed a major influence, I had already formed The Escorts and was playing electric guitar about a year prior to their U.S. debut.
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Page 107: It mentions that Billy Cardenas’ nephew sang lead vocals on Mark & the Escorts’ version of “Dance with Me” because I couldn’t reach the high notes. The actual reason was my own self-consciousness about my young voice. I hadn’t yet started singing publicly at that time. Interestingly, even Billy Cardenas later couldn’t recall the singer’s identity, adding a touch of mystery to the recording.
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Page 109: My song “He’s An Artist” from my “Tango” album is described as “happy-go-lucky.” While musically upbeat, the lyrics are actually quite satirical and critical of a pretentious, talentless individual. It’s more of an angry rock song than a lighthearted one. Also, “Pre-Columbian Dream” is incorrectly listed as being on my “On the Boulevard” E.P. It remains officially unreleased, except for an instrumental version by Herb Alpert.
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Photo Caption: The caption for the Mark & the Escorts photo incorrectly names our lead singer Ricky as “Alma” instead of “Almaraz” due to a slight error in handwriting on a faxed photo.
These minor corrections aside, “Land of a Thousand Dances” remains a vital and compelling book. It accurately captures the essence of the Chicano rock and roll movement, ensuring that these important musical stories are told and remembered for generations to come. It’s a must-read for anyone seeking to understand the rich tapestry of American music history and the vibrant cultural contributions of Chicano artists.
