This meticulously researched work introduces readers to a pantheon of Chicano rock artists, many hailing from East Los Angeles, who left an indelible mark on music history. While some achieved mainstream success with chart-topping hits, others contributed just as vitally to the scene’s dynamism, their stories equally deserving of recognition. The book shines a spotlight on iconic figures like Ritchie Valens, the Premiers, the Blendells, Cannibal & the Headhunters, El Chicano, Tierra, and Los Lobos, among many others.
The narrative woven by Reyes and Waldman is not just a musical journey; it’s a testament to resilience and creativity. These artists, predominantly from middle and lower-middle-class backgrounds, often without formal musical training, faced formidable obstacles. They navigated an industry that frequently overlooked them, doubted their market appeal, or was marred by prejudice. The book poignantly captures their inspiring triumphs against these odds, underscoring their crucial contribution to the broader rock & roll narrative.
The creation of “Land of a Thousand Dances” was a decade-long labor of love, initiated with interviews dating back to 1988. The authors’ dedication to thorough research and extensive interviews is evident throughout the book. They trace the roots of Chicano rock, starting with pre-rock influences like Chico Sesma, a swing and jazz musician turned radio DJ, and Lalo Guerrero, a pioneering figure in Chicano music and my father. The book then delves into the meteoric rise of Ritchie Valens, setting the stage for the explosion of musical activity in 1960s East Los Angeles.
The 1960s in East L.A. were a fertile ground for musical innovation. My own band, Mark & the Escorts, was part of this vibrant scene, playing countless gigs at dances and events. We shared stages with a plethora of talented bands, including Thee Midniters, the Romancers, Ronnie & the Casuals, Little Ray & the Progressions, the Jaguars with the Salas Brothers, the Emeralds, and the Blendells and Premiers. The sheer talent within this teenage music scene was astonishing, a testament to the era’s creative energy.
As the timeline progresses, the book explores the late 60s and early 70s, an era that saw numerous Chicano groups sign with major labels. El Chicano (MCA), Tierra (20th Century), Macondo (Atlantic), Yaqui (Playboy), and my band, Tango (A&M), all emerged during this period, further cementing the Chicano presence in mainstream music. The 1980s brought forth Chicano punk bands like the Plugz, Los Illegals, and the Brat, alongside the genre-bending success of Los Lobos. The 90s witnessed the rise of Chicano rap artists such as Kid Frost and Lighter Shade of Brown, showcasing the evolving soundscape of Chicano music.
“Land of a Thousand Dances” transcends a mere recounting of musical histories. It delves into the socio-political context of each era, revealing how these conditions shaped the music and the lives of the musicians. The book astutely positions Chicano musical contributions within the broader narrative of rock & roll history, highlighting their often-understated influence. Furthermore, the inclusion of interviews with figures like Frank Zappa and Bill Medley of The Righteous Brothers, who acknowledge the profound influence of Chicano culture on their own musical journeys, adds depth and perspective.
The book underscores the remarkable achievements of these barrio bands. Cannibal & the Headhunters toured with The Beatles in 1965, and The Blendells shared stages with the Dave Clark Five in the same year. Tierra graced Carnegie Hall in the early 80s, and Los Lobos have performed alongside music giants like the Clash, the Eagles, and the Grateful Dead, achieving a number one hit with their rendition of “La Bamba” in 1987. For those interested in my personal journey, “Land of a Thousand Dances” includes information about me on pages 9, 55, 97, and 106-109, along with photos of my bands, Mark & the Escorts and Tango. A comprehensive discography at the end provides a valuable resource for exploring the recordings of the featured artists.
Written with both insightful analysis and engaging prose, “Land of a Thousand Dances” is a highly recommended read for anyone seeking to understand the rich and often overlooked history of Chicano rock & roll. This book, published by University of New Mexico Press, is available at bookstores and online retailers like Amazon.
Note: A second edition of “Land of a Thousand Dances: Chicano Rock ‘n’ Roll from Southern California” was released in March 2009, featuring a new cover, expanded introduction, and additional photographs, offering even more depth to this already invaluable historical record.
While I deeply appreciate the inclusion and positive portrayal within “Land of a Thousand Dances,” there are a few points regarding my own story that warrant clarification.
On page 55, the book mentions that upon the arrival of the Beatles in America, I “put away his acoustic guitar and replaced it with an electric model” and felt compelled to form a band. While the Beatles were indeed a major inspiration, I must clarify that I already had a band, the Escorts, and was playing electric guitar for about a year prior to the “British Invasion.”
Regarding page 107, it states that Billy Cardenas’ nephew sang lead vocals on Mark & the Escorts’ version of “Dance with Me” because I “couldn’t hit the high notes.” The actual reason was my own self-consciousness about my voice being too young for lead vocals at the time. I didn’t begin singing publicly until I was sixteen, a couple of years later. Interestingly, the identity of the vocalist remains somewhat of a mystery. While I initially recalled it being Billy’s nephew, Billy himself couldn’t recall who it was when I inquired in 1999, leaving it an unsolved detail.
On page 109, the description of my song “He’s An Artist” from my “Tango” album as a “happy-go-lucky song” feels somewhat misinterpretive. Musically, it might have an upbeat tempo, but lyrically, it’s a rather critical and even angry song about a pretentious, talent-lacking individual. Describing this as “happy-go-lucky” seems to miss the song’s underlying satirical edge. Furthermore, the same page incorrectly places my song “Pre-Columbian Dream” on my “On the Boulevard” E.P. This song, aside from an instrumental version by Herb Alpert in 1983, has not been officially released.
Lastly, in the photo caption for Mark & the Escorts, our lead singer Ricky is referred to as “Alma” instead of “Almaraz.” This was likely due to a slight miscommunication with handwritten names on a faxed photo, a minor but noteworthy correction.
Despite these minor points, “Land of a Thousand Dances” remains an invaluable and highly recommended book, offering a vital and engaging exploration into the world of Chicano rock & roll and the thousand dances that defined a generation.
