Recordings and History of an American Culture
Genre: Music / Chicano History
Date of Publication: September 15, 2017
Number of Pages: 160
In 2007, Ruben Molina published the first-ever history of Mexican-American soul and R&B music in his book, Chicano Soul: Recordings and History of an American Culture. Ten years later, Chicano Soul remains an important and oft-referenced study of this vital but often overlooked chapter of the greater American musical experience. Chicano soul music of the 1950s and 1960s still reverberates today, both within Chicano communities and throughout many musical genres. Molina tells the story of the roots of Chicano soul, its evolution, and its enduring cultural influence.
“Brown-eyed soul” music draws on 1950s era jazz, blues, jump blues, rock `n’ roll, Latin jazz, and traditional Mexican music such as ranchera, norteño, and conjunto music. With its rare and gorgeous photos, record scans, concert bills, and impressive discography (to say nothing of its rich oral histories/interviews), it is one of those rare works that speaks to both general and academic audiences.
As a teen in the 1960s, Ruben Molina used to take a bus to Hollywood to shop for records, and his passion for vinyl never waned. As a dedicated community historian, Molina interviewed dozens of the artists whose music he loves. Much of Chicano soul music’s recent recognition and renaissance can be traced directly to Molina. He has deejayed with the Southern Soul Spinners crew since 2010.
PRAISE FOR CHICANO SOUL:
“[Chicano Soul} is nada if not revelatory… Molina seeks acknowledgement of this under-the-radar genre. With this book, he’ll get it. By linking the trail of Chicano soul bands to the route of the Mexican-American migrant workers across the United States as well as the migration of south-of-the-border families into Texas after the Mexican Revolution, the author presents a compelling account of rock and roll heroes literally unsung. Molina makes a case for teenagers who took their parents’ musical traditions, the trappings of black R&B bands with pop sensibilities, and channeled them into a vibrant sound that helped define the culture it sprang from.” —Austin Chronicle
EXCERPT from the Foreword by Alex La Rotta, in Chicano Soul
Oldies are forever. It’s a mantra. A credo. A maxim for diehard sweet soul enthusiasts from Los Angeles to London, Toronto to Tokyo, and beyond. Ruben Molina’s The Old Barrio Guide to Low Rider Music (2002) and Chicano Soul: Recordings & History of an American Culture (2007) — its sacred texts. Not since Paul Oliver’s The Story of the Blues (1969) has a Book and author so distinctively revived a vintage and marginal American music culture from obscurity to widespread and cult-like revelry. What was once a niche collector’s category in the aughts and prior is a recognized subgenre in the twenty-tens: Chicano Soul. In the decade since its publication, Chicano Soul — like the long-lost recordings it so lovingly documents and historicizes — has itself become a collector’s item. Original copies highly-prized and sought after by record collectors, music aficionados, DJs, musicians, fans, and others. And, too, like much of the music in question: finally receiving its due reissuance. (Only this: a legitimate, not bootleg, reissuance.)
Its long-awaited return is timely. A brief review of the past ten years in popular music culture must surely include the massive reemergence of the vinyl music format (and its swift cooptation by the music industry); roots and vintage pop music revival (film/television soundtracks, documentaries, compilations, cultural histories, etc.); and the (ongoing) digital music revolution. Most notably, as it concerns the latter, one might also note the ascension of streaming media and video-sharing websites in democratizing and disseminating “rare groove” music of the analog past for broader audiences of the digital present. Further still, YouTube- and social media based soulero (sweet soul) DJs and record collector cliques build notoriety as prized possessors of rare Chicano Soul records to wide acclaim — much of which builds on Molina’s foundation. While the diffusion of music and cultural history in the past decade has broadened, the appreciation of this specific brand of soul music has expanded in tandem. You know it as the West Side Sound, the East Side Sound, Brown-Eyed Soul, Latin Soul, Lowrider Oldies, even rock en español — all components of the vast domain of mid-century Chicano Soul music culture principally documented in Molina’s work. And a book that remains today the only single monograph devoted to the subject.
More importantly, Chicano Soul challenges the assumptions and stereotypes of what “Latin music” could or should be in both popular culture and preceding musical-historical analyses: tropical, exotic, and almost always, distinctly foreign. Unequivocally, this music is none. It is, as the subtitle denotes, an American culture. Molina’s meticulous documentation of over 400 Mexican-American musicians/rock-and-roll combos spanning the American Southwest (née Aztlán) — and their collective thousands of independent recordings — deserves recognition if just for its impressive magnitude. But it’s the paradigm shift that Chicano Soul, and other recent works from such scholars as Deborah Vargas, Roberto Avant-Mier, Anthony Macias, Josh Kun, and Deborah Pacini Hernández, among others, provides for the current discourse on racial identity, hybridity, and the origins of American popular music that warrant as much praise. In part, a response to the tired narrative surrounding America’s supposed black/white racial binary and the forging of a national culture. Yes: Chicanos made soul music. Lots of it. And it’s damn good, too.
To this day, I regret not taking that History of Rock and Roll class in college. But I feel like I got a great introduction by reading this book.
My knowledge of American rock and roll was pretty limited to begin with. So my knowledge of Chicano music was even more dismal. I grew up on Ritchie Valens music and watched La Bamba more times than I can count, but that was about all I knew. Molina caters well to people like me by setting a sturdy frame of well-known American rockstars and songs, then weaving the Chicano rockers and tunes throughout. I looked up some of the songs on YouTube, and that musical tapestry is quite beautiful.
Because the styles kept evolving and new musicians were constantly hitting the music scene, the sections of this book vary in length and depth. But the thread is never lost and makes for a complicated pattern in history. I felt one snag: Little Julian Herrera. I understand why Molina includes Herrera (aka Ron Gregory), but I find myself offended for Chicano musicians. While Johnny Valenzuela gave the guy a pass, I don’t. You can respectfully draw inspiration or shamelessly appropriate a style of music, but that doesn’t make you a member of that particular culture. And I certainly wouldn’t want someone outside of my culture taking the designation of first or founder of something important.
I like how scans of the actual records, album covers, handbills, and photographs create a colorful scrapbook. It is pretty amazing to see pictures from people’s personal archives (Molina included) that probably no one else in the world owns a copy of. Thank goodness that people took pride in their culture and history, and had the foresight to keep the mementos safe.
It would have been great to see a timeline (yup, like in history class) or even a map that showed the chronological movement of the music. Something like dashed lines that criss cross America, landing on cities with graphic representations of the person/group or particular style to originate there, along with the year.
I recommend this book to anyone with an interest in music or Chicano history. I hope that universities consider adding it to their rock history or Chicano history class syllabus.
As a teen in the 1960s, Ruben Molina used to take a bus to Hollywood to shop for records, and his passion for vinyl never waned. As a dedicated community historian, Molina interviewed dozens of the artists whose music he loved. Much of Chicano soul music’s recent recognition and renaissance can be traced directly to Molina. He has deejayed with the Southern Soul Spinners crew since 2010.
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Genre: Paranormal Mystery / African American Sleuth
Publisher: Henery Press
Date of Publication: July 11, 2017
Number of Pages: 236
Scroll down for giveaway!
Gethsemane Brown, African-American musician and expatriate to an Irish village, solved a string of murders and got used to living with a snarky ghost. She can rest easy now. Right? Wrong. The ghost has disappeared, her landlord’s about to sell to a developer, and her brother-in-law’s come to visit. She scrambles to call her spectral roomie back from beyond and find a way to save the cottage from destruction. But real estate takes a backseat when her brother-in-law is accused of stealing a valuable antique. Gethsemane strikes a deal with an investigator to go undercover at a charity ball and snoop for evidence of a forgery/theft ring in exchange for the woman’s help clearing him. At the party, she accidentally conjures the ghost of an eighteenth-century sea captain, then ends up the prime suspect in the party host’s murder. She races to untangle a web of phony art and stolen antiques to exonerate herself, then the killer targets her. Will she bring a murderer to justice, or will her encore investigation become her swan song?
PRAISE FOR DEATH IN D MINOR:
Gethsemane Brown is everything an amateur sleuth should be: smart, sassy, talented, and witty even when her back is against the wall. In her latest adventure, she’s surrounded by a delightful cast, some of whom readers will remember from Gordon’s award-winning debut and all of whom they won’t forget. Gordon writes characters we want resurrected.
n Cate Holahan, author of The Widower’s
Wife and Lies She Told
Erstwhile ghost conjurer and gifted concert violinist Gethsemane Brown returns in this thoroughly enjoyable follow-up to last year’s Murder in G Major. Facing eviction from the historic seaside cottage she calls home, Gethsemane must clear her brother-in-law’s name – as well as her own – when a priceless artifact goes missing and the wealthy dowager to whom it belonged is “helped” over a high balcony railing. With the help of a spectral sea captain she accidentally summoned, Gethsemane tries to unravel the mystery as the murderer places her squarely in the crosshairs.
n Daniel J. Hale, Agatha Award-winning author
A writer since childhood, I put literary endeavors on hold to finish medical school and Family Medicine residency training. Medical career established, I returned to writing fiction. I completed SMU’s Writer’s Path program in Dallas, Texas. Henery Press published my first novel, Murder in G Major, book one of the Gethsemane Brown mysteries, in September 2016. Book two, Death in D Minor, releases July 11, 2017.
Murder in G Major won the Lefty Award for Best Debut Novel, was nominated for an Agatha Award for Best New Novel, and was selected one of Suspense Magazine’s Best Debuts. I listen to classical music, drink whiskey, and blog at www.missdemeanors.com, voted one of Writers’ Digest magazine’s 101 best websites for writers, and featured on Femmes Fatales.
GIVEAWAY! GIVEAWAY! GIVEAWAY!
Grand Prize: Copy of Death in D Minor + Swag Pack ($50 value)
2nd Prize: Copy of Death in D Minor
October 25-November 3, 2017
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