El Chicano is an brown-eyed soul group from Los Angeles, California, whose style incorporates various modern music genres including rock, funk, soul, blues, jazz, and salsa. The group's name is from Chicano, a term for United States citizens of typically Mexican American descent.
The most consistently enticing disc in the Rock Instrumental Classics series, this is both a great party and driving record and a window on the rhythms that powered soul music in the '60s (and early '70s, in two cases). In addition to some obvious choices (the four Booker T. & the MG's tracks, the Mar-Keys' "Last Night"), it also offers some left-field picks, such as the varied approaches to Latin music offered by Ray Barretto, Mongo Santamaria, and El Chicano. The stock of virtuoso performances here is all but endless: the bass-and-drums breakdown on Cliff Nobles and Co.'s "The Horse," the glinting guitar solo on the Bar-Kays' "Soul Finger," Hugh Masekela's questing trumpet on "Grazing in the Grass".
Not everything Latin Rock sounds is Santana
El Chicano's "Celebration" the third release for Kapp Records continues with it's infectious latin sound. The two former LP's "Viva Tirado" and "Revolucion". The first thing that you'll hear is the absents of female singer "Ersi Arvizu". The group will add three new members Max Regalado [timbales, vocals], Rudy and Steve Salas who would share vocal duties [Rudy and Steve Salas will later form tierra]. Ten tracks would grace this record, four of which are El Chicano originals "El Grito", "Mas Zacate", "Satisfy Me Woman"and "Juntos".
If you like "Santana", then you will like "El Chicano".
El Chicano is an American chicano rock and brown-eyed soul group from Los Angeles, California, whose style incorporates various modern music genres including rock, funk, soul, blues, jazz, and salsa. The group's name is from Chicano, a term for United States citizens of typically Mexican American descent.
As soul music moved into the early '70s, it became dominated by smoother sounds and polished productions, picking up its cues from Motown, Chicago soul, and uptown soul. By the beginning of the decade, soul was fracturing in a manner similar to pop/rock, as pop-soul, funk, vocal groups, string-laden Philly soul, and sexy Memphis soul became just a few of the many different subgenres to surface. Often, the productions on these records were much more polished than '60s productions, boasting sound effects, synthesizers, electric keyboards, echoes, horn sections, acoustic guitars, and strings.