djdavidbonobo

[djdavidbonobo]

Sudan Archives - Full Performance (Live on KEXP)

She was right here in my town, and I missed it. How?!! I can’t make that mistake again!

[djdavidbonobo]

Here's a correction to be made: Very Be Careful - Definitely from L.A., but moved to NYC when they first started up (only to return to L.A. a bit later). Also, the song writing help comes from Ric and Art's madrecita Deicy (not tia).

Raices & Resistance: The Liner Notes

             Raices & Resistance: The Brown Sounds of L.A. 2000-2010

     There are sometimes fortuitous moments when the spotlight on music falls in just the right place at just the right time: New Orleans during the 1920s, San Francisco in the Age of Aquarius, or Seattle in the Grunge Era. Each moment different, but equally a watershed. Then, there are also the times and places where the seeds of genius are budding all around, but those pioneers of the day are ahead of their time, or they simply don’t get the financial or promotional watering that they need to flourish. Think of New York’s Jazz scene during WWII, or the American pioneers of Punk Rock in the early 70’s. Those eras are the ones that are most akin to what happened in L.A.’s Latin music scene of the 2000s. 

     At the end of the 90’s, Ozomatli had gained much deserved recognition with the release of their eponymously titled debut album in 1998, and it seemed as if the spotlight was about to fall on the Latin music community right when it was in the beginning of a renaissance. Yet, when the new millennium came, times were tough everywhere, and nowhere could this be more clearly seen than in the music industry. Internet platforms like Napster made free online music downloads ready for the masses, and caused the industry’s near collapse. MySpace emerged as the first social media platform for new musicians to connect with audiences, but it lacked the reach of today’s YouTube and Facebook. As the L.A. Times noted in 2004, “Major multinational labels, struggling with an economic downturn, are reluctant to invest what it takes to break new acts, especially in a genre (like Latin Alternative) that gets little airplay and needs significant label support.” 

     By the 20teens, things were looking very different as the music industry had reinvented itself (albeit with missing limbs and less money in the bank), and it had again turned its eye toward the L.A. Latino music community with Grammys handed out to Quetzal and La Santa Cecilia. The buzz of L.A.’s Latin talent was spreading to audiences in the U.S.’s Spanish speaking communities, so as the economy began to resurge, bands were having an easier time with self-marketing, tours, and album sales.

     So who was there during this creative explosion of L.A.’s Latin music community of the 2000s? And what were the common threads running through this musical tapestry? These are important elements to consider when creating a title for this compilation, and the diversity of the scene made this a difficult task. Not all of the artists were rock. Most sang in both English and Spanish. A couple of them only sang in Spanish. Most had roots in local community oriented civil rights activism, but not all. Hmmm. Simple, yet complex. Despite the eclectic range of all these artists combined, they were (or still are) a close knit group of musicians: a musical community. For example, I don’t know all of them personally, but I know that there is no more than one degree of separation between me and any of the artists on this compilation.

     There were community centers and connections like the L.A.C.E.R. after school arts program where many of the artists on this compilation worked and met. There was Tia Chucha’s, Smoke N Mirrors, S.P.A.R.C., Casa 0101, KillRadio.Org, KPFK and others. The abuelita of them all? Self-Help Graphics. These cultural centers gave a platform for artists in the community, and deserve credit for fostering the incredible music that continues to emerge from the Latin community. The EZLN movement in Chiapas was still fresh in peoples’ minds in the 2000s, and it fostered things, too. It was a revolutionary inspiration in the face of the post 911 America when gentrification began to sweep through the eastside of L.A., and The South Central Farmers were forced off their land to make way for so called “progress.” Bush was president, the country went to war under false pretenses, and we forged a spirit of resistance for new immigrants, Indigenous peoples, urban gardening, art, love, peace, and understanding. Some things change. Some don’t.

     By the 20teens, in the wake of the creative explosion that happened during the 2000s, came a time when the spotlight came back around to this same community with Grammys given to Quetzal and La Santa Cecilia. Latin Electronica game to be included under the larger category of Global Bass. The rise of Subsuelo also came, along with the rising careers of artists like Captain Planet, Rafi El, Buyepongo, Las Cafeteras, The Boogaloo Assassins, and more. My ultimate hope is that we can all see the debt owed to these pioneers of the 2000s, and that we never forget their musical legacy. With 60 million Latinos living in the United States in 2020, the audience for this music ain’t going no where!

     Note: I know some of you out there will be disappointed in the selections I made, and that’s okay. We can only see things from our own perspective and the experiences that inform it., These are the artists that I experienced, and this is just a sampling of some of my favorite songs. If Menoman or Mark Torres did this, you’d probably get a totally different angle. Also, know that I did my best to research all of the artists and tracks listed here, but sometimes that information was not available. In those instances, I had to employ my imperfect memory. You can post a comment to let me know corrections that should be made, or share out who think I should have also included (but remember, only artists with releases during the 2000s). 

Agave Ocotillo (Fósforo - Even The Sun 2005): The trio consisted of three high school friends that grew up in the San Fernando Valley. Proving themselves to be beyond the scope of their peers in both musical and lyrical range, Fósforó penned their sound as Punky Reggae Jungle. Playing with rhythms such as Reggae, Jungle, Drum-n-Bass, Cumbia, Rock and more, vocalist/songwriter Rafi B. of Argentinian and Israeli descent, also sang in English, Spanish and Hebrew. Fósforo would forge an alliance with L.A.’s other Latin Electronica pioneers: Mezklah. Rafi B. would later become DJ/Producer Rafi El for the Dutty Artz label while Cesar Ventura would become a percussionist for the Fania label’s Boogaloo Assassins. The song featured here is a poetic homage to the enduring strength of “La Raza.”

Crazy Baldheads (Quinto Sol - Barrio Roots 2003): The name “Quinto Sol” is Spanish for the “fifth sun,” and it is a reference to the Aztec myth of creation and destruction. The band got their start in 1994, but Barrio Roots was their first full-length album release. Quinto Sol has intimately connected themselves to the Chicano Civil Rights Movement, and they have used Roots Reggae as a vehicle to delve into their own Meztizo roots. Their latest album, Spirits of the Martyrs, was released in 2014.

Chango AraÑa (Mezklah - Spider Monkey 2005): Making their stage debut in 2000, Mezklah emerged as the first Latin Electronica band in North America. Borrowing music from around the globe, singer/songwriter Angel Garcia and guitarist Greg Hernandez forged a sound that was Spanish/Bilingual, but completely different from their contemporaries. They crafted bass heavy electronic rhythms to fuse Cuban Son, Reggae, Drum-n-Bass, Blues, Hard Rock, Psychedelia, Cumbia and more into tightly structured and hook filled socially conscious pop songs ready for the dancefloor. In 2004, they were nominated by L.A. Weekly as the city’s best World Music/Recombinant Artist, and in 2005, they won L.A.’s Battle of The Bands. After one album and an EP, as well as tours in Mexico and the Southwest, Europe and Japan, Mezklah disbanded in 2010. They announced their reformation on KPTZ 91.9 FM in December, 2019. A new album is expected in 2020.

Cumbia de la Flor (East L.A. Sabor Factory - Party At Louie’s 2002): Headed up by frontman Ricky Ray Rivera, the trajectory of East L.A. Sabor Factory was straight up when they first appeared on the scene 1999, but unfortunately, their momentum didn’t carry them far enough. They changed their name after the release of Party At Louie’s, and broke apart shortly thereafter. This track captures the danceable high energy of the band and was a crowd favorite when they played live, but doesn’t feature Rivera’s bilingual rapping. In 2007, Rivera would go on to release a solo album titled Neighborhood Fame.

Nada Mio Es Fake (Los Abandoned - Mix Tape 2006):  No other artist arising in L.A.’s bilingual music community seemed like such a clear bet to wear the glass slipper of success as Los Abandoned. They were sharing the stage with the likes of Café Tacuba, The Breeders, Julieta Venegas, Molotov, and Aterciopelados, and they signed with Neil Young’s Vapor Records in 2005. They released a Christmas single and two EPs before releasing Mix Tape as their first full length album in 2006. The critics loved them, their songs were catchy (the pop song I’m featuring here was not even one of their released singles), and they had a sexy singer. Vocalist Lady P. (Pilar Diaz of Chilean descent) was the primary creative force behind Los Abandoned, and just as their success was in full bloom, she called it quits in 2007. Lady P. has since released two solo albums under the name Maria del Pilar.

Trouble In My Soul (Mexican Dubwiser - Revolution Radio 2010): Before becoming a superstar DJ/Producer duo with Kinky’s Ulises Lozano, Marcelo Tijerina was solo stepping on L.A. as a transplant from Montery Mexico’s Avanzada Regio music scene. This version of the Trouble In My Soul single features San Francisco DJ/Producer Romanowski.

Luna Negra (Olmeca w/Los Cojolites - Self Release 2005): Olmeca should be recognized as one of the hardest working music artists in the Chicano music scene. Placing himself in the same corner as Hip-Hop elder KRS-One, he identifies himself as a music artist, activist, and scholar. In 1999, he joined L.A. band Slowrider. After their 2003 album Historias En Revisión, he stepped out as a solo artist. He has gone on release several albums (including 2019’s Define), toured universities as a guest lecturer, and he is currently faculty at the University of Nevada, Las Vegas in the Interdisciplinary Gender and Ethnic Studies Department. Los Cojolites are a Son Jarocho group from the Mexican state of Veracruz that is often noted for their candid social commentary.

Jarocho Elegua (Quetzal - Sing The Real 2002): Formed by guitarist Quetzal Flores in 1992, the band Quetzal released their eponymously titled debut album in 1998 after vocalist Martha Gonzalez joined the band. Continually fusing social activism with music, Quetzal has received accolades from the world of scholars and activists, as well as receiving the 2013 Grammy for Best Latin Pop, Rock, or Urban Album for their release of Imaginaries.

No Me Te Pido Mas (Domingo Siete - Quitate La Mascara 2005): Martha Gonzalez is not the only one in her family to possess musical talent. Her brother Gabriel Tenorio did just fine for himself as the singer/song-writer/guitarist for Domingo Siete. They toured Europe, they shared the stage with Los Lobos, Cheryl Crow, & Ozomatli, and they released two full length albums. Dame might have been the single that Gabriel would want me to highlight, but this one was always my favorite.

Cuenten Lo (Pe Ere - Demo Collaboration w/producer Rafi Benjamin of Fósforó 2006): Pe Ere was most often seen performing as a duo with Pantera. The two were immigrants from Nigaragua with a passion for Reggaeton. Pe Ere demonstrated great stage presence during his time in the scene, and this song reflects that he was not afraid to try new innovative sounds, but his run was too short. Where are you now, P.R.?

La Sirena (Beatriz Torres - La Sirena E.P. 2002): Produced by her soon to be husband, Angel Garcia of Mezklah fame, this song and E.P. reflect a vibrant new take on Trip-Hop from a Chicana perspective. Torres’ performances incorporated both poetry and performance art. She took the stage across L.A. opening for Mezklah and Fósforó, and she toured Mexico with Mezklah and DJ David BoNobO in 2003. She retired from performing in 2004 with the birth of her first child.

Pa La Paloma (Alquimia Remixed by David BoNobO - Single 2005): Alquimia was a band out of Bogotá, Colombia that featured singer Janio Coronado (he would go on to sing for Sidestepper). DJ/Producer David BoNobO has played parties in Cuba, toured Mexico in 2003, and held residencies in Oaxaca, Mexico in 2005, and 2008. He also shared the stage with the following artists on this compilation: Beatriz Torres, Fitter, Fósforó, Go Betty Go, Mexican Dubwiser, Mezkalah, Olmeca, Pe Ere, Quetzal, Very Be Careful, and Xochisoneros. This song was his first venture into the realm of producing and remixing. How BoNobO, a white guy transplanted to L.A. from Portland, came to be part of this scene is still a matter of great contention and debate.

Celosa feat. Locos Por Juana (Palenke Soultribe - Oro 2009): Palenke Soultribe transplanted to L.A. in 2006 from Bogotá, Colombia. The group initially consisted of producer/bassist Juan Diego Borda and keyboardist/producer Andres “Popa” Erazo, but grew to include a rotating list of musicians collaborating with them as a collective. This track displays one of several connections Miami’s Locos Por Juana made with Angelinos during the 2000s. 

Warriors feat. Will.I.Am - BEP Remix (Burning Star - Eponymous 2003): Upon the release of their debut album, Burning Star said they aimed to “utilize art as a tool for the reconstruction of the community through the participation of community based programs,” and they had the talent and work ethic to back up such an ambitious statement. At one point in time, you could find a vinyl Burning Star sticker on the light post of every intersection or crosswalk in the city of L.A. Despite their hard effort & amazing line-up of musicians, the flame burned out after just one album. Bassist Emilio Saenz went on to play with the Boogaloo Assassins, Drummer Cisco Huete later played drums for Monte Carlo 76, percussionist Gerry Morales went to Spain to study Flamenco guitar and became a featured artist at Subsuelo, Joshua Alvarez did some collaborative work with Black Eyed Peas, and vocalist/keyboardist Quincy McCary has gone on to work with the likes of Quetzal, Bitbull, Mayer Hawthorne, Unknown Mortal Orchestra, and Jack White. In 2019, McCrary released a solo debut under the name Qemistry.

Street Signs (Ozomatli - Street Signs 2004): Street Signs was the title song from Ozomatli’s third studio album, and it followed the success of Embracing The Chaos, the one that earned them the Grammy Award for Best Latin Rock/Alternative Album. Their first studio release came in 1998, and it featured rapper Charli 2na and DJ Cut Chemist, and it put L.A.’s  Latin music scene back on the map internationally. Since then, they have very much been the leaders of the pack. Their eighth studio album Non-Stop: Mexico to Jamaica was produced by Sly & Robbie and released in 2017.

The Garage (Monte Carlo 76 - Marisa 2008): Birthed in 2003 from the remains of keyboardist Gomez Comes Alive and guitarist Jeremy Keller’s former group Slowrider, Monte Carlo 76 painted vignettes of growing up in East L.A. with their lyrics. Behind that was a musical tipping of the hat to classic 70’s Chicano Rock that never sounded retro. Completing two albums during their run with the help of producers Martha Gonzalez and Quetzal Flores of the band Quetzal, Monte Carlo 76 garnered them a L.A. Weekly Music Awards nomination for Best Latin Alternative Band.

The Coconut Tree (Fitter - Through The Green Jungles of Plenty… 2009): Fitter found success and acclaim in El Salvador, the nation their families came from, despite the fact that they were hard to classify. A fiercely innovative rock band, they took frequent influence from Dub Reggae and African music. Guitarist/vocalist/songwriter Wilfredo Mendez was noted for having electrified a traditional folkloric guitar from El Salvador to produce new sounds that had never been heard. They collaborated with Fósforó’s Rafi B., and released two albums in the 2000s. Unfortunately, things came to an end for them when Mendez suffered impairments to his speech and motor skills due to a benign tumor in his brain in 2012. 

Haves And Have Nots (Aztlan Underground - Single 2000): Having roots in East L.A.’s hardcore punk scene of the 1980’s, Aztlan was championed by Rage Against the Machine’s Zack De La Rocha when they released their debut album, Decolonize, in 1995. By the 2000s, they were like the scene’s thundering elders reminding newbies of the need to stay socially conscious with their music through lending their voice to numerous community events such as the Farce of July, and the second protest concert in support of The South Central Farmers. They’ve released three albums and played Mexico, Canada, Australia and Spain. They released the single Black Lives Matter in 2019.

No Hay Perdon (Go Betty Go - Nothing Is More 2005): Formed in Glendale in 2005, this all female group proved that they could rock hard while also being able to compose more melodic ballads. They joined the Vans Warped tour in 2004 and 2005. The track highlighted here features the vocals of Nicolette Vilar who left the band in 2006 and rejoined them in 2012. Their third studio release came in the form of an EP titled Reboot in 2015.

El Hospital (Very Be Careful - Escape Room 2010): They may have started up in NYC in 1997, but this band belongs to L.A. While the style they play is traditional Vallento, they are often credited as the L.A. band that made Cumbia hip again. Formed by brothers Ricardo and Arturo Guzman after being inspired by a trip to visit family in Colombia, the group is comprised of five friends who grew up within blocks of each other, plus the Guzman’s aunt Deicy to helps cover the songwriting duties. Releasing their first full length album in 2001, the VBC have gone on to release seven albums to date. They’ve played the giant Fuji Rock Festival in Japan, and the reknowned Glastonbury Festival in England. Their music may be acoustic, but their shows are rawkus bawdy, and filled with Punk attitude.

El Caballito (Xochisoneros - El Caiman 2003): Formed by musician and anthropologist Hector Marquez and musicologist Efren Luna, Xochisoneros brought a flavor to the scene that was more Mexican and less Angelino. Crafting traditional songs in the styles of Son Huasteco, Son Jarocho, Son Cubano, and Colombian Cumbia, they almost exclusively played community or protest events as they used their musical platform for social justice, and to help to show that Mexico has its place in the lexicon of Carribean music. La Marisol of the Grammy Award winning band La Santa Cecilia was a student of Marquez, and she would join the group while she was still in high school. That was an education that you could not put a price on!

[djdavidbonobo]

Raices & ResistanceThe Brown Sounds of L A 2000 2010

[djdavidbonobo]

Raices & Resistance: The Liner Notes

             Raices & Resistance: The Brown Sounds of L.A. 2000-2010

     There are sometimes fortuitous moments when the spotlight on music falls in just the right place at just the right time: New Orleans during the 1920s, San Francisco in the Age of Aquarius, or Seattle in the Grunge Era. Each moment different, but equally a watershed. Then, there are also the times and places where the seeds of genius are budding all around, but those pioneers of the day are ahead of their time, or they simply don’t get the financial or promotional watering that they need to flourish. Think of New York’s Jazz scene during WWII, or the American pioneers of Punk Rock in the early 70’s. Those eras are the ones that are most akin to what happened in L.A.’s Latin music scene of the 2000s. 

     At the end of the 90’s, Ozomatli had gained much deserved recognition with the release of their eponymously titled debut album in 1998, and it seemed as if the spotlight was about to fall on the Latin music community right when it was in the beginning of a renaissance. Yet, when the new millennium came, times were tough everywhere, and nowhere could this be more clearly seen than in the music industry. Internet platforms like Napster made free online music downloads ready for the masses, and caused the industry’s near collapse. MySpace emerged as the first social media platform for new musicians to connect with audiences, but it lacked the reach of today’s YouTube and Facebook. As the L.A. Times noted in 2004, “Major multinational labels, struggling with an economic downturn, are reluctant to invest what it takes to break new acts, especially in a genre (like Latin Alternative) that gets little airplay and needs significant label support.” 

     By the 20teens, things were looking very different as the music industry had reinvented itself (albeit with missing limbs and less money in the bank), and it had again turned its eye toward the L.A. Latino music community with Grammys handed out to Quetzal and La Santa Cecilia. The buzz of L.A.’s Latin talent was spreading to audiences in the U.S.’s Spanish speaking communities, so as the economy began to resurge, bands were having an easier time with self-marketing, tours, and album sales.

     So who was there during this creative explosion of L.A.’s Latin music community of the 2000s? And what were the common threads running through this musical tapestry? These are important elements to consider when creating a title for this compilation, and the diversity of the scene made this a difficult task. Not all of the artists were rock. Most sang in both English and Spanish. A couple of them only sang in Spanish. Most had roots in local community oriented civil rights activism, but not all. Hmmm. Simple, yet complex. Despite the eclectic range of all these artists combined, they were (or still are) a close knit group of musicians: a musical community. For example, I don’t know all of them personally, but I know that there is no more than one degree of separation between me and any of the artists on this compilation.

     There were community centers and connections like the L.A.C.E.R. after school arts program where many of the artists on this compilation worked and met. There was Tia Chucha’s, Smoke N Mirrors, S.P.A.R.C., Casa 0101, KillRadio.Org, KPFK and others. The abuelita of them all? Self-Help Graphics. These cultural centers gave a platform for artists in the community, and deserve credit for fostering the incredible music that continues to emerge from the Latin community. The EZLN movement in Chiapas was still fresh in peoples’ minds in the 2000s, and it fostered things, too. It was a revolutionary inspiration in the face of the post 911 America when gentrification began to sweep through the eastside of L.A., and The South Central Farmers were forced off their land to make way for so called “progress.” Bush was president, the country went to war under false pretenses, and we forged a spirit of resistance for new immigrants, Indigenous peoples, urban gardening, art, love, peace, and understanding. Some things change. Some don’t.

     By the 20teens, in the wake of the creative explosion that happened during the 2000s, came a time when the spotlight came back around to this same community with Grammys given to Quetzal and La Santa Cecilia. Latin Electronica game to be included under the larger category of Global Bass. The rise of Subsuelo also came, along with the rising careers of artists like Captain Planet, Rafi El, Buyepongo, Las Cafeteras, The Boogaloo Assassins, and more. My ultimate hope is that we can all see the debt owed to these pioneers of the 2000s, and that we never forget their musical legacy. With 60 million Latinos living in the United States in 2020, the audience for this music ain’t going no where!

     Note: I know some of you out there will be disappointed in the selections I made, and that’s okay. We can only see things from our own perspective and the experiences that inform it., These are the artists that I experienced, and this is just a sampling of some of my favorite songs. If Menoman or Mark Torres did this, you’d probably get a totally different angle. Also, know that I did my best to research all of the artists and tracks listed here, but sometimes that information was not available. In those instances, I had to employ my imperfect memory. You can post a comment to let me know corrections that should be made, or share out who think I should have also included (but remember, only artists with releases during the 2000s). 

Agave Ocotillo (Fósforo - Even The Sun 2005): The trio consisted of three high school friends that grew up in the San Fernando Valley. Proving themselves to be beyond the scope of their peers in both musical and lyrical range, Fósforó penned their sound as Punky Reggae Jungle. Playing with rhythms such as Reggae, Jungle, Drum-n-Bass, Cumbia, Rock and more, vocalist/songwriter Rafi B. of Argentinian and Israeli descent, also sang in English, Spanish and Hebrew. Fósforo would forge an alliance with L.A.’s other Latin Electronica pioneers: Mezklah. Rafi B. would later become DJ/Producer Rafi El for the Dutty Artz label while Cesar Ventura would become a percussionist for the Fania label’s Boogaloo Assassins. The song featured here is a poetic homage to the enduring strength of “La Raza.”

Crazy Baldheads (Quinto Sol - Barrio Roots 2003): The name “Quinto Sol” is Spanish for the “fifth sun,” and it is a reference to the Aztec myth of creation and destruction. The band got their start in 1994, but Barrio Roots was their first full-length album release. Quinto Sol has intimately connected themselves to the Chicano Civil Rights Movement, and they have used Roots Reggae as a vehicle to delve into their own Meztizo roots. Their latest album, Spirits of the Martyrs, was released in 2014.

Chango AraÑa (Mezklah - Spider Monkey 2005): Making their stage debut in 2000, Mezklah emerged as the first Latin Electronica band in North America. Borrowing music from around the globe, singer/songwriter Angel Garcia and guitarist Greg Hernandez forged a sound that was Spanish/Bilingual, but completely different from their contemporaries. They crafted bass heavy electronic rhythms to fuse Cuban Son, Reggae, Drum-n-Bass, Blues, Hard Rock, Psychedelia, Cumbia and more into tightly structured and hook filled socially conscious pop songs ready for the dancefloor. In 2004, they were nominated by L.A. Weekly as the city’s best World Music/Recombinant Artist, and in 2005, they won L.A.’s Battle of The Bands. After one album and an EP, as well as tours in Mexico and the Southwest, Europe and Japan, Mezklah disbanded in 2010. They announced their reformation on KPTZ 91.9 FM in December, 2019. A new album is expected in 2020.

Cumbia de la Flor (East L.A. Sabor Factory - Party At Louie’s 2002): Headed up by frontman Ricky Ray Rivera, the trajectory of East L.A. Sabor Factory was straight up when they first appeared on the scene 1999, but unfortunately, their momentum didn’t carry them far enough. They changed their name after the release of Party At Louie’s, and broke apart shortly thereafter. This track captures the danceable high energy of the band and was a crowd favorite when they played live, but doesn’t feature Rivera’s bilingual rapping. In 2007, Rivera would go on to release a solo album titled Neighborhood Fame.

Nada Mio Es Fake (Los Abandoned - Mix Tape 2006):  No other artist arising in L.A.’s bilingual music community seemed like such a clear bet to wear the glass slipper of success as Los Abandoned. They were sharing the stage with the likes of Café Tacuba, The Breeders, Julieta Venegas, Molotov, and Aterciopelados, and they signed with Neil Young’s Vapor Records in 2005. They released a Christmas single and two EPs before releasing Mix Tape as their first full length album in 2006. The critics loved them, their songs were catchy (the pop song I’m featuring here was not even one of their released singles), and they had a sexy singer. Vocalist Lady P. (Pilar Diaz of Chilean descent) was the primary creative force behind Los Abandoned, and just as their success was in full bloom, she called it quits in 2007. Lady P. has since released two solo albums under the name Maria del Pilar.

Trouble In My Soul (Mexican Dubwiser - Revolution Radio 2010): Before becoming a superstar DJ/Producer duo with Kinky’s Ulises Lozano, Marcelo Tijerina was solo stepping on L.A. as a transplant from Montery Mexico’s Avanzada Regio music scene. This version of the Trouble In My Soul single features San Francisco DJ/Producer Romanowski.

Luna Negra (Olmeca w/Los Cojolites - Self Release 2005): Olmeca should be recognized as one of the hardest working music artists in the Chicano music scene. Placing himself in the same corner as Hip-Hop elder KRS-One, he identifies himself as a music artist, activist, and scholar. In 1999, he joined L.A. band Slowrider. After their 2003 album Historias En Revisión, he stepped out as a solo artist. He has gone on release several albums (including 2019’s Define), toured universities as a guest lecturer, and he is currently faculty at the University of Nevada, Las Vegas in the Interdisciplinary Gender and Ethnic Studies Department. Los Cojolites are a Son Jarocho group from the Mexican state of Veracruz that is often noted for their candid social commentary.

Jarocho Elegua (Quetzal - Sing The Real 2002): Formed by guitarist Quetzal Flores in 1992, the band Quetzal released their eponymously titled debut album in 1998 after vocalist Martha Gonzalez joined the band. Continually fusing social activism with music, Quetzal has received accolades from the world of scholars and activists, as well as receiving the 2013 Grammy for Best Latin Pop, Rock, or Urban Album for their release of Imaginaries.

No Me Te Pido Mas (Domingo Siete - Quitate La Mascara 2005): Martha Gonzalez is not the only one in her family to possess musical talent. Her brother Gabriel Tenorio did just fine for himself as the singer/song-writer/guitarist for Domingo Siete. They toured Europe, they shared the stage with Los Lobos, Cheryl Crow, & Ozomatli, and they released two full length albums. Dame might have been the single that Gabriel would want me to highlight, but this one was always my favorite.

Cuenten Lo (Pe Ere - Demo Collaboration w/producer Rafi Benjamin of Fósforó 2006): Pe Ere was most often seen performing as a duo with Pantera. The two were immigrants from Nigaragua with a passion for Reggaeton. Pe Ere demonstrated great stage presence during his time in the scene, and this song reflects that he was not afraid to try new innovative sounds, but his run was too short. Where are you now, P.R.?

La Sirena (Beatriz Torres - La Sirena E.P. 2002): Produced by her soon to be husband, Angel Garcia of Mezklah fame, this song and E.P. reflect a vibrant new take on Trip-Hop from a Chicana perspective. Torres’ performances incorporated both poetry and performance art. She took the stage across L.A. opening for Mezklah and Fósforó, and she toured Mexico with Mezklah and DJ David BoNobO in 2003. She retired from performing in 2004 with the birth of her first child.

Pa La Paloma (Alquimia Remixed by David BoNobO - Single 2005): Alquimia was a band out of Bogotá, Colombia that featured singer Janio Coronado (he would go on to sing for Sidestepper). DJ/Producer David BoNobO has played parties in Cuba, toured Mexico in 2003, and held residencies in Oaxaca, Mexico in 2005, and 2008. He also shared the stage with the following artists on this compilation: Beatriz Torres, Fitter, Fósforó, Go Betty Go, Mexican Dubwiser, Mezkalah, Olmeca, Pe Ere, Quetzal, Very Be Careful, and Xochisoneros. This song was his first venture into the realm of producing and remixing. How BoNobO, a white guy transplanted to L.A. from Portland, came to be part of this scene is still a matter of great contention and debate.

Celosa feat. Locos Por Juana (Palenke Soultribe - Oro 2009): Palenke Soultribe transplanted to L.A. in 2006 from Bogotá, Colombia. The group initially consisted of producer/bassist Juan Diego Borda and keyboardist/producer Andres “Popa” Erazo, but grew to include a rotating list of musicians collaborating with them as a collective. This track displays one of several connections Miami’s Locos Por Juana made with Angelinos during the 2000s. 

Warriors feat. Will.I.Am - BEP Remix (Burning Star - Eponymous 2003): Upon the release of their debut album, Burning Star said they aimed to “utilize art as a tool for the reconstruction of the community through the participation of community based programs,” and they had the talent and work ethic to back up such an ambitious statement. At one point in time, you could find a vinyl Burning Star sticker on the light post of every intersection or crosswalk in the city of L.A. Despite their hard effort & amazing line-up of musicians, the flame burned out after just one album. Bassist Emilio Saenz went on to play with the Boogaloo Assassins, Drummer Cisco Huete later played drums for Monte Carlo 76, percussionist Gerry Morales went to Spain to study Flamenco guitar and became a featured artist at Subsuelo, Joshua Alvarez did some collaborative work with Black Eyed Peas, and vocalist/keyboardist Quincy McCary has gone on to work with the likes of Quetzal, Bitbull, Mayer Hawthorne, Unknown Mortal Orchestra, and Jack White. In 2019, McCrary released a solo debut under the name Qemistry.

Street Signs (Ozomatli - Street Signs 2004): Street Signs was the title song from Ozomatli’s third studio album, and it followed the success of Embracing The Chaos, the one that earned them the Grammy Award for Best Latin Rock/Alternative Album. Their first studio release came in 1998, and it featured rapper Charli 2na and DJ Cut Chemist, and it put L.A.’s  Latin music scene back on the map internationally. Since then, they have very much been the leaders of the pack. Their eighth studio album Non-Stop: Mexico to Jamaica was produced by Sly & Robbie and released in 2017.

The Garage (Monte Carlo 76 - Marisa 2008): Birthed in 2003 from the remains of keyboardist Gomez Comes Alive and guitarist Jeremy Keller’s former group Slowrider, Monte Carlo 76 painted vignettes of growing up in East L.A. with their lyrics. Behind that was a musical tipping of the hat to classic 70’s Chicano Rock that never sounded retro. Completing two albums during their run with the help of producers Martha Gonzalez and Quetzal Flores of the band Quetzal, Monte Carlo 76 garnered them a L.A. Weekly Music Awards nomination for Best Latin Alternative Band.

The Coconut Tree (Fitter - Through The Green Jungles of Plenty… 2009): Fitter found success and acclaim in El Salvador, the nation their families came from, despite the fact that they were hard to classify. A fiercely innovative rock band, they took frequent influence from Dub Reggae and African music. Guitarist/vocalist/songwriter Wilfredo Mendez was noted for having electrified a traditional folkloric guitar from El Salvador to produce new sounds that had never been heard. They collaborated with Fósforó’s Rafi B., and released two albums in the 2000s. Unfortunately, things came to an end for them when Mendez suffered impairments to his speech and motor skills due to a benign tumor in his brain in 2012. 

Haves And Have Nots (Aztlan Underground - Single 2000): Having roots in East L.A.’s hardcore punk scene of the 1980’s, Aztlan was championed by Rage Against the Machine’s Zack De La Rocha when they released their debut album, Decolonize, in 1995. By the 2000s, they were like the scene’s thundering elders reminding newbies of the need to stay socially conscious with their music through lending their voice to numerous community events such as the Farce of July, and the second protest concert in support of The South Central Farmers. They’ve released three albums and played Mexico, Canada, Australia and Spain. They released the single Black Lives Matter in 2019.

No Hay Perdon (Go Betty Go - Nothing Is More 2005): Formed in Glendale in 2005, this all female group proved that they could rock hard while also being able to compose more melodic ballads. They joined the Vans Warped tour in 2004 and 2005. The track highlighted here features the vocals of Nicolette Vilar who left the band in 2006 and rejoined them in 2012. Their third studio release came in the form of an EP titled Reboot in 2015.

El Hospital (Very Be Careful - Escape Room 2010): They may have started up in NYC in 1997, but this band belongs to L.A. While the style they play is traditional Vallento, they are often credited as the L.A. band that made Cumbia hip again. Formed by brothers Ricardo and Arturo Guzman after being inspired by a trip to visit family in Colombia, the group is comprised of five friends who grew up within blocks of each other, plus the Guzman’s aunt Deicy to helps cover the songwriting duties. Releasing their first full length album in 2001, the VBC have gone on to release seven albums to date. They’ve played the giant Fuji Rock Festival in Japan, and the reknowned Glastonbury Festival in England. Their music may be acoustic, but their shows are rawkus bawdy, and filled with Punk attitude.

El Caballito (Xochisoneros - El Caiman 2003): Formed by musician and anthropologist Hector Marquez and musicologist Efren Luna, Xochisoneros brought a flavor to the scene that was more Mexican and less Angelino. Crafting traditional songs in the styles of Son Huasteco, Son Jarocho, Son Cubano, and Colombian Cumbia, they almost exclusively played community or protest events as they used their musical platform for social justice, and to help to show that Mexico has its place in the lexicon of Carribean music. La Marisol of the Grammy Award winning band La Santa Cecilia was a student of Marquez, and she would join the group while she was still in high school. That was an education that you could not put a price on!

[djdavidbonobo]

Raices & Resistance: The Brown Sounds of L.A. 2000-2010