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Tuesday, November 5, 2019


Dear friends, record collectors and record dealers,

I am looking for the pictured 45 RPM record.

Lucy Duran "I Tried To Make You Understand" FIFO 109

If you can offer me any help in finding it please email me at:

Thank You

Sunday, October 20, 2019


Eddie Torres was born and raised in Texas and after a stint in the Marine Corp he relocated to California.
Eddie attended East Los Angeles College and majored in sociology. Upon graduation Eddie took on a job working with gang members and potential gang members to keep them out of trouble.

As part of his plan in helping gang members, Eddie began promoting dances with local bands. At a dance held at St Alonsos Church in East Los Angeles, Eddie met a band called The Fabulous Gentiles. Impressed by the band Eddie urged them to change their name. They became Thee Midniters (taken from one of their favorite groups Hank Ballard & The Midnighters).

Eddie became the groups manager and arranged concerts for the band while giving them discipline and direction. The band would do as many as four shows a night traveling great distances between performances and their popularity grew.

Over the years Eddie became friends and partnered with Dick Hugg "Huggy Boy" and they promoted and sponsored concerts and dances in the neighborhood as well as the Huggy Boy Show.

To promote the band, Torres contacted Mike Carcano, owner of The Record Inn on Whittier Boulevard who showcased the band's record releases by holding in-store appearances. While the rest of the world was caught up in Beatlemania, Eddie Torres in East Los Angeles, California was giving rise to Midnitersmania.

In December, 1965 Eddie booked Thee Midniters to a major concert held at the Hollywood Bowl and hosted by Casey Kasem and radio station KRLA. The band also got exposure on local television shows Shebang and 9th Street West.

In 1966, Torres started his own record label, Whittier Records to further promote the band and their music. Thee Midniters were now the hottest band in town but Eddie wanted them to get them to the next level. He urged them to start writing their own songs which under major pressure they did.

The only thing missing was a record deal with a major record label and national exposure. Eddie contended that his Whittier label would become as big as another local record label, A&M Records but try as he might Eddie could never achieve that success.

RCA Records became interested in signing the band but a deal was never made. The band has their side of the story and Eddie has his. Whether Torres didn't want to lose control of the band and sabatoged any deal or the fact that RCA didn't want to give Torres or the band any upfront money for their album "Love Sprecial Delivery" is up for discussion.

The RCA debacle marked the beginning of the end of the relationship between Eddie and the band. Eddie officially departed in late 1968.

Eddie did not leave the music business. He would go on to promote other Chicano musicians including Thee Impalas, The Runabouts and Mark Guerrero. The importance and impact of Eddie Torres on the East Los Angeles music scene can not be over emphasized. He gave us the best band to ever come out of East L.A...... Thee Midniters.

Eddie Torres passed away October 17,2019, a legend of the Easiside Sound.

Wednesday, October 16, 2019

Land Of 1000 Dances - The Rampart Records Complete Singles Collection, by Various Artists

"Something musically vital was happening in East Los Angeles when all-around entertainment guru Eddie Davis' Rampart Records documented the fusion that became the West Coast Eastside Sound. Founded in 1961, Rampart Records is now celebrating its 58th anniversary with this box set collection. Rampart produced music unlike any other -- rock & roll and rhythm and blues, but with a Mexican twist. The singles on this collection are from Rampart's first 17 years, as the sounds changed from doo wop to R&B to garage to funk to disco. Hear East LA's greatest hits from the West Coast's longest running independent record company. Discover the amazing history and super-fine music from the classic Rampart Records catalogue, still going strong after 58 years! Among the gems heard on Land Of 1000 Dances is 'Hector Parts 1 & 2,' a double-barreled, organ-driven instrumental by The Village Callers, which was heard on the soundtrack to Once Upon a Time... In Hollywood, Quentin Tarantino's hit summer film starring Leonardo DiCaprio and Brad Pitt. Other top-flight Rampart acts surveyed include the storming, horn-driven garage soul unit The Blendells, whose cover of Stevie Wonder's single 'La La La La La' is a crate digger classic; R&B foursome The Atlantics, whose lineup included future '70s love man Barry White; soul balladeer Ron Holden; The Soul-jers, the military-garbed duo of former Mixtures vocalists Philip Tucker and Delbert Franklin; Motown-styled vocal quartet The Four Tempos; Latin songstresses Didi Scorzo and Graciela Palafox; and funk/disco pioneers Eastside Connection. Hector Gonzalez, bassist of Eastside Connection, has overseen Rampart's assets since Eddie Davis' death in 1994 and co-produced Land Of 1000 Dances with Michael Minky."

The rip-roaring sound of East Los Angeles’ Chicano rock ’n’ rollers of the ’60s and ’70s receives definitive treatment on Land of 1000 Dances: The Rampart Records Complete Singles Collection, due on November 29, 2019 for independent music retail’s annual Black Friday Record Store Day.
Produced by the independent Los Angeles label Minky Records, the four-CD set, which is being released in a limited edition of 1,000 copies, provides a complete overview of defining Mexican-American rock released in a 30-year period between 1961 and 1991 by Rampart, the small but influential company run by entrepreneur, manager, and producer Eddie Davis.

Minky has previously released single-CD collections devoted to two acts that appeared on Davis’ Linda and Gordo imprints: Stompin’ at the Rainbow by the multi-racial R&B unit The Mixtures and Music Is the Answer by God’s Children, the early ’70s soul/funk unit fronted by East Side vocal legends Little Willie G. (of Thee Midniters) and Lil’ Ray.
But Land of 1000 Dances — the product of nearly a decade of research and production — is the most in-depth overview ever assembled of what is familiarly known as the “West Coast East Side Sound.” The eruptive music that launched a thousand low riders down Whittier Boulevard is chronicled through the story of the music’s most prominent and prolific label.
Eddie Davis, who was previously an aspiring singer and Los Angeles restaurateur (“I cooked a lot of hamburgers to make those records,” he said in 1960), found initial music biz success in 1963 with “Farmer John,” a rowdy live-in-the-studio remake of Don & Dewey’s 1959 R&B hit by the Mexican-American group The Premiers. That local smash was issued under his Faro banner, but Rampart would soon become the principal outlet for his musical discoveries.
In his introductory essay, Luis J. Rodriguez — former poet laureate of Los Angeles and author of the bestselling memoir Always Running — says Rampart was Davis’ “dream … of a Motown for Chicano performers.”
Featured among the collection’s 79 tracks (all pristinely mastered by Mark Wheaton) are the original hits of East L.A.’s breakout band Cannibal & the Headhunters, whose pounding 1965 cover of Chris Kenner’s “Land of 1000 Dances” rose to No. 30 on the American singles chart. The quartet went on to appear as the opening act on The Beatles’ ’65 tour, which included legendary stops at Shea Stadium in New York and the Hollywood Bowl.
Rampart’s dozens of 45s covered a bounty of other great music in a variety of styles, ranging through doo-wop, R&B, and soul into funky instrumentals and garage rock and through funk, disco, and Latin pop. Davis did not restrict himself to signing Chicano performers, and Rampart was also the home of many gifted African-American talents.
Among the gems heard on Land of 1000 Dances is “Hector Parts 1 & 2,” a double-barreled, organ-driven instrumental by the Village Callers, which was heard on the soundtrack to Once Upon a Time … In Hollywood, Quentin Tarantino’s hit summer film starring Leonardo DiCaprio and Brad Pitt.
Other top-flight Rampart acts surveyed include the storming, horn-driven garage soul unit The Blendells, whose cover of Stevie Wonder’s single “La La La La La” is a crate digger classic; R&B foursome The Atlantics, whose lineup included future ’70s love man Barry White; soul balladeer Ron Holden; The Soul-jers, the military-garbed duo of former Mixtures vocalists Philip Tucker and Delbert Franklin; Motown-styled vocal quartet the Four Tempos; Latin songstresses Didi Scorzo and Graciela Palafox; and funk/disco pioneers Eastside Connection.
Hector Gonzalez, bassist of Eastside Connection, has overseen Rampart’s assets since Eddie Davis’ death in 1994 and co-produced Land of 1000 Dances with Michael Minky.
Deep background on Rampart’s acts and such behind-the-scenes players as key producer-manager Billy Cardenas is supplied in a thoroughly researched historical essay written by the late Los Angeles critic, journalist, and music historian Don Waller, author of The Motown Story.
The first discography of Rampart’s single releases brings together complete recording information on the label’s 45 rpm output. A special 38-page “Rampart on the Road” portfolio features rare photos and memorabilia of tour and East L.A. appearances by Cannibal & the Headhunters (who are seen in hitherto unpublished snapshots with The Beatles) and other performers.
Today, the legacy of Rampart Records can be heard in the work of such Grammy-winning East L.A.-bred artists as Los Lobos and La Santa Cecilia. Land of 1000 Dances affords the deepest look available at a sound that broke out of the barrio to rule the charts.

Tuesday, February 12, 2019


Mark your calendars because you won't want to miss this show!!

On March 17, 2019 The Fabulous Blue Satins return to the stage at Stevens Steak And Seafood House in the City Of Commerce, California.

Vocalists that night will be Tameron Gennae and Gilbert Stokes and the band will feature Bobby Loya on trumpet.

From 1963 to 1967, the Blue Satins were one of the hottest bands on the Eastside scene. They performed at some of the biggest venues and appeared on local television shows, 9th Street West, Shebang and the Lloyd Thaxton Show.

In 1963 the band recorded "You Don't Know Me" and "My Wife Can't Cook" for the Scarlet label. Please see my post EASTSIDE BANDS - THE BLUE SATINS.

WHERE: Stevens Steak And Seafood House
                 5332 Stevens Place
                 Commerce, California 90040

WHEN: March 17,2019

Ticket Sales: 909-921-1450

Doors open at 3:00 PM
Buffet at 4:00 PM

Your chance to see a legendary Eastside Band perform live!!

For more information on the band please visit their home page:

Monday, December 3, 2018


If you just started collecting the Eastside Sound or wanted a single LP which gave you an overview of this genre of music then this is a must have.

Released in 1983 on the Zyanya label and distributed by Rhino Records, The History Of Latino Rock Volume 1 (1956-1965) The Eastside Sound is a compilation album featuring the biggest stars to come out of the East Los Angeles area. The LP contains 16 dynamite tracks.

From the early artists Little Julian Herrera and Ritchie Valens to the early bands The Blendells, The Romancers and The Premiers to big acts Thee Midniters and Cannibal & The Headhnters all the big names are here on one album.

The front cover features a photo of the legendary Paramout Ballroom where many of these acts performed, The back cover features many rare photos of the artists.

Two of my favorites tracks are the Eastside classics "Queen of My Heart" by Rene and Ray and "Darling (Please Bring Your Love)" by the Salas Brothers.



1. Ritchie Valens - La Bamba
2.Chan Romero - Hippy Hippy Shake
3. Little Julian Herrera - Lonely, Lonely Nights
4. The Blendells - La La La La
5. Thee Midniters - That's All
6. Rene and Ray - Queen Of My Heart
7. Ronnie And The Pomona Casuals - I Want To Do The Jerk
8. Ritchie Valens - Donna


1. Thee Midniters - Whittier Blvd
2. The Salas Brothers - Darling (Please Bring Your Love)
3. Little Ray - I Who Have Nothing
4. The Premiers - Farmer John
5. The Romancers - My Heart Cries
6. The Carlos Brothers - Tonight
7. The Velveteens - You've Broken My Heart
8. Cannibal And The Headhunters - Land Of 1000 Dances (extended version)



Tuesday, July 10, 2018



BAND MEMBERS: Little Willie G (Willie Garcia) - Vocals
                                  Lil' Ray (Ray Jimenez) - Vocals
                                  Lydia Amescua - Vocals
                                  Fawn Rymal - Vocals
                                  Stacy Rymal - Vocals

                                  Steve Gutierrez - Drums
                                  Alan D. Flores, Anthony "Beaver" Carroll - Bass
                                  Ray Montisanto - B-3 Organ

STUDIO MUSICIANS - The Wrecking Crew

In order to fully appreciate the message and historical significance of God's Children in relation to the Eastside Sound, a little ground work must be laid.

The late 1960's saw the assassination of some of our country's leaders, an escalated war in Viet Nam, unrest on educational campuses and a search by the youth of a generation to find answers to the questions of how to deal with life and it's daily battles,

The Beatles called out for "Revolution. The Temptaion's said it's a 'Ball Of Confusion" and Sly And The Family Stone asked us to take a "Stand"

The late 1960's also saw the formation of "super groups" like Crosby, Stills And Nash and Blind Faith. The Eastside Sound would form their own "super group" in the cast of God's Children.

In 1971, having previously been members of Thee Midniters, Willie Garcia and Ray Jimenez through a series of telephone conversations both agreed to work on a new project. Li' Ray brought a teenage girl with a big voice, Lydia Amesqua, raised up on the Latino vocal styles of the day, including those of Thee Midniters. It was Amesqua who named the band ("Because , well, we're all God's Children" as she said).

They would add two more female singers, Fawn and Stacy Rymal. Visually the group looked cool with long hair and dressing in the style of the day. So it was three girls and two guys for a total of five singers-a little like a Latino 5th Dimension.

God's Children began to blend doo wop, funk and choreography into a new brand of soulful sound.

Eastside music entrepreneur Eddie Davis booked studio time for God's Children and arranged for a 40-piece orchestra be present at the session. Soon the band was signed to the UNI label for more recording. This time Phil Spector's Wrecking Crew assisted at the sessions.

Two singles were released by Uni, but soon dealing with label hierarchy disillusioned the band members who went their separate ways. Little Willie G would join the progressive Latino rockers Malo. Amesqua continued performing live under the name Lydia Verdugo and ray still works regularly at his East LA studio.

Track 1 "Music Is The Answer"
              The title track composed by Little Willie G is a wah-wah/congas powered rocker. It stands
               as an anthem with the message that no matter what blows life throws at you that through
               music you can clear your mind, speak your mind and unite like minds for a good cause.

Track 2 "It Doesn't Make No Difference"
               This track is a bit of organ-powered garage pop teetering on psychedelia Written and sung
                Lil' Ray "the only thing that matters is what you're doing for yourself today"

Track 3 "If You Ever Go Away"
               Written by Lil' Ray and sung soulfully by Lydia Amescua could have been another single
               release. This version was recorded with the East LA band.

Track 4 "I Just Wish"
               Written and sung by Lil' Ray and calling for people to get together to make life better

Track 5 "Dream"
               A powerful spiritual ballad written and sung by Willie and Ray

Track 6 "Brown Baby"
               Written by Wilbert Wade and recorded by Willie G. It was released as a single in 1970 on                     the Gordo label. (Gordo 702). Backing vocals on this song were done by the Salas Brothers.

Track 7 "Hey Does Somebody Care"
               The A-side of the first Uni single recorded by God's Children. It became the theme song for
               the television series "Matt Lincoln" This track features the dueling voices of both Willie G
               and Lil' Ray and was produced by Eddie Davis and Mario Paniagua. Released in 1971.
               (Uni 55266).

The B-side of the Uni single is "Lonely Lullaby"

Track 8 "Lonely Lullaby"
               The B-side to the Willie G single "Brown Baby" written by Mario Paniagua and once again                 featuring the backing vocals of the Salas Brothers. (Gordo 702). Released in 1970.

Track 9 "Music Is The Answer"
               Featuring Will G with The Wrecking Crew

Track 10 "Music Is The Answer"
                 Instrumental by The Wrecking Crew

Track 11 "Put Your Head On My Shoulder"
                 Written and recorded by Paul Anka who had a major hit with it in 1959. God's Children
                 recorded it and it was released as the A-side of their second single by Uni in 1971.
                 (Uni 55266). It was a soul group's attempt at a pop song and it failed and probably helped
                 lead the to Willie and the group parting ways.

Track 12 "That's The Way God Planned It"
                 Originally written and recorded by Billy Preston in 1969, Willie G  does an inspiring
                  job on vocals and Uni used it as the B-side to God's Children's second single (Uni 55295)
                 released in 1971.

Track 13 "If You Ever Go Away"
                 Again Lydia Amesqua on vocal but this time backed by the Wrecking Crew.

Track 14 "If You Ever Go Away"
                 Instrumental by The Wrecking Crew

Also available in limited edition brown vinyl:

EDITORS NOTE: I highly recommend you pick up this anthology of the first full-length release
                               of these long lost 1971 recording sessions Not only for the historical treasures
                               that they are but also for listening pleasure.