VICTOR Y FINA Del Rio LP shrink La Guayabita Norteño Tejano Tex-Mex cumbia

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Artist:Victor y Fina
Format:Record
Material:Vinyl
Type:LP
Genre:Latin
Record Label:Del Rio
Record Size:12″
Style:1960s,Cumbia,Norteño,Rancheras,Tejano/Tex-Mex
Speed:33 RPM
Release Year:196?
Record Grading:Very Good Plus (VG+)
Release Title:Victor y Fina
Sleeve Grading:Very Good Plus (VG+)
Edition:First Pressing
Features:Regional/Private/Vanity Press
Country/Region of Manufacture:United States
Special Attributes:Regional/Private/Vanity Press
M/S/Q:Stereo
Number of Discs:1 Disc
Label Info:Clean!
Record Condition Comment:Looks and plays solid VG+ or Better
Sleeve Condition Comment:NO stickers,NO writing
Sleeve Condition Info:In partial shrink (intact but mostly split along the spine) small
Color:Black
Catalog Number:DDR-1525

Record: Very Good Plus (VG+) Looks and plays solid VG+ or Better Cover: Very Good Plus (VG+) NO stickers, NO writing Labels: Clean! Victor y Fina Victor y Fina 196? United States Del Rio DDR-1525 12″ 33 RPM Vinyl LP SB-59582 Victor y FinaVictor y Fina 196? United States Del Rio 12″ LP Vinyl RecordHard to Find Original Early ReleaseConditionVinyl: Very Good Plus (VG+) Looks and plays solid VG+ or BetterSleeve: Very Good Plus (VG+) In partial shrink (intact but mostly split along the spine) small hole punch at upper right front, and minor wear at lower opening corner. The back has a small round stamp at lower right corner NO stickers, NO writingPlease see item specifics section above for more details Tracks:Victor Y Fina ‎– Victor Y Fina Label: Del Rio ‎– DDR-1525, Del Rio ‎– DRLP 525 Format: Vinyl, LP, Album Country: US Released: Genre: Latin Style: Ranchera, Tejano, Cumbia, Bolero, Norteño Tracklist A1 Desconfianza A2 Yo Compositor A3 Amorcito Corazon A4 Una Vez Mas A5 Ojitos Traviesos B1 Dejame Vi Vir B2 Sere B3 Te Adore Y Te Adore B4 10 Años B5 La Guayabita Companies, etc. Distributed By – Marsal Productions Inc. VICTOR Y FINA Del Rio LP shrink La Guayabita Norteño Tejano Tex-Mex cumbia Victor Y Fina Real Name: Víctor y Fina Profile: Mexican norteño duo, based in Corpus Christi, TX. Mexican-American border music was also proving to have a profitable regional market, so some of the major race labels began recording Tejano artists. Most of the early recordings of Mexican Americans were done in Los Angeles and Mexico. In the late 1920s some labels on their recording tours through Texas brought a few Tejano artists to their sessions in San Antonio, most notably accordionists Bruno Villareal and José Rodríguez, both from the San Benito area. The vocal duet of Pedro Rocha y Lupe Martínez, La Orquesta Típica, and El Cuarteto Carta Blanca were also recorded in the late 1920s. In 1928 the great Lydia Mendoza, with her family troupe Cuarteto Carta Blanca, made her first recording, for OKeh Records. Recordings of Mexican-American music increased in the 1930s, with Tejano artists occupying more of the recording slots at the temporary studios in Texas. One of the Victor–Bluebird San Antonio sessions in 1934 recorded Octavio Mas Montes, Los Hermanos Chavarria, Gaytán y Cantú, Trio Texano, Pedro Rocha y Lupe Martínez, Bruno Villareal, Los Hermanos San Miguel, and Rafael Rodríguez. Lydia Mendoza left Okeh Records and began recording on the Bluebird label in 1934. An extremely popular singer worldwide, she recorded more than 200 songs for them by 1940. Accordionist Santiago Jiménez, Sr., made his first recordings in San Antonio on the Decca label in 1936. He later switched to Victor because they paid $75 per recording and Decca only paid $21. Also in 1936, Narciso Martínez, accompanied by his bajo sexto player Santiago Almeida, of Skidmore, Texas, recorded twenty titles in one session. These recordings on the Bluebird label cemented the use of the bajo sexto, a Mexican double-coursed twelve-string bass guitar, as the preferred rhythm instrument with the accordion, replacing the traditional tambora de rancho, a drum that drowned out the accordion on recordings. Martínez had lived for a while near Corpus Christi among many Bohemians, Czechs, and Germans. He was among the first to blend the European and Mexican accordion styles, along with Camilo Cantú of Central Texas and Santiago Jiménez, who was doing the same in San Antonio. Martínez’s recordings for Bluebird began the popularization of the conjunto style and were distributed worldwide. They were well-received in many places, except Mexico City, where music from « El Norte » was frowned upon at the time. Sadly, even though he is in the Conjunto Hall of Fame, Camilo Cantú was never recorded and his music is lost. During the 1930s a clear difference in styles evolved between the border music of California and Texas. The popularity of the recordings from Texas helped to establish the Texas-Mexican conjunto as a genre of its own. Contributing to this style was another San Antonio musician, Adolph Hofner, who recorded there for OKeh and Columbia. His band, Adolph Hofner and the San Antonians, played western swing mixed with Czech and German polkas. TEXAS-MEXICAN CONJUNTO. The Texas-Mexican conjunto, a genre of música norteña, has evolved since the turn of the century as an important musical form developed by Texas-Mexican working-class musicians, who adopted the accordion—the main instrument in conjunto music—and the polka from nineteenth-century German settlers in northern Mexico. The conjunto grew out of the cultural links between Texas and northern Mexico at the end of the nineteenth century, when inexpensive one-row accordions became readily available. Tejano musicians took up the accordion as a solo instrument and used it at rural social events such as the fandango, a combination of dancing, eating, gambling, and other merriment, which remained a part of Tejano working-class life to the end of the nineteenth century. In the late 1890s the musicians began to pair the accordion with the tambora de rancho (a homemade goatskin drum) and later the bajo sexto (translating as « sixth bass »—an acoustic twelve-string version of a bass guitar). Narciso Martínez has been called the « father » of the modern conjunto for promoting the accordion and the bajo sexto and for his unparalleled creativity as an accordionist. Martínez, also known as « El Huracán del valle » (« The Hurricane of the Valley ») for his musical virtuosity, became a wizard of the two-row accordion in the 1930s. Santiago Jiménez, Sr., of San Antonio was another outstanding accordionist of this formative period. He contributed one innovation to the conjunto by adding a tololoche (contrabass), which, however, did not become a standard feature of the ensemble until the 1940s and was replaced with the electric bass in the late 1950s. Valerio Longoria, one of the foremost conjunto musicians of the 1940s and 1950s, combined his vocal talent with his accordion playing, and his repertoire increased interest in accordion-accompanied singing. Tejana singers also came to the fore in the 1930s with Lydia Mendoza. Female duets, which were popular by the early 1950s, were often accompanied by the increasingly popular accordion. One record featured Martínez on accordion with Mendoza and the famous Tejana duet Carmen y Laura as vocalists. Valerio Longoria Valerio Longoria, ca. 1997. Conjunto accordionist Longoria recorded more than 200 songs during his sixty-year career and was inducted into the Tejano Conjunto Music Hall of Fame in 1982. UTSA Libraries Special Collections, No. 97-225. The vocals Longoria incorporated were called canciones rancheras (« ranch songs »). They became standard features of the conjunto. Rancheras are still sung in the slow (waltz) or fast (polka) tempo. Longoria shaped the modern conjunto in several other ways. He added the bolero, previously considered a part of « genteel » music because of its regal pace. This addition resulted in more intricate singing because vocalists in the bolero were required to use harmony and rhythm with more acumen. Also, the conjunto audience’s acceptance of the bolero signified growing musical sophistication. Longoria altered the accordion’s reeds to give it a distinctive sonido ronco (« hoarse sound ») and was the first to use drums in the ensemble, a change considered the most « radical innovation » in conjunto music. With these alterations, as well as the addition of amplification, the modern conjunto was established as a four-instrument band: accordion, bajo sexto, electric bass, and drums. Steve Jordan Esteban “Steve” Jordan, “El Parche,” integrated traditional Mexican folk with jazz, blues, and rock-and-roll to create his own innovative accordion style. Photograph by Clayton T. Shorkey, Texas Music Museum. Since the 1960s the Texas-Mexican conjunto has grown in prominence among Hispanics throughout the state, particularly in San Antonio, Austin, Alice, and Corpus Christi. Conjuntos headed by Paulino Bernal, Roberto Pulido, Ruben Vela, and Leonardo (Flaco) Jiménez gained stature during this era. A few innovations have occurred. Paulino Bernal and Esteban Jordan imbued their conjuntos with their unique personal styles. Bernal augmented his group’s sound by including three-part vocals, and Jordan, who criticized conjuntos for their rigid attachment to the traditional polka approach, blended other musical forms, including jazz, into his playing style. By 1990 he was considered the leading individual experimenter in the new conjunto sound. Other groups, such as Inocencia and Emilio Navaira and Rio, took Jordan’s vision to heart and added saxophones, keyboards, and synthesizers to their sound. Their resulting music, called conjuntos orquestal, gained popularity and has been performed in the important annual Tejano Conjunto Festival in San Antonio. The Texas Tornados The Texas Tornados (front of stage, left to right) Augie Meyers, Doug Sahm, Freddy Fender, and Flaco Jiménez. Other longtime band members include Speedy Sparks (bass), Oscar Tellez (bajo sexto), Ernie Durawa (drums), and Louie Ortega (guitar). Photograph by Dan Flores, Ernie Durawa Collection, Wittliff Collections, Texas State University. In the 1990s the Texas-Mexican conjunto drew even more general interest. Flaco Jiménez, the son of Santiago Jiménez, played in Europe. He also added the conjunto beat to other popular music by teaming up with other musicians, including the Texas Tornados. Their « Soy de San Luis » received a Grammy in 1991. Conjunto, despite its Spanish lyrics, thus found new audiences. The conjunto’s distinctively rousing delivery of its trademark música alegre (« happy music ») has seemingly transcended ethnic and language barriers. The annual Tejano Conjunto Festival in San Antonio and the Conjunto Music Hall of Fame, along with the Tejano R.O.O.T.S. Hall of Fame Museum in Alice, as well as the Texas Conjunto Music Hall of Fame and Museum in San Benito, have also increased its prestige. Lydia Mendoza “Queen of Norteña” Lydia Mendoza, earliest recognized Tejana singer. Photo © by Chris Strachwitz, Arhoolie Records (www.arhoolie.com). Since 1982 the Conjunto Music Hall of Fame has recognized the achievements of more than sixty conjunto musicians or promoters, including Narciso Martínez, Tony de la Rosa, and Juan Viesca. In 1991 it inducted Lydia Mendoza. Although the role of women in conjuntos has been mostly limited to singing, accordionists Eva Ybarra and Lupita Rodela garnered critical and public recognition, and Tejanas have achieved growing prominence in the early twenty-first century. Grupo Imagen from Corpus Christi, for example, formed in 2013 and was heralded as the first all-female conjunto band. They took part with other Tejanas as performers in the “Women in Conjunto Music Tardeada Showcase” at the 2015 Tejano Conjunto Festival. Many major conjunto musicians have worked alongside their audience as fieldworkers or common laborers, composing and playing music in their free time, often for meager compensation. Música alegre brought cheer. Some made their careers playing the « taco circuit, » the public dances organized along the roads that Texas-Mexican cottonpickers followed to the harvests. Although individuals propelled conjunto music to new stages, the conjunto phenomenon emerged from a « collective folk » tradition to which many individuals contributed. By the end of the twentieth century the Texas-Mexican conjunto had emerged as a distinct musical form that, like the corrido and orquesta, was the product of a few acclaimed and countless uncelebrated border musicians. With the 2001 publication of ¡Puro Conjunto! An Album in Words and Pictures, the contributions of the Texas-Mexican conjunto to the music and culture of the Lone Star State received long overdue attention by major scholars and writers. Among the least-known music scenes ever to thrive in America is the multiracial, multicultural music made on San Antonio’s West Side from the early ’60s to the mid ’70s. The only national star it produced was Doug Sahm, one of the few Anglos on the scene. But there were lots of bands and lots of records. Very little of it has been collected on reissues yet, but rock historian Ed Ward takes a look at two releases that open a small window on this music. (SOUNDBITE OF SONG, « I’VE GOT SOUL ») ROYAL JESTERS: (Singing) People ask me how I do it. Sing my heart out – ain’t nothing to it. I’ve got soul. And I’ve got soul. ED WARD, BYLINE: San Antonio’s West Side is historically the black and Chicano neighborhood in the sprawling city, dominated by the Tex-Mex culture that’s been the city’s calling card since its inception. Music, for many years, meant mariachi or norteno, traditional forms tweaked commercially and recorded on labels like Falcon and Sombrero. But with the rise of Motown, some of the younger musicians decided to experiment. They’d always loved doo-wop music, and this was the same thing, they reckoned, only with horns. So if an all-Chicano band like the Royal Jesters wanted to declare that they had soul, nobody would argue. Of course, the labels recording rancheras weren’t going to go for it, but fortunately, San Antonio had Abe Epstein, a real-estate mogul and one-time performer who plowed his profits into a series of increasingly less successful labels. The only one that lasted was Dynamic, which was open to all the talent in town, some of which was Chicano. (SOUNDBITE OF SONG, « AIN’T NO BIG THING ») LITTLE JR. JESSE AND THE TEARDROPS: (Singing) Ain’t no big thing. Ain’t no big thing. Ain’t no big. Ain’t no big thing. I – I’ve got a feeling that I am losing you. Oh, what’s the use? Why worry when there’s nothing I can do. Ain’t no big thing. Ain’t no big thing. WARD: Little Jr. Jesse and the Teardrops were listed on their records as Texas’ fastest upcoming band. And the 10-piece aggregation was very popular around town. But Dynamic’s biggest group came about in 1966 due to Randolph Air Force Base where three black guys and a New York-raised Puerto Rican guy formed The Commands. (SOUNDBITE OF SONG, « NO TIME FOR LOVE ») THE COMMANDS: (Singing) It’s been a long time since I’ve held you in my arms. An even longer time girl, since I’ve felt – felt your magic charm. But oh, oh, you did me wrong. And now you say you want to come back, oh, but I’ve got no, no, no, no time. Baby, baby, you best believe me when I say that I’ve got no time for you. WARD: « No Time For You » got lots of airplay in San Antonio, going to number one on all the local stations. And for a while, it looked like the record would go national. But Abe Epstein just didn’t have the juice to parlay it into a bigger hit, although he mailed copies to every record company he could think of. The only thing that came of it was that some months later a group in Cleveland called The O’Jays recorded it. It wasn’t a hit for them either. He did have the sense to sign good talent to all his labels, and in 1964, he’d signed the Royal Jesters, who’d met in high school and started recording in 1959. By 1964, they’d evolved into a nine-piece band and realizing they weren’t getting paid by Epstein, formed their own label, Jester. The Jesters were different, proudly mixing Spanish language tunes with what they called English oldies, songs with English lyrics and a soul backing. They weren’t really oldies, some of them were cover versions of recent hits while others were originals. (SOUNDBITE OF SONG, « LET’S KISS AND MAKE UP ») ROYAL JESTERS: At first, we were so happy, as happy as could be. Then you left me for a friend and went away with him. Well, now, let’s kiss, kiss, kiss and let’s make up. And start all over, all over again. I can’t go on this way… WARD: The Royal Jesters were one of the city’s top live acts and had a large repertoire. There were the usual rockers, but their audiences particularly liked the slow numbers, over-the-top romantic and suitable for getting close to your date. (SOUNDBITE OF SONG, « I WANT TO MEET HER ») ROYAL JESTERS: (Singing) I want to meet her. I want to meet her. (Unintelligible) but I’ll call a shot, and I can’t say hello. But I should try. She’s just the kind of girl I’d like to know. I want to meet her. I want to meet her. WARD: As the ’70s moved in, though, two trends emerged, both of which could have hurt the Jesters, but which they attempted to incorporate into their sound. The first, which they didn’t do too well with, was disco. The second was Chicano pride, and there, the Jesters found the key to their future. (SOUNDBITE OF SONG, « SPANISH GREASE ») ROYAL JESTERS: (Singing in Spanish). Ain’t got nobody, no one I can get. Ain’t got nobody, no one I can get. WARD: Like many of their contemporaries – Little Joe y La Familia and Sunny and the Sunliners come to mind – they eventually became an all-Spanish Chicano show band and lasted until disco ate all the local venues they’d once played in. Many of the Jesters have died, but there have been a couple of bittersweet reunions in recent years, and San Antonians of a certain age still remember them fondly. As for Abe Epstein, he finally gave up on the music business and settled for becoming a multi-millionaire when San Antonio had its inevitable boom. He died in 2012. GROSS: Ed Ward lives in Austin. The music he played came from two releases, Royal Jesters, « English Oldies » and « Eccentric Soul, » the Dynamic label. Tomorrow on FRESH AIR, I’ll talk with Dr. Vincent DeVita, author of the new book, « The Death Of Cancer. » He shares credit for developing the combination chemotherapy regimen that cures most cases of Hodgkin’s lymphoma. He became the director of the National Cancer Institute, the physician-in-chief at Memorial Sloan-Kettering Cancer Center and is now a professor of medicine at Yale School of Medicine. Dr. DeVita was diagnosed with cancer in 2009. I hope you’ll join us. Transcript provided by NPR, Copyright NPR. Call it San Antonio’s West Side Sound, Chicano Soul, West Side Soul, doo-wop with horns, whatever you call it, San Antonio was the site of a musical mash up, a cultural clash and sound synthesis that is resonating decades after its 60s and mid-70s creation. Bands like « Sonny Ace & The Twisters, » « Rudy Tee & The Reno Bops, » « Little Henry & and The Laveers, » are just a few of the bands that made up a very popular but highly localized scene. Jason Longoria, owner of El Westside Sound System says the music is still with us. « The sound is still here the guys are still around and the records can still be dug up. They’re just getting a little harder to find, I think. » Longoria, himself a sometimes club DJ can rattle off venues still hosting the players and DJs of today, himself included, who are playing the 45s as part of their sets and people love it, he says. Despite people like Doug Sahm talking about it and playing with it at its height, and some of the more popular bands playing American Bandstand, the sound didn’t make it into the mainstream. « It’s a recent discovery for most people, » says Fresh Air Rock Music Critic Ed Ward. « I liked the stuff and I was wondering how come nobody’s picked up on this? » Ward admits he himself came to it late. Ward recently penned a review of San Antonio’s « horn-infused doo-wop » for NPR. Doug Sahm documentarian Joe Nick Patoski says that the San Antonio sound is very distinct. « It has a sour-note twist to it that makes you think of mariachis, but it’s based on rhythm and blues. And it’s Chicanos doing the music and it sounded like nowhere else. » The music of San Antonio’s Westside is enjoying a revival of sorts. Will it last? Tejano music is a popular music style fusing Mexican, European, and U.S. influences.[1] With elements from Mexican-Spanish vocal traditions and Czech and German dance tunes and rhythms,[2][3]traditionally played by small groups featuring accordion and guitar. Its evolution began in northern Mexico (a variation known as norteño)[4] and Texas in the mid-19th century with the introduction of the accordion by German, Polish, and Czech immigrants. It reached a much larger audience in the late 20th-century thanks to the explosive popularity of the artist Selena (referred to as « The Queen of Tejano »), and others. Contents Origins Europeans from Germany (first during Spanish time and 1830s), Poland, and what is now the Czech Republic migrated to Texas and Mexico, bringing with them their style of music and dance. They brought with them the waltz, polkas, and other popular forms of music and dance. However it was not until the Mexican Revolution (1910–1917) that forced many of these Europeans to flee Mexico and into South Texas, that their musical influence was to have a major impact on Tejanos. At the turn of the century, Tejanos were mostly involved in ranching and agriculture. The only diversion was the occasional traveling musician who would come to the ranches and farms. Their basic instruments were the flute, guitar, and drum, and they sang songs that were passed down through the generations from songs originally sung in Mexico. One of these musicians was Lydia Mendoza, who became one of the first to record Spanish language music as part of RCA’s expansion of their popular race records of the 1920s. As these traveling musicians traveled into areas where the German Texans, Poles, and Czechs lived, they began to incorporate the oom-pah sound into their music. Narciso « El Huracan del Valle » Martinez, known as the « Father of Conjunto Music », defined the accordion’s role in conjunto music. Central to the evolution of early Tejano music was the blend of traditional forms such as the corrido and mariachi, and Continental European styles, such as polka introduced by German, Polish, and Czech settlers in the late 19th century.[5] In particular, the accordion was adopted by Tejano folk musicians at the turn of the 20th century, and it became a popular instrument for amateur musicians in Texas and Northern Mexico. Small bands known as orquestas, featuring amateur musicians, became a staple at community dances. Early inceptions of tejano music demonstrated musical innovation, but also a socially and culturally innovation in themes that countered narratives of dominant culture.[6] Norteño/conjunto accordion pioneer Narciso Martínez learned many tunes from German, Polish and Czech brass bands and transposed them to his accordion.[7] Martínez gave accordion playing a new virtuosity in the 1930s, when he adopted the two button row accordion. At the same time, he formed a group with Santiago Almeida, a bajo sexto player. Their new musical style known as conjunto soon became the popular music of the working-class Tejano. Artists Flaco Jiménez and Esteban Steve Jordan carried on Martinez’s tradition of accordion virtuosity and became a fixture on the international World Music scene by the 1980s. In the 1950s and 1960s, rock and roll and country music made inroads, and electric guitars and drums were added to conjunto combos. Also, performers such as Little Joe added both nuances of jazz and R&B, and a Chicano political consciousness. The 1960s and 1970s brought a new fusion of cultures and the first La Onda Tejana Broadcasters. Popular Tejano musician and producer Paulino Bernal of the Conjunto Bernal discovered and introduced to the Tejano music scene the norteño band Los Relampagos del Norte with Ramón Ayala and Cornelio Reyna on his Bego Records. Ayala still enjoys success on both sides of the border. Reyna enjoyed a very successful career as an actor and solo singer and resurfaced in the Tejano scene with a major hit with his collaboration with Tejano band La Mafia. He toured constantly until his death. In the 1960s and 1970s, the first La Onda Tejana broadcasting pioneers hit the airwaves including Marcelo Tafoya (first recipient of the Tejano Music Awards « Lifetime Achievement Award), Mary Rodriguez, Rosita Ornelas, and Luis Gonzalez, shortly followed by an influx of broadcasters including the Davila family of San Antonio. This central Texas support by popular broadcasters helped fuel La Onda. In 1987, Gloria Anzaldúa wrote: The whole time I was growing up there was norteño music sometimes called North Mexican border music, or Tex-Mex music, or Chicano music, or cantina (bar) music. I grew up listening to conjuntos, three or four-piece bands made up of folk musicians playing guitar, bajo sexto, drums and button accordion, which Chicanos had borrowed from the German immigrants who had come to Central Texas and Mexico to farm and build breweries. In the Rio Grande Valley, Steve Jordan and Little Joe Hernández were popular, and Flaco Jiménez was the accordion king. The rhythms of Tex-Mex music are those of the polka, also adapted from the Germans, who in turn had borrowed the polka from the Czechs and Bohemians. […] I grew up feeling ambivalent about our music. Country-western and rock and roll had more status. In the 50s and 60s, for the slightly educated and agringado Chicanos, there existed a sense of shame at being caught listening to our music. Yet I couldn’t stop my feet from thumping to the music, could not stop humming the words, nor hide from myself the exhilaration I felt when I heard it.[8] La Onda popularity continued to surge in the early to mid-1980s with the fusion progression of Tejano music coming to the forefront regionally with Tejano ballads like Espejismo’s hit « Somos Los Dos », written and sung by McAllen native Rudy Valdez, and La Sombra with their Tex-Mex English and Spanish brand of Tejano. As the 1990s dawned, La Mafia, already holding over a dozen Tejano Music Awards, originated a new Tejano style later to become a Tejano standard. La Mafia combined a pop beat to the popular Mexican cumbia and achieved success never before seen in the Tejano industry, becoming the first Tejano artist to sell over one million albums with Estas Tocando Fuego in 1992.[citation needed] With extensive touring from as early as 1988, they eventually opened the doors for such artists as Selena Quintanilla, Emilio Navaira, Jay Perez, and Mazz. Electronic instruments and synthesizers increasingly dominated the sound, and Tejano music increasingly appealed to bilingual country and rock fans. In the wake of her murder, Selena Quintanilla’s music received attention from a mainstream American audience as well. Quintanilla, known as « The Queen of Tejano Music », became the first female Tejano artist to win a Grammy and her Ven Conmigo became the first Tejano album by a female artist to be certified gold. Since the end of the 20th century, Tejano has seen a decline of dedicated radio stations across the USA, due to several factors. Among these is the success of Intocable. As a result, many radio stations across the U.S., especially in Texas, have converted to Norteño/banda. This has caused Tejano internet radio to become popular.[9] Elements Elida Reyna Tejano music was born in Texas. Although it has influences from Mexico and other Latin American countries, the main influences are American. The types of music that make up Tejano are polka, pop, rock, R&B, and the Latin influences of norteño, mariachi, and Mexican cumbia. Contemporary classic Tejano artists such as Emilio and Raulito Navaira, Albert Zamora, David Lee Garza, and Jay Perez exhibit influence from rock, blues, funk, and country. Tejano has various categories of music and bands. Three major categories are conjunto, orchestra/orquesta, and modern. A conjunto band is composed of accordion, bajo sexto, electric bass, and drums. Examples of conjunto bands are Esteban « Steve » Jordan, The Hometown Boys, and Jaime y Los Chamacos. An orchestra/orquesta consists of bass, drums, electric guitar, synthesizer, and a brass section on which it relies heavily for its sound. It can also have an accordion in the band at times. An example of an orchestra is Ruben Ramos and the Texas Revolution, The Liberty Band, and The Latin Breed. A modern Tejano band consists of synthesizers, drums, electric guitar, bass, and at times an accordion. It relies heavily on the synthesizer for its sound. Some examples of Modern bands are La Mafia, Selena Quintanilla, La Sombra, Elida Reyna y Avante, Los Palominos, Gary Hobbs, David Lee Garza y Los Musicales, Shelly Lares, Jay Perez, and Mazz. Other categories consist of Progressive, Pop and Urban Tejano music. All of these categories are classified as Tejano. Bobby Pulido at The Laredo Coliseum in February 2016. With the keyboard, drums and bajo sexto, Tejanos now had a sound they could begin to call their own. In the 1940s, Valerio Longoria introduced lyrics to conjunto music, further establishing the Tejano claim to this new sound. Tejano music did retain some of its roots in the old European styles. Polkas and waltzes were still popular, and also popular was the German habit of dancing in a circle around the dance floor. It can also be noted that country & western is also danced in the same manner, but only in Texas. In the 1950s, Isidro Lopez further revolutionized the Tejano sound by emphasizing less on the traditional Spanish that Valerio used and using the new Tex-Mex instead. This created a newer sound and took us one step close to the sound we have today. In the 1960s and 70s Little Joe and the Latinairs, later renamed La Familia, The Latin Breed, and others infused the orchestra sound into the Tejano sound, taking their influences from the Pop, R&B and other forms of music. In the late 70s and early 80s, there was a new sound emerging with up-and-coming groups like McAllen’s Espejismo, led by songwriter/lead singer Rudy Valdez, and Brownsville natives Joe Lopez, Jimmy Gonzalez and Mazz introduced the keyboard sound to Tejano which was influenced by the disco sound of the era. During that period, La Mafia became the first Tejano band to put on rock-style shows for their generation. In recent years, there has been an increasing Mexican influence on Tejano music resulting in a sound more like Norteño. The accordion, while a historically popular instrument in Tejano music, has gone from a secondary instrument to a must-have instrument. Today, groups like Jaime y Los Chamacos, Albert Zamora y Talento, Sunny Sauceda, Eddie Gonzalez, and La Tropa F emphasize the accordion. Michael Salgado At the turn of the 21st century, Tejano influence has declined in part due to decreased promotion, the rise in Regional Mexican and other Latin music, the breakup or retirement of established performers, and the emergence of few new performers. Most Tejano artists who performed throughout the 1990s during the music’s peak who are still performing today have rarely played to the same wide attention in recent years. Regardless, today’s Tejano music, while far more pop-oriented than its Depression-era roots, is still a vital regional musical style in several Tejano communities as well as in other parts of the United States. Music industry During the Post World War II years, local and regional companies emerged to record and market Tejano music. Key factors that influenced the production of Tejano music can be attributed to a diversifying American culture and greater socioeconomic opportunities enabled Mexican American musicians to perform and record music for regional audiences. Early popular forms of Tejano music in the form of female duets and orquesta tejana of the 1940s later influenced the development of Tex-Mex style of the 1950s, and La Onda Chicana (The Chicano Wave) of the 1960s.[10] The growing popularity of accordion based music and « homegrown » records directly influenced the need for Tejano record producers and labels. Record companies such as Discos Ideal established in San Benito, Texas in 1947 and Freddie Records established in Corpus Christi, Texas in 1970 are among the most prolific in producing conjunto style music. Freddie Records, named after founder, Freddie Martinez, Sr. has remained a key figure in the production of Tejano music well into the 21st century. Influence The term « Tex-Mex » is also used in American rock and roll for Tejano-influenced performers such as the Sir Douglas Quintet and the Texas Tornados (featuring Flaco Jiménez, Freddy Fender, Augie Meyers, and Doug Sahm), Los Super Seven, Sam the Sham and the Pharaohs, Los Lobos, Latin Playboys, Sunny and the Sunliners, Louie and the Lovers, The Champs, Ry Cooder, Calexico, The Mars Volta, Los Lonely Boys, The Mavericks, Son de Rey, and Selena y Los Dinos. Texan accordion music has also influenced Basque trikitixa players. Contemporary Swedish-American composer Sven-David Sandström has incorporated Tejano stylings in his classical music. Tejano and conjunto music is so popular that organizations such as the Guadalupe Arts Center in San Antonio, Texas hold annual festivals every year. The performers have included legends such as Flaco Jimenez, conjunto groups from around the world, and contemporary artists. Victor y Fina Victor y Fina 196? United States Del Rio DDR-1525 12″ Cover: Very Good Plus (VG+) NO stickers, NO writing In partial shrink (intact but mostly split along the spine) small hole punch at upper right front, and minor wear at lower opening corner. The back has a small round stamp at lower right corner Record: Very Good Plus (VG+) Looks and plays solid VG+ or Better Labels: Clean! SB-59582This exquisite slice of retro music history is a vinyl sound recording (not a CD). Please reference Item Specifics above for additional detail. Strict Goldmine grading — Over 26 years on Ebay! Combine Items to Save $$$! ©A Sound Deal Powered by SixBit’s eCommerce Solution

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