Los Lobos is just another band from East Los Angeles, California. The original quartet all attended the same high school; Louie Pérez and David Hidalgo were in the same graduating class at Garfield High School, and bonded over a mutual interest in lesser known musical artists such as Ry Cooder and Randy Newman. Conrad Lozano and Cesar Rosas were already a year or two out of school, and playing in local bands. Like most aspiring young American musicians, they listened to the diverse sounds of the late sixties and early seventies, perhaps the peak era for creativity and growth for guitar-based popular music. British greats The Rolling Stones and The Beatles, soul musicians James Brown and Sly & The Family Stone, and guitar virtuosos Eric Clapton and Jimi Hendrix were among the influential artists of the era. For young men growing up in the Chicano neighborhoods of East Los Angeles, local stars Ritchie Valens and Thee Midniters served as inspiration, in a town with a rich musical heritage. Though they played modern music in their own bands, the four young men who would become Los Lobos forged their long partnership by learning traditional Mexican folk music together.
Conrad Lozano (b. 1951), bass, guitarron, vocals
David K. Hidalgo (b. 1954), guitar, accordion, vocals, songwriter, multi-instrumentalist
Cesar Rosas (b. 1954), guitar, bajo sexto, vocals, songwriter
Steve Berlin (b. 1955), saxophone, keyboards
Louis Pérez (b. 1953), guitar, jarana, percussion, vocals, songwriter
Three drummers who have contributed to the band are:
The band spent many hours at Cesar’s house, listening to his mother’s record collection for study, and learning the intricacies of this complex music. The band began to perform at local social functions in 1973:
After lots of living room rehearsals they played at that Florence tardeada/tamalada. The response was amazing and overwhelming for both the audience and the guys. Here were five hippie-looking Chicanos playing for an audience that ranged from teenagers to gray-haired abuelitas. The grandmothers were amazed. Tears welled up in their eyes to hear the music of their heart being played by these youngsters. It was a sign that the musical legacy of Mexico would be perpetuated, albeit with a new, creative, universally appealing twist. Dave recalls, “At that point, we knew we had hit on something.”¹
In its early inception, the fifth band member was Francisco Gonzalez, a gifted harp and mandolin player. In this 1975 documentary video, Gonzalez has a dominant role as lead singer and band spokesperson. The highlights are the introduction, where Gonzalez explains the band’s motivation for learning the traditional songs, and the performance of “Sabor A Mí” at about 10:30 into the documentary.
Small “p” Politics
In 1976, Los Lobos del Este de Los Angeles was recruited to provide the music for Sí Se Puede, a charity album for the United Farm Workers of America. In 1978, they produced their eponymous first album, which sold a limited number of copies. By then, Francisco Gonzalez had left the group. In the future, he would serve as the musical director for El Teatro Campesino, a theatrical troupe that served as the cultural arm of the United Farm Workers, and a teacher of son jarocho, a musical style from the Mexican state of Veracruz.
Little has been written about Los Lobos; to date, no comprehensive biography exists. However, the band’s role in the growing Chicano movement of the sixties and seventies was analyzed in Stevan Cesar Azcona’s book Movements in Chicano Music: Performing Culture, Performing Politics, 1965-1979. Azcona concludes that Los Lobos, who spoke English as a first language, wore beards, and dressed in American working clothes for gigs, used musical excellence rather than overt protest as a political statement:
I submit that it was the particular musicality of the Lobos, within the traditional styles of son and huapango, which excited audiences. The technical musical proficiency of the group as instrumentalists, coupled with the improvisational aspect of the son jarocho, in the words of Loza, “affected not only the performance of the son jarocho, but also the manner in which it was heard and evaluated by Chicanos.”²
The Lobos Go West (Of The River)
Los Lobos spent several years performing folk music in East Los Angeles and surrounding cities. But they hadn’t lost interest in electric guitars and rocking music. Pop music had experienced a period of relative stagnation, but the late seventies brought a wave of new bands reverting to simpler forms of rock and roll music, with shorter songs and often rudimentary musicianship. Some bands displayed their societal disaffection with anger and violent behavior. The punk rock movement was growing, and Los Angeles was a hotbed for this new direction in pop music.
The band experimented with electrified instruments at gigs, and took note of the burgeoning punk scene in Hollywood and Los Angeles. They attended concerts and befriended members of the local bands The Plugz and The Blasters. The quartet reorganized for electric music, with Louie Pérez moving to drums and Dave Hidalgo learning accordion in addition to his guitar expertise. They developed a new repertoire of music, Tex-Mex polkas and straight ahead rock and roll songs, while maintaining their Mexican-American roots and sensibilities. In January, 1981, they received their “big break” opening for The Blasters at the Whisky-A-Go-Go in Hollywood. They became a fixture on the punk rock scene, and eventually signed a contract with Slash Records, a subsidiary of Warner Brothers. In 1983, they released …and a Time to Dance, their first major label record. The short, seven song EP sold modestly, but enabled the band to begin touring nationally to develop a larger audience.
Here is the band performing in 1984, the subject of its second short documentary in a decade. Steve Berlin, who previously played saxophone in the Blasters, has been added to complete the quintet which has remained intact for thirty years.
Who Is That?
For the first seven years after college, I lived in an old apartment in East Palo Alto, on Woodland Avenue just across San Francisquito Creek from Palo Alto proper. It was a third story apartment with a balcony, and you entered from a central hallway. My next door neighbor Keith and I worked for the same company, and we became loingtime friends after spending three years living across from one another. For a year or so, Keith had a roommate, Mike Murphy, who would come home periodically with a few record albums. One evening, with the doors open between the apartments, Mike played some music which got my attention immediately. It was either “Serenata Norteña” or “Evangeline”.
“Mike, what is that?”, I demanded.
“That’s Los Lobos. You’ve never heard Los Lobos before?”
And that was that; I went in to their room, listened carefully for the next 10-15 minutes, and have been in love with the band ever since. I bought a copy of their new album, How Will The Wolf Survive?, plus their first EP as soon as I could find it. I went to my first Los Lobos concert with Mike Murphy later that year, at the old Keystone in south Palo Alto. Thanks to the Internet, the date must have been June 1st, 1985. We were in the middle of the small, packed dance floor bouncing around, just a few feet from the band. I remember the impassive look on Dave Hidalgo’s face as the audience reveled. I also remember Murphy being appalled when I spent something like twenty bucks for a six pack of Michelob beer, only to give four of the beers away when I returned to the fray.
Since then I’ve seen the band perhaps fifteen to twenty times. They always perform at a high level, but like every band some concerts are better than others. At a San Jose Cinco De Mayo celebration in 1990, salsa great Willie Colón opened for Los Lobos and played for three hours, in what appeared to be an act of sour grapes for not headlining. Later that year, we took Cheryl’s youngest daughter to her first rock concert, at the Paul Masson Winery in Saratoga. One of the great concerts was in May 2004, at the tiny Catalyst club in downtown Santa Cruz. It was right after they released their album The Ride to commemorate thirty years together as a band. I drove down from Portland, listening to The Ride a couple times to familiarize myself with the new songs. My old neighbor Keith joined me for dinner and the concert. By then the band had added a dedicated percussionist, with Louie Pérez moving back to the front of the stage as a third guitarist. It was loud in there, and we were blazed, and the songs from the new album came alive. Then there was a 2010 concert at an old theater in Ventura, California with an old college friend which didn’t go well. The acoustics were awful, and before the concert started I witnessed this great big guy lift a much smaller man up by his neck and hold him helplessly against the wall for a good thirty seconds before letting him go. It’s scary to see violence like that close up. Finally, in July of 2011 my wife and I saw Los Lobos at the Portland Zoo. There wasn’t any room to sit down when we got there, so we opted to stand right in front of the stage. The band was on and sounding great. In the middle of the concert, a very tall, athletic woman and her boyfriend moved up to the little dance area, right in front of Cheryl, not only obscuring her view, but also occasionally bumping into her while we all danced in place. She was really pissed. For a moment I thought they were going to go! That girl was big and strong; I don’t know if that would have been a good idea.
America’s Greatest Band
With about one hundred and sixty songs, Los Lobos retains their position as having the third most songs in my music collection. They remain in my top five with four titans of popular music. What an interesting subject to write about! Evaluating bands quantitatively, by the number and quality of songs, makes perfect sense to me. I don’t understand how some bands with just a few good songs receive the type of recognition that has eluded Los Lobos. So why do I love Los Lobos so much?
On the “Introduction” page of the blog I have a list of general criteria for evaluating music. I wrote a rough draft six years ago, and the review of Los Lobos prompted me to take a second look at this section. The Introduction page has been edited and updated.
A. Clear, Understandable Singing: Call me old fashioned, but I like the style of singing where the lyrics can be easily understood. I like plain, controlled singers, and don’t care for singers who sustain notes unnecessarily. Overly emotive singing has the opposite effect; songs lose their emotional impact. Frank Sinatra and Ray Charles are examples of good singers who don’t wail and sing effectively.
B. Musical Virtuosity: Perhaps more than anything I admire skillful musicianship. Though I lack a formal musical education, I’ve listened for a long time, and believe I can tell who can play. Skillful musicians often play with restraint; it’s not always about being the center of attention. Great musicians and great bands play fast or slow, in different keys and different rhythms, and use their instruments to convey a variety of emotions.
C. Swing It and Move Me: Even as simple as bobbing your head back and forth, music that moves the body is the greatest kind. Dance is the timeless mating ritual, where two people express themselves physically. Some songs are too fast or slow for dance; at any speed I’m looking for songs that move the mind.
D. Different Rhythms, Different Sounds: In recent years, popular music seems to have strayed from the use of complex, danceable rhythms, choosing to play it safe with a 4/4 tempo with the emphasis on the 2nd and 4th beat. This would limit both the creativity of the dance, and the musician’s ability to improvise. My music collection should offer good examples of both traditional and non-traditional music rhythms.
Variety is everything. There should be a grand variety of instruments and sounds, and the recognized masters of the common popular instruments shall be included.
E. The Lyrics and The Story: Defining great lyrics is hard, and may require repeat listenings before they make an impact. More than half of my collection features songs about love, sex, and the concepts of home and God. Since I like “moving” songs, I also have many songs that remind me of trains, or driving along in an automobile. I tend to like simple, direct lyrics, and often tire of deciphering dense, complex subjects. On the other hand, ambiguous lyrics that can be interpreted differently by two people are special. As are catchy songs with unique subjects. I recently added a song called “Plea From A Cat Name Virtute”, sung from the standpoint of the cat trying to cheer up its owner. There are infinite possibilities for a good song.
What constitutes good lyrics is personal, though there are consensus favorites. The lyrics should fit to the melody and the cadence. How the singer emphasizes the syllables is essential. Bob Dylan is a master of punctuating his lyrics. Dylan is also the rare author who tells a long story well. Overly abstract lyrics, and nonsensical lyrics chosen for their sound rather than their meaning, have limited value. As always, there are exceptions. “Lucy In The Sky With Diamonds” is rather abstract and nonsensical, but it evokes dreamy imagery well, of plasticine porters with looking glass ties.
F. Exceptions To The Rule: There are exceptions to the rule, good songs about nothing in particular, good songs where the singing is unclear, or the music is crude and amateurish. Once again, variety is the key.
G. Perfect Sounding Music is a No-No: I dislike overproduced music, where every human imperfection is filtered out of the final product. There are few exceptions, as it dehumanizes the music. I have a tough time enjoying modern popular music, though part of the problem is the well established repertoire developed over fifty plus years. In contrast, accomplished musicians can take a loosely rehearsed concept and create something spontaneous and beautiful with limited preparation. Many great jazz and pop songs were completed in just a couple of takes.
H. Variety Within an Artist’s Career Almost without exception, the greatest bands and musicians evolve, and have distinctive stages of their careers. The Beatles are still the gold standard in this regard, from their beginnings as a rock and roll quartet singing overt love songs, to a mature phase, writing songs on a variety of subjects, and incorporating the instruments and studio sound effects deemed best to achieve the desired result.
I. Originality: The first musicians to introduce a new style of music, and the best practitioners of that style, are considered valuable traits. I study traditional forms of popular music, including some that originated in foreign countries. Less attention is paid to recent musical trends, after the demarcations between musical styles started to blur. Even the roots of rap music, a genre I listen to infrequently, can be found in the dub poetry of men like Linton Kwesi Johnson, or the socio-political rants of Gil Scott-Heron.
A songwriter’s original version of a song tends to be the highest rated and most coveted interpretation.
J. Short Songs Are Best: When I first started listening to music, most popular songs were brief, often with a short instrumental break between the second and third verse. Beatles and other pop music songs were two to three minutes long. Before the development of long playing records, and the advanced recording techniques of the late forties and early fifties, musicians were limited to about three and a half minutes per song, the outside limit for recording on 78 rpm records. By the late fifties, jazz musicians were creating longer songs with well developed improvisations, and eventually all musicians followed suit. I tend to like short songs better; longer songs, and especially longer improvisational passages, must conform to a higher standard, as it more difficult to maintain the listener’s interest. Ten minute songs are a rarity, about one percent of the collection, and multiple improvisational pieces by a single artist are the exception rather than the rule.
Analysis of Los Lobos Music
Los Lobos is unique among American bands. They began their professional career playing Mexican music, even though they spoke English as a first language. The folk music they perform is complex; they became accomplished musicians at a young age. Los Lobos evolved from Veracruz folk songs to Tex-Mex polkas, on by the mid-eighties had incorporated elements of both rock & roll and country & western music.
A representative song from this era is “A Matter Of Time”. The story of a man searching for work while his family waits at home is revisited in future songs.
The band’s songwriters tend to not make sweeping statements. Even when composing the rare anthem, the small town reality of life’s struggle remains.
A young girl tosses a coin in the wishing well,
She hopes for a Heaven while for her there’s just this Hell.
She gave away her life, to become somebody’s wife,
Another wish unanswered in America.
People having so much faith,
Die too soon while all the rest come late,
We write a song that no one sings,
On a cold black stone where a lasting peace will finally bring.
A wise man was telling stories to me,
About the places he had been to,
And the things that he had seen.
A quiet voice is singing something to me,
An age old song ’bout the home of the brave,
And this land here of the free,
One time, one night in America.
— David Hidalgo/Louie Pérez
The La Bamba Conundrum
In the early days, Los Lobos featured three Ritchie Valens songs in their live repertoire. While performing in Santa Cruz, California, the Valens family approached the band, and asked them to provide the music for a proposed movie about the young star who died tragically in the same accident which claimed Buddy Holly and The Big Bopper. The band was honored to do so, and provided the music for La Bamba, which became a surprise summer hit in 1987. After toiling in relative anonymity for fifteen years, the remake of the song “La Bamba” became a #1 hit.
This created a dilemma for the band, who created three solid albums of original material to limited national exposure and success. The next few years were difficult, as they struggled to establish their own methods of operation. Rather than attempt to capitalize on “La Bamba”, the band reverted to its roots and released La Pistola y El Corazón, a second album of Mexican folk songs. The Neighborhood followed two years later, which was a good rock record, with well crafted songs and performances, but a frustrating experience for the band, who spent months poring over the tiny details. They went back to the drawing board to find a better way to do business.
“So all we could do at that point was basically entertain ourselves and make the kind of music we wanted to make, and use the instruments we wanted to use, and just completely ignore everything and everybody. And that’s more or less the vibe we went into Kiko with. It was like, ‘Nobody’s gonna tell us shit.'”³
— Steve Berlin
“The core of the song was there. The band would listen to it and the run to our instruments. We’d capture that first impression and a lot of times it would be the run-through of the track, but it had a feel to it — I don’t know, it was something we’d never had before…I realized why I loved Jimmy Reed so much, or Howlin’ Wolf, because that was the way they did records. Nobody knew the songs; they came and did them in one or two takes, ’cause they weren’t gonna waste their time thinking, and they had to move on to the next song. So that’s why they’re so fresh.”³
— David Hidalgo
In 1992, Los Lobos released Kiko, a quantum leap forward in songwriting and musical diversity. Solos are kept to a minimum on these song templates, with plenty of room for improvisational exploration in concert. While still grounded in day-to-day life, there’s an element of psychedelic mysticism from deep within the southwestern United States. Kiko is a great record.
As an eagle soars,
Our spirits fly,
To our gentle rest,
Under loving sky.
Oh sacred night,
On quetzal plumes,
Of dying suns,
And purple moons.
Oh sacred night.
— “Wake Up Dolores”, Hidalgo/Pérez
By the early nineties, the band was augmenting both their studio and live music with additional percussionists. This allowed Pérez to move forward as a third guitarist and occasional singer. In concert, Pérez still plays drums for short periods, especially when they perform the old songs. Here are three songs from Kiko:
“Angels With Dirty Faces”
“That Train Don’t Stop Here”
“Kiko And The Lavender Moon”
Having reached a mature phase of their career, Los Lobos continues to produce new music and tour the world. They have a devoted following, but they receive little national publicity. That they only command small to medium size venues is a bonus for true fans, who get to see the band up close and hear their music in a relatively quiet environment. Their new approach to studio recording resulted in greater productivity. They’ve made twelve albums since Kiko, including three live performances and two children’s records. Of these, my favorites are The Ride (2004) with a number of cameo appearances, and The Town And The City (2006), a loose concept album about Los Angeles, which conveys a tired sense of sadness and concern for their hometown.
Cesar Rosas has evolved as a songwriter. From writing bluesy, “greasier” songs in English, many of Cesar’s best songs are now written in Spanish, and incorporate traditional Caribbean rhythms. “Marciela” from Colossal Head is a crowd favorite.
The Beatles used a variety of studio tricks and tape loops to create their iconic songs from Revolver and Sgt. Pepper’s Lonely Hearts Club Band. A testament to Los Lobos musicianship is their ability to recreate the mood of “Tomorrow Never Knows”:
Dear Rock and Roll Hall Of Fame
Music is very personal, and each person can only hear a small subset of new music. When I was young, there were fewer performers and fewer bands, and the world focused its attention on a few talented artists. By the early seventies, artists like the Beatles, and Charlie Parke, and Sun Ra, had challenged the boundaries of popular music. Since then, the number of gifted musicians has grown, but the frontiers for innovation are more limited. Among post-seventies bands who played traditional dance music, Los Lobos is a rare innovator who incorporated a unique traditional style into their music. Los Lobos plays music of astonishing breadth; no other American band can lay claim to such a wide variety of styles and rhythms. Their songs are grounded in their reality; they do not attempt to make grand, vague statements outside their sphere. To the best of my knowledge, they have never cursed on record or in concert. They sing their songs plainly, and they enunciate well. Their music is often playful; they recorded an album of Disney songs, and a few of their songs have a child-like simplicity. They are very humble in their appearance and presentation. When they were presented with a chance to capitalize on the success of “La Bamba”, they retreated to their own music. They are all family men, with wives and children, though Cesar’s wife passed away unexpectedly in 1999. They have stayed together as a quartet for forty years, and now as a quintet for thirty. From this outsider’s view, they are a clean-cut, great American success story.
I grew up in Palo Alto, the home of the Grateful Dead, but my heart belongs to Los Lobos del Este Los Angeles, four hundred miles to the south. They are closer to my age, and lived close enough where I heard and enjoyed all the same musical influences. I’d like to believe life was not that different for children raised in Palo Alto and East Los Angeles. In conversation they sound like the Californians I know. From the first time I heard them, Los Lobos music resonated deeply with me, and their appearance and behavior is the essence of California cool.
This reminds me of a story. I played basketball in college, at UC Davis near Sacramento, California. For the first couple of years, I was an understudy for Audwin Thomas, the team’s starting point guard, who became one of the school’s all-time leading scorers. He was from Oakland, and in high school the two of us played against each other in a holiday basketball tournament. One day we were talking about that day we played against each other. Before the game, his coach came into the locker room and said, “You can’t let these guys beat you. These guys eat donuts and hot chocolate for breakfast!” Their coach was wrong, as I stopped eating donuts for brunch in junior high.
On the Not In Hall of Fame website, Los Lobos is currently ranked as the 133rd ranked band not in the Rock and Roll Hall Of Fame. A few publications and websites give the band a little more love, but the chances appear slim. When I suggest to non-fans that Los Lobos belongs in the Hall Of Fame, I get either blank stares or comments that I’m crazy. I admit a tendency to latch onto a favorite band with a passion. But only three or maybe four of the top hundred bands in the countdown appear to be personal favorites that look wildly out of place. I’ve studied music reviews for many years, and the rest of my list looks very reasonable, with consensus great artists of rock, jazz, blues, folk, bluegrass and reggae. If Los Lobos has a weakness as an all-time rock band, it would be the inability or reluctance to make the grand statement, the catchy pop song with that memorable hook that everyone knows and loves. Had they done this, I still have doubts whether their songs would have gained widespread acceptance.
Perhaps the most compelling reason to induct Los Lobos is to recognize David Hidalgo, a most versatile and talented musician. Not only a fine singer and songwriter, he has the rare gift of swing, propelling songs forward with his guitar or his accordion. Here’s how Hidalgo and the band sent the Austin City Limits crowd home in 2001:
“There’s a big fat heart,
With an arrow through the middle,
Of this place that I call home.
And when I get lost,
And don’t even got a nickel,
There’s a piece of dirt I call my own.
I gotta say one, two, three,
More things before I go on.
You can’t run and try to hide away,
Here it comes, here comes another day.
You can’t run to try to hide away,
Here it comes, here comes another day.
Where you are, never really far away,
Good morning Aztlan.”
Los Lobos Song Notes:
1. There are a couple of essential documents to obtain if possible. One is Chuy’s Tape Box, Volume 1, a 1984 soundboard recording from a small club in Santa Barbara. There are only a few thousand copies floating around. It captures the band in rare form with a very enthusiastic audience. The second is a KFOG radio recording of the December 16, 1993 Christmas benefit program in San Francisco, California. Not only was Kiko recently released; it features both acoustic and electric programs, with definitive versions of “A Matter Of Time” and “One Time, One Night”.
Los Lobos Songs:
Sí Se Puede
De Colores, Los Lobos ★
(Just Another Band From East L.A.)
El Canelo, Los Lobos ★★
Sabor A Mi, Los Lobos ★★★
Flor De Huevo, Los Lobos ★
La Iguana, Los Lobos ★
El Cuchipe, Los Lobos ★★★
Guantanamera, Los Lobos ★★★
La Feria De Las Flores, Los Lobos ★
El Bon Bon De Elena, Los Lobos ★
…And A Time To Dance
Let’s Say Goodnight, Los Lobos ★★★★
Walking Song, Los Lobos ★
Anselma, Los Lobos ★★★
Come On, Let’s Go, Los Lobos ★★
How Much Can I Do?, Los Lobos ★★★
Why Do You Do, Los Lobos ★
Ay Te Dejo En San Antonio, Los Lobos ★
How Will The Wolf Survive?
Don’t Worry Baby, Los Lobos ★★
A Matter Of Time, Los Lobos ★★★★
Our Last Night, Los Lobos ★
I Got Loaded, Los Lobos ★★★
Evangeline, Los Lobos ★★
I Got To Let You Know, Los Lobos ★
Lil’ King Of Everything, Los Lobos ★
Will The Wolf Survive?, Los Lobos ★★★
By The Light Of The Moon
One Time, One Night, Los Lobos ★★★★★
Shakin’ Shakin’ Shakes, Los Lobos ★
Is This All There Is?, Los Lobos ★
Set Me Free (Rosa Lee), Los Lobos ★
The Hardest Time, Los Lobos ★★
My Baby’s Gone, Los Lobos ★
Tears Of God, Los Lobos ★★
La Pistola Y El Corazón
La Guacamaya, Los Lobos ★★
Las Amarillas, Los Lobos ★
Estoy Sentado Aquí, Los Lobos ★★
El Canelo, Los Lobos ★★★★
La Pistola Y El Corazón, Los Lobos ★
Down On The Riverbed, Los Lobos ★
Emily, Los Lobos ★★
I Walk Alone, Los Lobos ★
Angel Dance, Los Lobos ★★
Little John Of God, Los Lobos ★
Deep Dark Hole, Los Lobos ★★
Georgia Slop, Los Lobos ★★
I Can’t Understand, Los Lobos ★
The Giving Tree, Los Lobos ★★★
Take My Hand, Los Lobos ★★
Jenny’s Got A Pony, Los Lobos ★
Be Still, Los Lobos ★★★
The Neighborhood, Los Lobos ★★
Kiko (20th Anniversary Edition)
Dream In Blue, Los Lobos ★
Wake Up Dolores, Los Lobos ★★
Angels With Dirty Faces, Los Lobos ★★★
That Train Don’t Stop Here, Los Lobos ★★
Kiko And The Lavender Moon, Los Lobos ★★★★
Saint Behind The Glass, Los Lobos ★★★★
Reva’s House, Los Lobos ★
When The Circus Comes, Los Lobos ★★★★
Arizona Skies, Los Lobos ★★
Short Side Of Nothing, Los Lobos ★
Two Janes, Los Lobos ★
Wicked Rain, Los Lobos ★★
Just A Man, Los Lobos ★★★
Peace, Los Lobos ★★★
Peace (Live), Los Lobos ★★
Arizona Skies/Borinquen Patria Mia (Live), Los Lobos ★★★
Kiko And The Lavender Moon (Live), Los Lobos ★★
Just Another Band From East L.A. – A Collection
Someday, Los Lobos ★
Bertha (Live), Los Lobos ★★
What’s Going On (Live), Los Lobos ★
Live At The Warfield (12/16/1993, KFOG Broadcast) (Unauthorized)
Los Ojos De Pancha (Live), Los Lobos ★
One Time, One Night (Live), Los Lobos ★★★★★
A Matter Of Time (Live), Los Lobos ★★★
Red Headed Woman (Live), Los Lobos ★
Don’t Worry Baby (Live), Los Lobos ★★★
Wicked Rain (Live), Los Lobos ★★★★
Cielito Lindo, Los Lobos ★
La Bamba, Los Lobos ★
(I chose the second version of “La Bamba” from this disc. Both versions are moderately interesting.)
Revolution, Los Lobos ★★
Mas Y Mas, Los Lobos ★★
Maricela, Los Lobos ★★
Manny’s Bones, Los Lobos ★★
This Time, Los Lobos ★★★
Cumbia Raza, Los Lobos ★★
El Cancionero: Mas Y Mas (4-CD Box Set)
La Bamba, Los Lobos ★★
Goodnight My Love, Los Lobos ★
I Wan’na Be Like You (The Monkey Song), Los Lobos ★★★
The Christmas Song (Merry Christmas To You), Los Lobos ★
Alone In A Crowd, Los Lobos ★
Tomorrow Never Knows (Live), Los Lobos ★★
Lonesome Tears In My Eyes, Los Lobos (with Paul Burlison) ★★
Good Morning Aztlan
Hearts Of Stone, Los Lobos ★★★
Luz De Mi Vida, Los Lobos ★★
Good Morning Aztlan, Los Lobos ★★★★
Tony y Maria, Los Lobos ★
What In The World, Los Lobos ★
Round & Round, Los Lobos ★
La Venganza De Los Pelados, Los Lobos ★
Rita, Los Lobos ★★★
Somewhere In Time, Los Lobos ★★★
Wicked Rain/Across 110th Street, Los Lobos ★
Wreck Of The Carlos Rey, Los Lobos ★
Someday, Los Lobos ★
Chains Of Love, Los Lobos ★★★
Ride This – The Covers EP
It’ll Never Be Over For Me, Los Lobos ★★
Live At The Fillmore
The Neighborhood (Live), Los Lobos ★★
Maricela (Live), Los Lobos ★★★
Kiko And The Lavender Moon (Live), Los Lobos ★★★
Live In Carmel (3/3/2005) (Unauthorized)
La Llorona (Live), Los Lobos ★
Sabor A Mi, (Live), Los Lobos ★★
Gema (Live), Los Lobos ★★
Acoustic En Vivo
Canto A Veracruz (Live), Los Lobos ★★
Colas (Live), Los Lobos ★★
El Cuchipe (Live), Los Lobos ★
Two Janes (Live), Los Lobos ★
Saint Behind The Glass (Live), Los Lobos ★★★
Soy Mexico Americano (Live), Los Lobos ★
Volver, Volver (Live), Los Lobos ★★
Teresa (Live), Los Lobos ★
Guantanamera (Live), Los Lobos ★★
The Town And The City
The Valley, Los Lobos ★★
The Road To Gila Bend, Los Lobos ★★★
Chuco’s Cumbia, Los Lobos ★★
If You Were Only Here Tonight, Los Lobos ★★
Luna, Los Lobos ★
The City, Los Lobos ★
No Puedo Más, Los Lobos ★
The Town, Los Lobos ★★
Los Lobos Goes Disney
I Will Go Sailing No More, Los Lobos ★★
Tin Can Trust
Burn It Down, Los Lobos ★★
Tin Can Trust, Los Lobos ★
Jupiter Or The Moon, Los Lobos ★★
Do The Murray, Los Lobos ★
West L.A. Fadeaway, Los Lobos ★
27 Spanishes, Los Lobos ★
Dream In Blue (Live), Los Lobos ★
Angels With Dirty Faces (Live), Los Lobos ★
That Train Don’t Stop Here (Live), Los Lobos ★★
Saint Behind The Glass (Live), Los Lobos ★
When The Circus Comes (Live), Los Lobos ★★
Arizona Skies (Live), Los Lobos ★
Disconnected In New York City (Live)
Chuco’s Cumbia (Live), Los Lobos ★★
La Venganza De Los Peladoes (Live), Los Lobos ★
Little Things (Live), Los Lobos ★
Chuy’s Tape Box Volume 1 (Live in Santa Barbara, 1/14/1984)
Let’s Say Goodnight (Live), Los Lobos ★★★
Our Last Night (Live), Los Lobos ★
Ay Te Dejo En San Antonio (Live), Los Lobos ★★
I Got To Let You Know (Live), Los Lobos ★
Buzz Buzz Buzz (Live), Los Lobos ★★
Los Ojos De Pancha (Live), Los Lobos ★
Volver, Volver (Live), Los Lobos ★
How Much Can I Do? (Live), Los Lobos ★★
Anselma (Live), Los Lobos ★★
I’m Sorry (Live), Los Lobos ★★
Come On, Let’s Go (Live), Los Lobos ★★★
La Bamba (Live), Los Lobos ★★
Sleep Walk (Live), Los Lobos ★
I’m Tore Down (Live), Los Lobos ★
One Time, One Night (Live Recordings Vol. 1)
Just A Man (Live), Los Lobos ★
One Time, One Night (Live Recordings Vol. 2)
Angel Dance (Live), Los Lobos ★★
I Can’t Understand (Papa Was A Rollin’ Stone Intro), Los Lobos ★
Estoy Sentado Aquí, Los Lobos ★
Hearts Of Stone (Live), Los Lobos ★★
Three Hundred Pounds Of Joy (Live), Los Lobos ★
Rolling, Los Lobos ★
Carabina 30-30, Los Lobos ★★
“Rolling” is a 56 second single, while “Carabina 30-30” can be found on KCRW Sounds Eclectico.
Sabor A Mí, Eydie Gorme & Trio Los Panchos ★★
Sabor A Mí (Live), Bebo Valdés & Javier Colina ★
El Cuchipe, Brigitte Bardot ★
Guantanamera, Evaristo Quintanales ★★★
Guantanamera (Live), Pete Seeger ★
El Bombón De Elena, Cortijo y Su Combo ★★
Come On, Let’s Go, Richie Valens ★★
Ay Te Dejo En San Antonio, Flaco Jimenez ★★★
I Got Loaded, Lil’ Bob & The Lollipops ★★★
Georgia Slop, Big Al Downing ★★★
Georgia Slop, Jimmy McCracklin (added to Wish List)
Borinquen Patria Mia, Claudio Ferrer y Su Conjunto (added to Wish List)
Bertha (Live), Grateful Dead ★★★★
What’s Going On, Marvin Gaye ★★★★
What’s Going On (Alt), Marvin Gaye ★★★★
What’s Going On (Live), Chaka Khan ★
Los Ojos De Pancha, Los Alegres De Terán ★
Cielito Lindo, Trio Los Panchos ★
La Bamba, Ritchie Valens ★★★
La Bamba, Los Nacionales de Jacinto Gatica ★
Goodnight My Love, Jesse Belvin ★★
I Wan’na Be Like You, Louis Prima & Phil Harris ★★★★★
The Christmas Song (Merry Christmas To You), Nat King Cole ★★★★
The Christmas Song (Merry Christmas To You), Vince Guaraldi Trio ★★
Tomorrow Never Knows, The Beatles ★★★★
Tomorrow Never Knows (Alt), The Beatles ★
Midnight Shift, Buddy Holly ★★
Lonesome Tears In My Eyes, Johnny Burnette & The Rock ‘n’ Roll Trio ★★
Lonesome Tears In My Eyes (Live), The Beatles ★
La Llorona, Chavela Vargas ★★
La Llorona, Alberto Vasquez ★★
Canto A Veracruz, Andres Huesca & Trio Huracán ★
Soy Mexico Americano, Los Cenzontles ★
Soy Mexico Americano, Los Pinguinos Del Norte ★
I Will Go Sailing No More, Randy Newman ★★
Buzz Buzz Buzz, Hollywood Flames ★★★
Buzz Buzz Buzz (Live), Jonathan Richman ★★
I’m Sorry, Bo Diddley ★
Sleep Walk, Santo & Johnny ★★★
I’m Tore Down, Freddie King ★★
Angel Dance, Robert Plant ★
Three Hundred Pounds Of Joy, Howlin’ Wolf ★★★
¹ Excerpts from “Siendo la Verdadera Historia de Los Lobos del Este de Los Angeles”, by Luis Torres (found in liner notes of the El Cancionero: Mas y Mas box set)
² Movements in Chicano Music: Performing Culture, Performing Politics, 1965-1979, by Stevan Cesar Azcona, p. 234
³ Excerpts from “The Hollywood Years and Beyond” by Chris Morris (found in liner notes of the El Cancionero: Mas y Mas box set)