AL GARCIA & THE RHYTHM KINGS – Exotic And Rockin’ Instrumentals 1963-1964

Al Garcia & Rhythm Kings front


”In 1957, members of the Lamplighters from Delano, CA, joined up with members of a rival act, the Rhythm Aces, from nearby Tulare (both cities are just north of Bakersfield). They formed a new pachuco surf-and-soul combo called Al Garcia and the Rhythm Kings: multi-instrumentalist Al Garcia, guitarist Art Rodriguez, bassist Freddie Mendoza, drummer Manuel Garcia (Al’s brother), and saxophonists Larry Silva and Vincent Bumatay. They continued to play in the landlocked Kern and San Joaquin Valley areas before their popularity spread to more populated areas of the state. Ultimately, they were touring the West Coast, from San Francisco to Los Angeles. The group was put on hold when much of the group were drafted into the army — Al and Bumatay recorded a single for the newly formed Reprise Records (with producer Ed Cobb) during this hiatus — but re-formed in 1962 without Silva. That summer they met producer/talent scout Tony Hilder, whose connections among Hollywood-based indie labels enabled them to begin recording. They waxed surf-and-soul singles for a variety of labels — including GNP Crescendo, Tollie, Northridge, Del-Fi, and Challenge — under a variety of guises, including the Soul Kings. Exotic and Rockin’ Instrumentals, 1963-1964 is a compilation of 13 of the group’s instrumental rock & roll, surf, and exotica tracks from this halcyon era. Like many of the acts on the Del-Fi roster — the Sentinals, the Centurions — the Rhythm Kings combined Latin rock rhythms, mariachi-style horns, and surf guitar instros. Many instro standards from the band’s repertoire are included here, like “Church Key” and “Intoxica”; both tracks were written by the venerable Norman Knowles, band manager and brilliant saxman for the Revels, a fixture on the Central Coast surf music scene. As an added bonus, this fine reissue — with liner notes by Garcia’s friend, Ray Baradat, and color photos — features both sides of an all-instrumental single by the doo wop-ish Charades, who often played gigs with the Rhythm Kings in the East L.A. area.” [Bryan Thomas]


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PETE TERRACE – King Of The Boogaloo [1967]

King Of The Boogaloo1


”Boogaloo is a Latin American Music style that emerged in New York City in the early 1960s, before reaching the height of its popularity later on in the decade. It fuses American Rhythm & Blues and Jazz with Son Cubano and frequent African American culture terminology to create an upbeat crossover style that appealed to both Latin American and African American communities. Boogaloo emulates the sounds of a party, with funky rhythms, handclaps and excited voices. Common instruments include piano, trumpet, saxophone, double bass, congas, bongos, güiro and timbales.”

Hey Carlito! How are you man? Used to run smack with Rolando. Right?” “Little bit. Yeah.” “Little bit? Little bit! That’s a good one. I hear you guys used to be fucking kings man!!”

Lately I’m in the mood for some party music. Pedro Terrace [aka Pedro Gutierrez] also known as “The King Of Latin Jazz” is NY Latin 60’s musician and this is his best lp, live set recorded at Chez Jose in New York! This latin stuff remind me on cool flicks like ”Scarface” or ”Carlito’s Way”, so c’mon Bang Bang, Do The Boogaloo!

The World Is Yours!


pete terrace - king of the boogaloo - back