Chapter 14: Rock and Roll Pt. 2
Latin American music played a key role in shaping the popular styles that helped spark the rise of rock ’n’ roll in the mid-1950s. This “Latin flavor” was particularly noticeable in rhythm and blues, reflecting how deeply Latin rhythms and sounds were embraced within African American music communities. Afro-Cuban genres such as rumba, bolero, and mambo had a subtle yet widespread impact on R&B, especially among musicians linked to New Orleans.
In country and western music, Mexican and Mexican American cultures in the American Southwest contributed the most prominent Latin influences. Western swing bands like Bob Wills and the Texas Playboys incorporated elements from mariachi traditions, while the narrative style of the Mexican corrido can be heard in crossover hits like Marty Robbins’s “El Paso,” which topped both country and pop charts in 1960.
The late 1950s Los Angeles music scene offers a clear example of Latin influence on early rock ’n’ roll recordings. One standout example is the Champs’ 1958 instrumental “Tequila,” written by Mexican American drummer Danny Flores, which became a chart-topping hit on both pop and R&B stations.
Ritchie Valens, born Richard Steven Valenzuela on May 13, 1941, in Pacoima, California, emerged as a pioneering figure in rock ’n’ roll and the first major star from California’s Chicano (Mexican American) community. Growing up, Valens was deeply immersed in Mexican folk music and country and western styles, but he also avidly absorbed rhythm and blues sounds from groups like the Drifters and admired rock pioneers including Buddy Holly, Bo Diddley, and Little Richard. His parents encouraged his musical interests, buying him a guitar, and by age sixteen he was playing with a local dance band called the Silhouettes.
In 1958, Valens auditioned for Bob Keane, owner of the independent Del-Fi Records label, and recorded his debut single, “Come On, Let’s Go,” at the famous Gold Star Studios in Los Angeles. The song climbed to number 42 on the pop charts and 27 on the R&B charts. During the same year, Valens recorded “Donna,” a heartfelt teen ballad inspired by a high school acquaintance, and “La Bamba,” a rock and roll adaptation of a traditional Mexican huapango folk song from Veracruz. A local Los Angeles DJ’s early playing of “Donna” helped spur the rapid release of the single, which soared to number two on both the pop and R&B charts.
“La Bamba” is a rock and roll adaptation of a traditional Mexican folk song from Veracruz, a region known for its Afro-Mexican cultural heritage. The song originates from a 300-year-old musical tradition called son jarocho, characterized by fiery, upbeat rhythms and a blend of Spanish, African, and Native American influences. Typical son jarocho ensembles include the arpa (wooden harp), jarana, and requinto—stringed instruments that create a lively mix of bass lines, melodic improvisations, and rhythmic strumming. This music is often performed at social gatherings like weddings, where the bride and groom’s dance symbolizes unity.
Valens’s version of “La Bamba” simplifies the traditional form, stripping away much of the dense improvisation for a cleaner, pop-oriented sound. Valens sings the traditional verses straightforwardly, without improvisation, giving the piece a clear pop structure. The recording starts abruptly with an ascending electric bass line, followed by a rhythm guitar playing the core three-chord progression—one that would become a staple in countless rock songs like “Twist and Shout.” This chord pattern, doubled by the bass, is fundamental to the song’s driving momentum.
Valens promoted his hits nationally, appearing on shows such as Dick Clark’s American Bandstand and Alan Freed’s Christmas Show, where he shared the stage with his musical heroes Chuck Berry and Bo Diddley. He also made a brief appearance in the film Go Johnny Go! before joining a major U.S. rock ’n’ roll tour.