CD Tejano Roots: The Women (1946-1970) (CD 682855),
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Tejano Roots: The Women (1946-1970)

  • 1. Que Cobarde - Carmen y Laura
    2. Angel Mio - Carmen y Laura
    3. Se Me Fue Mi Amor - Carmen y Laura
    4. Perdon Mujer - Las Abajenas
    5. Ya No Quiero Que Me Quieras - Las Abajenas
    6. Amor Pendiente - Hermanas Fraga
    7. Mi Fracaso - Rosita Fernandez
    8. Tienes Otros Amores - Hermanas Segovia
    9. No Quiero Esperar - Hermanas Segovia
    10. Contestacion a Mi Cafetal - Delia Y Laura
    11. Traidora, La - Rosita y Laura
    12. Esperando (Waiting) - Rosita y Laura
    13. Que Sea, La - Conjunto Bernal/Hermanas Cantu
    14. Rama Seca - Hermanas Guerrero
    15. Casada, La - Hermanas Guerrero :: The Married Woman - Hermanas Guerrero
    16. Carta de Luto - Maria Luisa Guerrero
    17. Si Acaso Vuelves - Chelo Silva
    18. Adios Angelita Rivas - Las Rancheritas/Los Hermanos Banda
    19. Falta un Clavo a Mi Cruz, Le - Las Rancheritas/Los Hermanos Banda
    20. Aunque Me Odies - Lydia Mendoza
    21. Puentes Quemados - Los Conjunto/Las Hermanas Mendoza/Tony de la Rosa
    22. Amor Bonito - Lydia Mendoza
  • Additional Info
    Manufacturer Part Number (MPN): 343

  • Credits

    Producers: Armando Marroquin, Paco Bettancourt.
    Recorded in Alice, Texas in 1946-1958, and in San Benito, Texas in 1958-1970. Includes liner notes by Zack Salem, Jim Nicolopulos and Chris Strachwitz.
    Personnel: Carmen y Laura, Hermanas Segovia, Maria Luisa Guerrero, Hermanas Cantu, Hermanas Fraga, Las Abajenas, Las Hermanas Mendoza, Las Rancheritas, Lydia Mendoza, Rosita Fernandez, Rosita y Laura, Chelo Silva (vocals); Santiago Alameida (bajo sexto, 6-string bass); Gilberto Lopez, Narciso Martnez, Paulino Bernal, Tony de la Rosa (accordion); Juan Garcia (6-string bass).
    Liner Note Authors: Chris Strachwitz; Jim Nicholopulos.
    Editor: Chris Strachwitz.
    Recorded for the Ideal label in Texas between 1946 and 1970, this gathers about an hour's worth of female-sung Tejano music, from a time in which the form was ignored by companies outside of the region. Most (but not all) of the 22 tracks are duets, sometimes between sister teams, and are often punched up with conjunto and orquesta accompaniment; the liner notes speculate that this was because the growing Tejano middle class disapproved of the accordion sound and its proletarian associations. From a sociological point of view, this music was interesting in that it offered Tejano women creative outlets in a musical and social environment in which females were discouraged from taking place in activities outside of the home. Anthropological considerations aside, it's a decent collection of ranchera, bolero, and cancion variants of the Tex-Mex sound, with occasional solo artists (including Lydia Mendoza) amidst the duets; Chelo Silva's dignified bolero "Si Acaso Vuelves" is a standout. ~ Richie Unterberger

  • Critic Reviews
    Option (July-Aug./92, p.128) - "...a real gem...the music is fascinating on both intellectual and emotional levels...indispensable..."
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