(photo courtesy U. of Illinois Press)

Published in 1993, "Barrio Rhythm: Mexican American Music in Los Angeles" was and continues to be a much needed analysis and documentation of music from a large and important population of Angelinos. As a volume in the series "Music in American Life," Steven Loza's book adds a plethora of information from oral histories, primary resources, songs, and personal narratives on the historical and contemporary styles and genres of what is considered Mexican-American music. Exploring the importance and power of early California history, Loza finds influences from the Spanish crown, the Mexican revolutionary era, the use of radio and the rise in popularity of radio stars like Pedro J. Gonzalez and Los Madrugadores. Loza establishes how throughout the history of California, Mexican-American music has been front and center during the many changes that have occurred throughout the state.

Loza outlines the business side of the music industry as he showcases the development of radio, both English and in Spanish, and the role of the recording companies - some of which, if not most, took advantage and underpaid their talent. From early Boleros, to Corridos in the Spanish era, to Mariachi, to mainstream Rock and Roll,  to the new wave of the punk band scenes of the 80's, "Barrio Rhythm" smoothly transitions through each musical period, explaining its mass appeal to the general audiences and showcasing the vast array of talent and musical ability of the Mexican-American community of Los Angeles. For example, the Eastide Renaissance and the legacy of Chicano music, in murals, literature, theater and politics was a large part of the identity of Chicano music in East Los Angeles - a framework that is clearly outlined in Loza's work.

With photographs, song lyrics, sheet music and more, Loza covers a span of over 300 years of music history. Throughout, he urgently points out that Mexican-American music is not solely music created by Mexican-Americans, but music that defines an experience. In contemporary terms, as Loza points out, many of the artists, like Willie Heron and Los Lobos, were inspired by European music, soul, funk, and even 'son jarocho'. Loza's description of the creation of new and hybrid sounds towards the early 90's, where the book ends, sets the tone for continued work in the future chronology of Chicano music in Los Angeles and the many ways in which it has changed and evolved. For instance, there has been the rise of Chicano Hip Hop artists like Mellow Man Ace, Kid Frost and a Lighter Shade of Brown.

Overall, the book, though somewhat dated, is an incredibly entertaining, alluring and poetic attempt at answering the question "What is Chicano music?" With the evidence presented, Loza concludes that Chicano music has a history, and is not defined by one time, space or style, but instead is a hybrid of many elements fused together to create a sound from a loud and booming cultural history.