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Beranda / El Vez How Great Thou Art the Greatest Hits of El Vez 1994

El Vez How Great Thou Art the Greatest Hits of El Vez 1994

El Vez
El Vez - 2009-07-25 14.jpg

El Vez performing in Seattle in 2009
Groundwork information
Birth name Robert Alan Lopez
Born 1960
Origin Chula Vista, California
Genres Latin rock, stone and roll,[ane] punk stone
Occupation(s) Singer-songwriter, musician
Instruments Vocals, guitar, keyboards
Years active 1977–nowadays
Labels Sympathy for the Record Industry
Associated acts The Zeros, Catholic Discipline, Trailer Park Casanovas, The Little Richards, Bobby and the Pins
Website elvez.net

Musical creative person

Robert Alan Lopez (born 1960),[ii] amend known past his stage proper name El Vez, is an American singer-songwriter and musician,[1] who performs and records original material and covers classic rock songs. Mixing the styles of Elvis Presley and many other American rock artists with his ain Latin-American heritage and music, he is known for expressing revolutionary views through the satire and humor in his songs.[3]

Early life [edit]

Lopez was born in Chula Vista, California in 1960.[4] [v] His family "floated somewhere between heart and lower-middle course. Our diet included authorities cheese and something we called 'poor people's chop suey' a few times a week."[5] He later described himself as a misfit in his youth, saying that he cried easily, did not have many friends, and "was a very, very chubby kid who had institute his nest of salt in Warhol, Dalí, and the arts. I would spend my lunchtimes in the schoolhouse library."[five] His mother, Gina, recalled that "He was always artistic. He was start on his cake to accept platform shoes. They were about a foot loftier."[6]

His family unit was highly political, including an uncle who was in the militant Chicano group the Brown Berets.[seven] His grandparents were born in Mexico, and he ofttimes traveled there every bit a youth, visiting its museums and Mesoamerican pyramids, experiences which would influence his later on musical work.[vii] [half dozen] He would become more conscious and appreciative of his Mexican heritage later in life, but did not larn any Castilian until he took a few classes while attending Chula Vista Loftier Schoolhouse.[5] [6]

Lopez attended his first concert in 1974, a performance by Led Zeppelin.[eight] His second concert was the New York Dolls, whom he much preferred.[8] He became interested in rock music, reading Creem and Rock Scene magazines, only could only imagine what the bands sounded like.[8] His first exposure to punk stone came from watching PBS, on which he saw Iggy Pop perform, and from his older sister Rhoda.[viii] The PBS serial An American Family was also an early influence on both his musical tastes and sexual identity: "That is where I was introduced to Lance Loud and Kristian Hoffman (both of whom would go along to class the NYC-based punk band the Mumps). They too were Southern California guys who loved rock music and Warhol and knew that New York was the place to be. In 1975 they would be my commencement gay role models from watching television. They would go my friends the next year."[8]

Career [edit]

The Zeros (1976–1978) [edit]

In 1976, at age 16, Lopez started a band with classmate Javier Escovedo; Lopez played guitar, while Escovedo played guitar and sang.[4] [9] [10] Chosen the Main Street Brats, the grouping played their first show at a quinceañera in Mexico'south Rosarito Beach.[11] The lineup then changed; Lopez recruited his cousin Karton "Baba" Chanelle to play drums, and Chanelle'south Sweetwater High School classmate Hector Penalosa to play bass, and they changed their proper name to the Zeros.[four] [ten] [eleven] Equally the get-go 18-carat punk rock band in San Diego, they had difficulty finding places to perform, so they frequently traveled n to Los Angeles which had a thriving punk scene.[ten] [12] Their first L.A. operation, at the Orpheum Theatre, was as well the debut functioning by the Germs, and was headlined by the Weirdos.[13] Though only teenagers, the Zeros became regulars on the Fifty.A. lodge scene, playing shows with bands such every bit the Dils, the Avengers, X, the Plugz, the Nerves, the Wipers, the Germs, Devo, and the Damned.[ix] [10] They performed in the surface area then often that they were often mistaken for an 50.A. ring; ane magazine even included them in a photo-essay of East L.A. acts.[10] [xiv] "Those early shows were pretty inspiring", Lopez wrote forty years afterwards; "I felt role of a movement, or something at to the lowest degree. Office of a music scene. It was a great feeling after years of misfitdom."[12] He was drawn to the inclusiveness of the scene, which included girls, people of colour, gays, and people who did not look or dress like stereotypical "punks".[xv] He became a fan of the art of Gary Panter, the writings of Claude Bessy in Slash magazine and Craig Lee in LA Weekly, and operation artists such as the Kipper Kids and Johanna Went, and idolized Tomata du Plenty and his band the Screamers.[16]

The Zeros' Mexican American heritage earned them the nickname "the Mexican Ramones", coined past a friend and solidified when it was used in a Los Angeles Times article.[nine] [10] "I loved the Ramones, so I didn't mind the title", Lopez subsequently recalled; "But nosotros thought our style was more New York Dolls and Velvet Underground; after all, nosotros had guitar solos. Yeah, nosotros were Mexicans—then what? It wasn't our calling carte du jour. Funny enough, that would become my raison d'être for my subsequently performing—always a "Mexican" something.[12]

Lopez played on the Zeros' first two singles, "Don't Push Me Effectually" backed with "Wimp" (1977) and "Wild Weekend" backed with "Beat Your Heart Out" (1978), both released on Bomp! Records.[4] [17] [18] By mid-1978, however, the ring was outset to fracture: "Javier was lament that Hector was playing in besides many dissimilar bands", recalled Lopez in 2016; "That seemed to be the master complaint, though at that place were others."[nineteen] By that August, Penalosa had moved to Los Angeles and was replaced on bass by Lopez's younger brother Guy.[xx] Both Lopez brothers before long quit the band, as well to motion to Los Angeles, and the Zeros briefly disbanded.[4] [14] "I suppose I was fix for a change", said Lopez; "They re-formed the adjacent week without me and then moved to San Francisco. I don't call up being besides broken upward about it."[19]

Having graduated high school early that yr, and turned xviii past that summer, Lopez moved to Hollywood on September 28, 1978.[xix] Jane Wiedlin of the Get-Go'south had just moved out of the Canterbury Apartments, a 1920s apartment edifice on Hollywood Boulevard inhabited by a number of L.A. punk musicians and located across the street from punk social club the Masque, and left her apartment to Lopez.[21] He supported himself with a task at a nearby Pizza Hut.[22] That wintertime, he and Margot Olavarria, who had recently been dismissed from the Go-Go'due south, traveled to New York City, where Lopez stayed for a few months with friends who had transplanted from Los Angeles.[23] There he met diverse local punk performers; attended shows at clubs such every bit CBGB, Max's Kansas City, and the Mudd Order; and went to Studio 54 "to option fights with Steve Rubell."[23] On his render to Los Angeles, he moved into an flat just west of La Brea Artery vacated past Screamers lyricist Gorilla Rose, and worked as a cashier at El Coyote Cafe.[24]

Catholic Subject field (1979–1980) [edit]

Settling into Los Angeles, Lopez joined a ring called the Johnnies as well every bit the short-lived group Catholic Subject, in which he played a Farfisa Combo Compact keyboard.[4] [14] [25] Consisting of personalities from the 50.A. punk scene, Catholic Discipline was fronted by Slash mag editor Claude "Kickboy Face" Bessy and also included Phranc of Nervous Gender as well as Craig Lee, music writer for LA Weekly and guitarist in the Bags.[26] "I remember nosotros saw Cosmic Bailiwick as a 'postpunk' band", said Lopez in 2016.[25] He appeared with the group in the documentary film The Pass up of Western Civilization (1981), and his recordings with them announced on the film's soundtrack album and on their posthumous compilation anthology Underground Babylon (2004).[4] [25] [26]

In subsequent years Lopez worked at the Continental Hyatt House hotel on the Dusk Strip; at that place, he oftentimes brought room service orders to rock and roll fable Trivial Richard, a longtime resident of the hotel.[27] "He was a squeamish guy and a expert tipper", recalled Lopez in 2014.[27]

Developing El Vez (1988–1990) [edit]

El Vez performing with his backing band the Memphis Mariachis and backing singers the Lovely Elvettes

For much of the 1980s Lopez channeled his artistic energies toward art.[four] In 1988 he was curating La Luz de Jesus, a folk art gallery where he showcased campy religious art imported from Mexico and Central America.[4] [6] [28] The gallery presented a show of Elvis Presley-themed works; Lopez hired an Elvis impersonator to announced at the opening, and dressed himself up as Elvis' manager, Colonel Tom Parker.[4] [6] [28] He was unimpressed with the impersonator's performance, however, and felt that he could do better.[4] [28] "I kept critiquing him. 'Swing your hips more'", he later recalled.[28] Conceiving the idea for a cultural brew-up between Elvis and Chicano culture, he traveled to Memphis, Tennessee that August for "Elvis Week", an annual effect commemorating Presley'due south decease, purchased karaoke cassettes of Elvis songs at Graceland, and performed a set every bit "El Vez, the Mexican Elvis" at a roadhouse specializing in Elvis impersonators.[iv] [28] [29] Wearing aureate lamé pants and an oversize aureate sombrero, he sang along to the cassettes while giving the lyrics a Hispanic twist: "That'southward All Right Mama" became "Esta Bien Mamacita", "Blue Suede Shoes" became "Huaraches Azules", "Hound Dog" became "You Own't Nothing But a Chihuahua", then on.[4] [6] [28] [29] "I just dared myself to become," he recalled, "and I said, okay, I tin brand a fool of myself since I don't know anyone there. I rewrote some words on the airplane, and good my trip the light fantastic toe moves in the hotel room."[30]

The operation was well-received, and Lopez brought the act dorsum to Los Angeles.[4] [6] [29] "I had meant to practice it just once, and information technology kind of backfired", he later recalled.[28] "Information technology got a mention in the Los Angeles Times. And and then I got a phone call from an NBC Tv show called two Hip 4 Tv set. So I was doing national Idiot box earlier I'd fifty-fifty done my first testify in L.A. So my very first testify in L.A. got pick-of-the-week in both papers, and no one had even seen it yet. So I was really on a con roll. It was like, how much can I become away with?"[thirty] Initially his repertoire consisted only of cover versions of Elvis songs with new lyrics, and the performances were, in Lopez's words, "very guerrilla theatre".[4] The act was mostly silly and kitsch, presenting El Vez as "the dearest child between Elvis and Charo", complete with a imitation Spanish emphasis (Lopez has no such accent).[6] [28] He used the marketing skills he had adult promoting artists and shows for the gallery to promote his new act.[28] "That first year was really groovy", he afterwards said. "I was just making it up. It was a con. Anybody thought I knew what I was doing, only I was having fun and I had that punk rock 'Do It Yourself' mental attitude."[28]

A turning point came when he reworked the Elvis song "In the Ghetto" into "En el Barrio", realizing that he could utilize his humorous act to brand social commentary nearly the Mexican American feel: "The first stuff was just really giddy ditties, like 'You Ain't Cypher but a Chihuahua'. Then with 'En el Barrio', I realized that this guy [El Vez] tin put some messages out at that place."[30] As he adult a cult following in Los Angeles, he assembled a full bankroll band ("the Memphis Mariachis"), added a squad of female backing vocalists ("the Lovely Elvettes", with the stage names Priscillita, Lisa Maria, Gladyscita, and Que Linda Thompson, after Elvis' wife Priscilla Presley, daughter Lisa Marie Presley, mother Gladys Presley, and girlfriend Linda Thompson), incorporated increasingly elaborate costuming and staging, and adult songs that mixed politics and cultural commentary with tropes from rock and roll and pop music: "I took on the banner of heralding the Chicano feel, and in one case I got an agenda nether my El Vez belt, the show kind of inverse."[four] [half-dozen] [28]

Showtime El Vez recordings, Raul Raul, and reunions with the Zeros (1991–1995) [edit]

El Vez's recorded debut came in 1991 with the 7-inch EP The Mexican Elvis.[4] Consisting of "Esta Bien Mamacita" (sung in Spanish) and "En el Barrio" (sung in English, and incorporating elements of the Traffic song "Dear Mr. Fantasy" and the Beatles' "I've Got a Feeling"), it was released by independent tape label Sympathy for the Record Industry, which would put out many subsequent El Vez recordings.[4] [29] [31] A second EP, El Vez Calling, followed a few months later; its comprehend fine art parodied Presley's 1956 debut album Elvis Presley, while its title and back embrace parodied the Clash'south London Calling, the artwork of which was itself an homage to Elvis Presley.[4] [30] [32] It consisted of two more reworked Elvis numbers, "(Marie'due south the Name) His Latest Flame" and "Lawdy Miss Clawdy" redone respectively as "Maria's the Proper name (of His Latest Flame)" (using Bow Wow Wow'due south 1982 version of "I Want Candy" as its musical foundation) and "Lordy Miss Lupe".[33]

Also in 1991, the original lineup of the Zeros—Lopez, Escovedo, Chanelle, and Penalosa—reunited to play a benefit show for Lopez'southward old Catholic Bailiwick bandmate Craig Lee.[nine] Recording sessions the ring conducted in San Diego that December produced the singles "I Don't Wanna" backed with "Little Latin Lupe Lu" and "Bottoms Upwards" backed with "Sneakin' Out", both released in 1992.

Lopez continued releasing records every bit El Vez over the next few years: The EP Non Hispanic came out in 1992 through Spain'south Munster Records, combining dissimilar mixes of songs from the prior ii El Vez EPs with three new tracks: "Samba Para Elvis" (combining the music of the Santana instrumental "Samba Pa Ti" with the lyrics to Elvis' version of "Ever on My Mind"), "Black Magic Woman" (mixing elements of the Santana version of the vocal with a sped-upwards take on the Stray Cats' 1981 rockabilly hit "Stray Cat Strut"); the championship came from Lopez's reworked lyrics for the closing track, "Never Been to Espana" (inspired by Elvis' 1972 performance of the song every bit captured on Equally Recorded at Madison Square Garden).[34] The compilation album How Great Thou Fine art: The Greatest Hits of El Vez followed in 1994, combining the tracks from the three prior EPs with a version of "Samba Para Ti" featuring keyboardist Paul Morris of Rainbow and a recording of "How Groovy Thousand Art"; the album's title and cover art were an homage to Elvis' 1967 album How Great Thou Art.[33] [34] A Spanish language version of the album was also released under the title Fun in Español, the title and encompass parodying Elvis' Fun in Acapulco (1963).[29] [35]

I think he'southward a real bulletin of pride and a real positive idea of what America is: Elvis Presley being the greatest American entertainer success story, going from nothing to being ane of the richest entertainers in the globe. The thought of El Vez is y'all tin can do that also, and y'all don't take to be a white man. It's for blacks, Mexicans, women. Anyone can be a superstar. El Vez is the idea of the melting pot, and anybody's welcome. It'southward Elvis as the American Dream.

–Lopez in 1994[29]

The kickoff proper total-length El Vez studio anthology, Graciasland, was released in 1994 past Sympathy for the Record Manufacture. Its title and comprehend art parodied Paul Simon'south 1986 anthology Graceland, and the track "Aztlán" reworked Simon's title track with politically-charged lyrics describing a search for the ancestral abode of the Aztecs.[29] [36] Several more Elvis songs were similarly given the El Vez treatment: "Suspicious Minds" became "Immigration Time", dealing with immigration rights; "Footling Sister" was redone every bit "Chicanisma" (a Spanish grammatical gender inversion of the term Chicanismo), about the empowerment of Latina women; and "Baby Let's Play House" turned into "Rubber (Baby Let's Play Safe)", with cautionary lyrics promoting safe sex.[29] "Cinco de Mayo", an original song musically rooted in the Who, the Clash, and the Dils, traced the story of the Battle of Puebla and featured Chip and Tony Kinman of Blackbird (formerly of the Dils).[29] Music critic Kembrew McLeod later chosen the album "El Vez's all-time work, smoothly combining humor, social and political satire, and great rock & roll in one fell swoop."[36] A Christmas anthology, Merry MeX-mas, followed afterwards that year, and El Vez began staging annual Christmas-themed performances that became big hits with his fans.[4] [37]

In mid-1994 Lopez likewise began performing every bit a new grapheme, Raul Raul, who he described to the Los Angeles Times as "a real angry Chicano beat poet. I enjoy it considering he'due south a solo act with no props or dancing girls to fall back on. It's almost the opposite of El Vez, who is e'er so happy and positive-thinking. Raul Raul is yelling, spouting, finger-pointing at the 'white devil slave masters' and all that. But it's actually humorous."[29] As well in 1994 Lopez reunited with the Zeros for the ring'southward first full-length studio album, Knockin' Me Dead, which consisted of new recordings of their erstwhile material.[38] The Zeros toured Spain in the spring of 1995, and a live album titled Over the Sunday was recorded in Madrid that March and released later that yr by Madrid'south Imposible Records. Also in 1995 Munster Records released the El Vez live album El Vez Is Live, documenting his performance at the 1991 Roskilde Festival in Denmark. Lopez began incorporating the Raul Raul character into his El Vez performances; in a New York Times review of his 1995 Christmas evidence in Manhattan, announcer Neil Strauss wrote: "The fix'south highlight was its almost atypical moment, the reading of a poem past El Vez's alter ego, Raul Raul, an angry-immature-man poet. Equally Vince Guaraldi's theme music from the Peanuts cartoons played in the groundwork, he decried racism in the Sunday comics with lines similar, 'Hey Charlie, I'thousand brownish/Por que no Latinos in your stinking town?' Underneath the humour, there was a message. And underneath the message, at that place was more humour."[39]

Continued piece of work as El Vez and with the Zeros (1996–2004) [edit]

In May 1996 Munster Records released the El Vez compilation anthology Never Been to Spain (Until Now) for the Spanish market. El Vez'due south next studio album, Yard.I. Ay, Ay! Blues, came out that September through Philadelphia's Big Pop Label; with a championship and comprehend fine art parodying Elvis' M.I. Blues (1960), it found El Vez diversifying his musical palette even further and getting even more political with his lyrics.[xl] The EP A Lad from Spain? was released in 1998 past Sympathy for the Record Industry; consisting of alternate versions of previously-released songs, its title and comprehend fine art parodied David Bowie'southward 1973 anthology Aladdin Sane. It was released on compact disc the following yr equally Son of a Lad from Spain?, with some of the tracks from the original EP too as added songs, radio performances, and other recordings.[41] Lopez reunited with the Zeros over again for their 1999 album Right Now! [38]

The twelvemonth 2000 saw the release of two El Vez albums through British characterization Poptones: The compilation Pure Aztec Gold (titled after Elvis' 1975 compilation Pure Gold) and a second Christmas album, NöElVezSí. In early 2001 a documentary picture show about El Vez was released; directed by Marjorie Chodorov and titled El Rey de Rock 'n' Roll, it traced the development of his act through concert footage, excerpts from boob tube appearances, and interviews with friends, fans, and Latino academics.[42] [43] [44] That Nov, El Vez released the gospel music-influenced studio album Boxing with God through Sympathy for the Record Industry, and in 2002 started his own label, Graciasland Records, through which he released a tertiary Christmas album, Sno-Way José (its cover mimicking Bing Crosby's Merry Christmas).[four] [45]

In 2004 Lopez relocated from Los Angeles to Seattle, drawn by the metropolis's eclectic art and theater scene.[28] There, he began performing as El Vez regularly at Teatro ZinZanni, a circus-themed dinner theater.[28] Equally Graciasland Records' second release, he issued Endless Revolution, a "Service Re-Consequence" of G.I. Ay, Ay! Blues in an expanded two-disc parcel.[4] 2004 beingness a presidential election twelvemonth in the United states, he embarked on an "El Vez for Prez" tour, encouraging fans to vote for him equally a write-in candidate; he repeated this tour theme in 2008 and 2012.[46] By the mid-2000s, El Vez had toured the United states, Canada, Mexico, Europe, and Australia, and had opened for such famous performers as David Bowie, Carlos Santana, and the B-52'south.[28]

Recent activity (2005–present) [edit]

Musical and performance style [edit]

El Vez performing in Seattle in 2009, wearing a tight-fitting Elvis-inspired one-piece

Lopez cites a broad variety of musical influences including Elvis Presley, David Bowie, the San Diego rock ring Rocket from the Crypt, and the Make-Upwardly, a post-punk band from Washington, D.C. who mixed garage rock and gospel music.[28] He considers his El Vez persona to be an "Elvis interpreter" and "cultural ambassador" rather than strictly an Elvis impersonator.[6] He creates all the arrangements for his El Vez performances, which he describes as "all my musical history, and the little things that meant something to me, or the sounds that I like."[18] Reviewing a 1995 performance, journalist Neil Strauss described the music as "a whirlwind of pop quotations, total of references to the music of David Bowie, José Feliciano, Patsy Cline, and the punk bands the Stooges and Public Image Ltd."[39]

In developing the look of El Vez, Lopez took Elvis-inspired jumpsuits made of tight-fitting polyester and lamé which bear witness off his slender frame, and added Mexican cultural clichés such as sequined images of Our Lady of Guadalupe, extravagantly embroidered bolero jackets, sombreros with brawl fringe, pointed-toe boots, and elements of mariachi costuming.[six] [29] His live shows involve multiple costume changes; early on, he would make his final costume alter on stage, the Elvettes holding up a sheet with a throbbing strobe low-cal backside it so the audience could see the shadow of his naked body as he changed.[6] In addition to his costumes, he styled his pilus in a pompadour and drew a pencil moustache on his lip using marker.[28] [29] [39] When in graphic symbol as El Vez, he speaks with a fake Castilian accent.[28]

Music critic Kembrew McLeod described El Vez's live performances equally follows:

While his records are splendid documents of the El Vez phenomenon, the only way to get the total El Vez experience is to see his live shows [...] Listening to El Vez is akin to hearing the live-ring equivalent of sampling. An audience on whatsoever given night can be treated to half a dozen costume changes and might hear bits and pieces of at least 200 songs, non all of them Elvis recordings. For example, one of his medleys featured "Yous Own't Nothing Simply a Chihuahua" and an instrumental version of the Beastie Boys' "Gratitude", mixed in with the lead guitar riff from Santana'due south "Black Magic Adult female" laid underneath Rod Stewart'south "Maggie May", which melded into "En el Barrio" (aka "In the Ghetto") and finished up with the mandolin line that concludes R.E.M.'south "Losing My Faith".[47]

McLeod also described El Vez'south lyrical style:

Despite his use of humor, El Vez cannot be written off every bit a postmodern joke. His lyrics (many times rewrites of Elvis recordings or other pop songs) are very political and pro-Latino. Much like Rage Against the Machine, his songs are littered with references to the Zapatistas and other Mexican revolutionaries. Unlike the above-mentioned ring, he does not beat the audience over the head with didactic polemics and testosterone-fueled monster chords. Instead, he relies on the obvious play on words ("Say Information technology Loud, I'm Brownish and I'm Proud" and "Misery Tren") and clever social satire (at the climax of "Clearing Time", sung to the melody of "Suspicious Minds", he shouts "I've got my green carte du jour...I desire my gilt card!").[47]

Lopez's main persona and way is very similar to Elvis Presley, as his stage name suggests. Withal, he is not strictly an Elvis impersonator; on his recordings and in his live prove, he covers many non-Mexican artists, such as David Bowie, Iggy Pop, John Lennon, Bob Dylan, Paul Simon, T. Rex, Queen and the Beatles.[2] He is as well known every bit the "Thin Brown Duke" (a reference to one of David Bowie'south characters, the "Sparse White Knuckles"),[48] or "The Mexican Elvis".[1]

El Vez was once a contestant on the game show To Tell the Truth and starred in Wes Hurley's cult comedy musical Waxie Moon in Fallen Jewel.[49] He was besides a contestant on The Weakest Link during an episode featuring Elvis impersonators.

Discography [edit]

Twelvemonth Creative person Title Type Format Label Itemize Notes
1977 The Zeros "Don't Push Me Effectually" b/w "Wimp" single 7" Bomp! Records BOMP 110
1978 The Zeros "Wild Weekend" b/w "Beat Your Centre Out" single 7" Bomp! Records BOMP 118
1980 Catholic Field of study The Decline of Western Civilization soundtrack anthology LP, CD Slash Records SR 105 track "Underground Babylon"
1989 The Zeros The Zeros EP vii" Munster Records TFOSR 7006 compilation of demos recorded in 1977
1991 The Zeros Don't Push Me Around (Rare & Unreleased Classics from '77) compilation album LP, CD Bomp! Records BLP/BCD 4035
1991 El Vez The Mexican Elvis EP 7" Sympathy for the Record Industry SFTRI 111
1991 El Vez El Vez Calling EP 7" Sympathy for the Record Industry SFTRI 160
1992 El Vez Non Hispanic EP 12" Munster Records MR 024
1992 The Zeros "I Don't Wanna" b/westward "Little Latin Lupe Lu" single 7" Sympathy for the Record Industry SFTRI 166
1992 The Zeros "Bottoms Up" b/w "Sneakin' Out" single 7" Rockville Records Stone 6091-vii
1994 The Zeros "Knockin' Me Dead" b/w "Boys" single 7" Rockville Records Stone 6128-seven
1994 The Zeros Knockin' Me Dead studio album LP, CD Rockville Records ROCK 6129
1994 The Zeros "Sometimes Good Guys Don't Clothing White" b/w "Knockin' Me Expressionless (audio-visual)" single 7" Munster Records 7062
1994 El Vez How Great Chiliad Fine art: The Greatest Hits of El Vez compilation album CD Sympathy for the Tape Industry SFTRI 199
1994 El Vez Fun in Español compilation album CD Sympathy for the Record Manufacture SFTRI 234-South Castilian language version of How Nifty Chiliad Art: The Greatest Hits of El Vez
1994 El Vez Graciasland studio album CD Sympathy for the Record Industry SFTRI 302
1994 El Vez "Cinco de Mayo" b/westward "Blackbird de Mayo (with Blackbird)" single 7" Sympathy for the Record Manufacture SFTRI 315
1994 El Vez Merry MeX-mas Christmas album CD Sympathy for the Record Manufacture SFTRI 350
1995 El Vez Like a Hole in the Caput: Remixes, Rewrites & Extras EP x" Sympathy for the Record Manufacture SFTRI 375
1995 El Vez El Vez Is Alive alive album LP, CD Munster Records MR 081
1995 The Zeros European Kamikaze Tour '95 ("Yo No Quiero" b/w "Siamese Tease") single 7" Munster Records 7076
1995 The Zeros Over the Sun live album LP, CD Imposible Records IMP 040
1995 The Zeros "Black 'northward' White" b/w "Pushin' Too Difficult" single 7" Planet of Racket Records PON 003
1996 El Vez The Mexican Elvis! EP 7", CD Munster Records 7092/MRCD 099
1996 El Vez Never Been to Spain (Until Now) compilation anthology CD Munster Records MRCD 101
1996 El Vez G.I. Ay, Ay! Blues studio album CD Big Popular BP 0910-2
1998 El Vez TCB ("20th Century Boy" b/w "Takin' Care of Business") EP v" Sympathy for the Record Industry SFTRI 452
1998 El Vez A Lad from Spain? EP ten" Sympathy for the Record Industry SFTRI 453
1998 The Zeros "You, Me, U.s." b/due west "Talkin'" single 7" Penniman Records PENN 45002
1999 The Zeros Correct Now! studio album LP, CD Bomp! Records BLP/BCD 4074
1999 El Vez Son of a Lad from Spain? compilation anthology CD Sympathy for the Record Manufacture SFTRI 595
1999 Trailer Park Casanovas Terminate of an Era studio album CD Rock Therapy Records RTCD 20001
2000 Trailer Park Casanovas Live at Caesars Palace!!! The Wedding ceremony Album Encompass to Cover live anthology CD Stone Therapy Records RTCD 20002
2000 El Vez Pure Aztec Gold compilation album CD Poptones ESCA 8316
2000 El Vez NöElVezSí Christmas album CD Poptones MC 5010CD
2000 El Vez "Feliz Navidad" b/due west "Oralé (I♥JSBX)" single 7" Poptones MC 5010S
2000 El Vez "Maria's the Proper name (No Fun)" b/w "At present I Wanna Be Santa Claus" single 7" Houston Party Records HPR V033
2001 El Vez Boxing with God studio album CD Sympathy for the Record Industry SFTRI 676
2001 Los Straightjackets Sing Forth with Los Straitjackets studio album CD Yeah Roc Records Aye 2028 track "Rey Criollo a/m/a/ King Creole" (as El Vez)
2002 Trailer Park Casanovas And so Charmin' studio album CD El Toro Records ETCD 3010
2002 Kristian Hoffman & studio anthology CD Eggbert Records ER 80032 track "Madison Avenue" (every bit El Vez)
2002 El Vez Sno-Way José Christmas album CD Graciasland Records GR 001
2004 Cosmic Subject area Underground Babylon compilation album LP, CD Artifix Records SPR 020
2004 El Vez Endless Revolution: G.I. Ay Ay Blues Service Re-issue studio album CD Graciasland Records GR 002 expanded reissue of G.I. Ay, Ay! Blues
2008 El Vez Gospel Show in Madrid video album DVD Munster Records MR DVD 007
2009 The Zeros Alive in Madrid video anthology DVD Munster Records MR DVD 009
2010 The Zeros "Primary Street Brat" b/w "Handgrenade Centre" single 7" Concluding Laugh Records HAW 007 recorded in 1977
2013 El Vez God Save the Male monarch: 25 Years of El Vez compilation album CD Munster Records MR CD 334
2015 The Little Richards ...Bama Lama, Bama Loo studio anthology LP Sympathy for the Record Industry SFTRI 787
2015 The Piffling Richards "The Girl Can't Help It" b/w "Slippin' and Slidin'" single seven" Sympathy for the Record Manufacture SFTRI 788
2017 Los Straitjackets with Big Sandy & El Vez ...To the Rescue EP 7" Sleazy Records SR 120 rails "El Vez to the Rescue"
2017 El Vez "Liz Renay" (with the Schizophonics) b/due west "Trouble" (karaoke mix) single 7" Sympathy for the Tape Industry SFTRI 798

Filmography [edit]

  • Mi vida loca (1993)
  • El Rey De Stone 'N' Curl (2000, documentary)
  • Colorvision (2004,TV-Serie)
  • Gospel Show in Madrid (2008, live concert)
  • Dead Country (2008)
  • Several other appearances in documentaries
  • 2 Hip 4 Television (NBC multifariousness show)
  • Waxie Moon in Fallen Precious stone (2015)
  • Fags in the Fast Lane (2017)

References [edit]

  1. ^ a b c El Rey De Stone 'Northward' Gyre, [ permanent dead link ] short picture review on the site of the New York Times. Accessed online 31 October 2006
  2. ^ a b "El Vez", St. James Encyclopedia of Popular Civilization, Thomson Gale 2005–2006. reproduced online at BookRags.com and accessed online 28 Apr 2007.
  3. ^ El Vez Biography, Allmusic. Accessed online 28 April 2007.
  4. ^ a b c d e f 1000 h i j 1000 l yard north o p q r s t u v Deming, Marking. "El Vez Biography". allmusic.com. Allmusic. Retrieved 2019-12-29 .
  5. ^ a b c d Doe, John; DeSavia, Tom (2016). Under the Large Blackness Sun: A Personal History of L.A. Punk. Boston: Da Capo Press. p. 95. ISBN978-0-306-82408-1.
  6. ^ a b c d e f chiliad h i j k fifty Krier, Beth Ann (1989-05-12). "El Vez: Colorful Impersonator Gets a Big Ole". Los Angeles Times . Retrieved 2020-01-19 .
  7. ^ a b "El Vez sings As King for Social Modify". dailybruin.com. Daily Bruin. Retrieved 2002-08-11 .
  8. ^ a b c d e Doe and DeSavia, p. 96.
  9. ^ a b c d Prato, Greg. "The Zeros Biography". allmusic.com. Allmusic. Retrieved 2019-12-29 .
  10. ^ a b c d e f Garin, Nina (2009-06-25). "Direct Outta Chula Vista!". The San Diego Union-Tribune . Retrieved 2019-12-29 .
  11. ^ a b Doe and DeSavia, p. 97.
  12. ^ a b c Doe and DeSavia, p. 99.
  13. ^ Doe and DeSavia, pp.97–98.
  14. ^ a b c "The Zeros". sandiegoreader.com. San Diego Reader. Retrieved 2019-12-29 .
  15. ^ Doe and DeSavia, pp. 101–102.
  16. ^ Doe and DeSavia, pp. 99–100, 104.
  17. ^ Doe and DeSavia, p. 105.
  18. ^ a b Ensminger, David (2013). Left of the Punch: Conversations with Punk Icons. Oakland, California: PM Press. pp. 61–68. ISBN978-1-60486-641-4.
  19. ^ a b c Doe and DeSavia, p. 106.
  20. ^ Spurrier, Jeff (1978-08-03). "San Diego – Tin can't Be Hardcore Punks Here". sandiegoreader.com. San Diego Reader. Retrieved 2019-12-29 .
  21. ^ Doe and DeSavia, pp. 106–107.
  22. ^ Doe and DeSavia, p. 107.
  23. ^ a b Doe and DeSavia, pp. 107–108.
  24. ^ Doe and DeSavia, pp. 108–109.
  25. ^ a b c Doe and DeSavia, p. 109.
  26. ^ a b "Cosmic Discipline Biography". allmusic.com. Allmusic. Retrieved 2019-12-29 .
  27. ^ a b Varga, George (2014-01-04). "El Vez, the Mexican Elvis, Turns 25!". The San Diego Matrimony-Tribune . Retrieved 2019-12-29 .
  28. ^ a b c d e f g h i j k l thousand northward o p q Davila, Florangela (2007-12-16). "Viva El Vez, the Mexican Elvis". seattletimes.com. The Seattle Times. Retrieved 2019-12-29 .
  29. ^ a b c d e f g h i j k fifty Washburn, Jim (1994-05-05). "To El Vez, the Male monarch Volition Ever Be 'El Rey'". Los Angeles Times . Retrieved 2020-01-xviii .
  30. ^ a b c d Patterson, Rob (2001-xi-22). "¡Viva El Vez!". houstonpress.com. Houston Printing. Retrieved 2019-12-29 .
  31. ^ MacDonald, Dennis. "Review: "Esta Bien Mamacita" & "Esta Bien (Impersonators Mix)" b/w "En el Barrio"". allmusic.com. AllMusic. Retrieved 2019-12-29 .
  32. ^ MacDonald, Dennis. "Review: "Maria'due south the Name (Of His Latest Flame)" b/west "Lordy Miss Lupe (Studio Outtake)"". allmusic.com. AllMusic. Retrieved 2019-12-29 .
  33. ^ a b McLeod, Kembrew. "Review: How Bully K Art: The Greatest Hits of El Vez". allmusic.com. AllMusic. Retrieved 2019-12-29 .
  34. ^ a b How Great Thou Art: The Greatest Hits of El Vez (CD liner notes). Olympia, Washington: Sympathy for the Tape Industry. 1994. SFTRI 199.
  35. ^ McLeod, Kembrew. "Review: Fun in Español". allmusic.com. AllMusic. Retrieved 2019-12-29 .
  36. ^ a b McLeod, Kembrew. "Review: Graciasland". allmusic.com. AllMusic. Retrieved 2019-12-29 .
  37. ^ McLeod, Kembrew. "Review: Merry MeX-mas". allmusic.com. AllMusic. Retrieved 2019-12-29 .
  38. ^ a b Rabid, Jack. "Review: Correct Now!". allmusic.com. AllMusic. Retrieved 2019-12-29 .
  39. ^ a b c Strauss, Neil (1995-12-30). "Mexican? Yes. Elvis? Mayhap". The New York Times . Retrieved 2020-01-19 .
  40. ^ McLeod, Kembrew. "Review: Thou.I. Ay, Ay! Blues". allmusic.com. AllMusic. Retrieved 2019-12-29 .
  41. ^ Phares, Heather. "Review: Son of a Lad from Spain?". allmusic.com. AllMusic. Retrieved 2019-12-29 .
  42. ^ Deming, Mark. "El Rey de Rock 'n' Roll". allmovie.com. AllMovie. Retrieved 2020-01-20 .
  43. ^ Pendleton, Reece (26 October 1985). "El Rey de Rock 'n' Roll". chicagoreader.com. Chicago Reader. Retrieved 2020-01-20 .
  44. ^ Harvey, Dennis (2001-03-22). "El Rey de Rock 'north' Roll". diverseness.com. Variety. Retrieved 2020-01-20 .
  45. ^ Torreano, Bradley. "Review: Boxing with God". allmusic.com. AllMusic. Retrieved 2019-12-29 .
  46. ^ Varga, George (22 August 2012). "El Vez Vying for White House (Again)". The San Diego Union-Tribune . Retrieved 2019-12-29 .
  47. ^ a b "El Vez". sandiegoreader.com. San Diego Reader. Retrieved 2020-01-19 .
  48. ^ Michelle Habell-Pallan, "El Vez is 'Taking Intendance of Business': The Inter/national Entreatment of Chicano Pop Music", Cultural Studies, Volume thirteen, Issue 2, Apr 1999, p. 195–210.
  49. ^ "Robert 'El Vez' López".

External links [edit]

  • El Vez at IMDb
  • Robert 'El Vez' López at IMDb
  • Official website
  • Interview with El Vez "Putting the Elvis Back in XMAS" - Rocker Mag 2012

lucasicely.blogspot.com

Source: https://en.wikipedia.org/wiki/El_Vez