In the ultra-targeted niche market of modern radio, it's sometimes hard to

imagine the airwaves of yesteryear, when rock, pop and soul comingled on the radio dial.

Still, even in those AM glory days, specific local flavors emerged, such as the sound of Philly soul, or Motown R&B in Detroit. With next month's release of the three volume Brown Eyed Soul collection, Rhino Records aims to immortalize the Latino musical community that has long flourished in East Los Angeles, but which has to a large extent been overlooked nationally.

Brown Eyed Soul producer David Reyes describes the East L.A. sound

as lush, full of harmony and soft spoken. He points to the soul vibe

of War as a well-known example of the laid back L.A. style, especially

compared to that of bands working on the East Coast.

"They weren't trying to sound like they were black artists, or rock 'n'

roll. They found that niche in between. That was the uniqueness of the

Chicano artist," said Reyes, who along with co-producer Tom Waldman, wrote

Land of a Thousand Dances: Chicano Rock & Roll in Southern

California, to be published in 1998.

Reyes added, however, that the lush East L.A. bands could also rock out

with any of their contemporaries. He said Thee Midniters, one of the bands

featured on Brown Eyed Soul, could jam with the Standells if they

had to.

The collection assembled by Reyes and Waldman covers the years 1952

(represented by Chuck Higgins' "Pachucko Hop") to 1980 ("Together" by

Tierra). While some artists, such as the Romancers, will probably be new

to many listeners, others are more familiar (Ritchie Valens, War). Some

well-known tracks are presented in different forms. "Land of a Thousand

Dances" by Cannibal & the Headhunters, for instance, appears as the

full-length original single that was popular in East L.A. before the song

was edited to become a national hit.

Other cuts on the album are far less famous than the hit songs that made

their performers stars. Valens, for example, appears not singing "La

Bamba," but rather reinterpreting the Robert & Johnny ballad "We Belong

Together." Reyes said his unusual choices illustrate an important point

about East L.A. artists. "Many of the Chicano acts would take a cover song

and rearrange it differently to fit their needs, without any hesitation,"

he said.

Such rearrangements were indicative of the mutual loyalty between artists

and audience that most poignantly defines the East L.A. scene. Not all of

the groups on Brown Eyed Soul are Latino themselves, but they are

united by their keen awareness and appreciation for their Latino fans. The

Penguins, the African-American vocal ensemble best known for "Earth Angel"

are a prime illustration of that allegiance with their song "Hey Senorita."

"They grew up in Watts, and at the time there was a Mexican-American

population around there," Reyes said. "Originally the name of the song was

going to be 'Esa Chiquita,' because that's what the guys would use to

describe a pretty girl. Then in fact the band said, 'We might alienate the

English-speaking audience because they're going to think it's a song

recorded by a mariachi band,' so they changed it to 'Hey Senorita.'"

Fans rewarded the bands who took notice of them with a fierce loyalty that holds strong even today, Reyes said. Brenton Wood, whose single "Baby You Got It" appears on Brown Eyed Soul, is an artist who had hits in the late '60s, but who continues to pack audiences around East L.A.

As the Latino community remains true to their favorite artists of old, they

also pass them on as favorites to their children. The music is heard in the

household all the time, Reyes said. "Oldies aren't really old, because

they're heard everyday in Chicano culture," he added. "Songs are passed on from generation to generation. That's why now a Chicano kid will buy 'Angel

Baby' by Rosie and the Originals, and their parents weren't even married

yet when that was recorded."