Born in 1939 in the SouthSide of San Antonio, Manuel “Manny” R. Guerra Jr. was introduced to music early. His mother Lucia, a piano player, often had music playing at their family business next door, “the Tasty Tamale Company.” With the support of his father, Manuel Guerra Sr., he learned to play the accordion, lap steel, and piano. However, through his teacher’s encouragement at Burbank Jr High, he learned to play the snare drum, which eventually led to a full-on drum set that Manny Jr. purchased himself, and the rest was set in motion.

Already a multi-instrumentalist, Manny joined his first band, the Creepers, at the age of 16 as a drummer. Manny described the Creepers’ sound as “sophisticated Latin music with a flavor of jazz.” Still just a teenager, Manny then started to play with Jazz guitarist and his trio, Jack Skiles, and then bandleader and pianist, Larry Herman. At seventeen, Manny would drop out of Burbank to marry his high school sweetheart and gig full time. He eventually joined the band of legendary bandleader and saxophonist Isidro Lopez. Guerra would ride the Greyhound bus back and forth between San Antonio and Corpus Christi every week to play with Isidro and his band; he did this for a few years until fatigue eventually caught up with Manny, and he decided to leave the band. The year was now 1961, and Manny’s little brother, Rudy Guerra, started his garage band with another southside kid named Ildefonso Ozuna, otherwise more famously known now as Sunny Ozuna. Manny decided to join the band as their drummer and bandleader, and they soon became “Sunny & the Sunglows.”

Now under Manny’s direction, Sunny & the Sunglows recorded their first single for the Sunglow label titled, “Golly Gee.” At the suggestion of Guerra, in ‘63, they covered & recorded Little Willie John’s hit, “Talk To Me,” which was ultimately picked up by Louisiana native Huey “the Crazy Cajun” Meaux’s Tear Drop Records. The single kickstarted the band, gave them national attention and led them to Dick Clark’s American Bandstand to perform Talk to Me. Through the advice of Huey Meaux, Sunny left the Sunglows in ‘63 and formed his own band, the Sunliners, to record under the Tear Drop label. Devastated, Manny & the Sunglows pushed on performing all over San Antonio & Texas at dances, car shows, & clubs, sounding tighter than ever.

In 1968 Manny saw an opportunity to rent a little space on 3205-7 S. Flores — he painted the outside orange and white (a tribute to his alma mater) and opened up a record store called Amen Records. Manny would gather all the singles the Sunglows recorded, package them together and sell them as a bundle. However, musicians all over town kept coming to his shop seeking his advice on songs, arrangement, and production. Being infatuated with the creative process, Manny could not resist getting himself back behind the recording console. Guerra decided to expand his space with the bike shop closing down next door, and soon Amen Records became Amen Recordings Studio. Armed with an Ampex four-channel mono mixer, B3 organs, Farfisa, and various improvised recording devices, Manny would go on to engineer groups like the Royal Jesters, Latin Breed, vocalists Little Jimmy Edward & Joe Bravo, Tortilla Factory, Joe Gallardo & Sol, and the legendary funk outfit, Mickey & the Soul Generation. Like Abie, Manny established multiple labels like Amen Records, Guerra Company Productions (GCP), Mr. G, Guerra Productions, and RP, to name a few. By the 70s, Manny produced countless Tejano acts like David Marez, La Mafia, and a young woman from Lake Jackson, Texas, Selena Quintanilla. Manny was the bridge between the West Side Sound and Tejano music.

Manny Guerra has since left the secular music world but was still heavily involved with recording Christian and gospel music. In 2006, Manny sold most of his catalog to EMI, Universal, and Capital for an undisclosed amount and has since written and published his first book, “Tejano Music Award Producer.” An autobiography that details his life as a record producer and engineer in the industry. On Friday, December 12th, 2025, Manny passed away surrounded by his loved ones. The legacy he leaves behind reaches far beyond San Antonio and the music industry itself, but it is permanently rooted in San Antonio, where the West Side Sound was shaped, recorded, and carried forward.

Acknowledgements: A big thank you to Jesse Garcia — my dear friend and historian for helping with photos from his archive.

Manny was a reluctant interview subject, and gaining his trust took years. The following audio is a raw, unedited interview recorded years ago over coffee at a diner. It offers a candid portrait of Manny—intelligent, humorous, and deeply committed to his faith.

Oscar, a year ahead of Henry, briefly attended seminary school in Louisiana after graduating. But once he returned to San Antonio, the two reconnected and decided to start something of their own. The group they formed would eventually become the Royal Jesters—a name stitched together with the same mix of dignity and playfulness that defined their sound. “Back in those days, everything was ‘Royal’—the Royal Tones, the Royal Knights, the Royal this and that,” Henry Hernandez recalled. “Some of us wanted something classy, like ‘The Royals,’ and others were leaning toward something fun, like ‘The Jesters.’ So we just put ‘em together— Royal Jesters. That’s who we were.” Not long after, Henry and Oscar brought in their friends Mike Pedraza and Bobby Cantu. Pedraza then recruited Charlie Walker, an African American student from the East Side who attended Fox Tech High School to learn a trade. The group reflected the spirit of a newly integrating city, united by a shared love for doo-wop, flooding the airwaves of local radio station KMAC.

flooding the airwaves of local radio station KMAC.

By 1960, the Royal Jesters had already become a fixture in San Antonio’s west side sound­scape. They had recorded with local DJ Joe Anthony on his Harlem label, landing regional attention with “My Angel of Love” and “Those Dreamy Eyes”-two songs penned by Oscar Lawson, aired relentlessly on the radio, but never followed by a royalty check. Anthony was slick with words, and when Oscar and Henry pressed him about compensation, he flipped the situation into a live radio appearance, announcing their presence on-air. The Jesters left without payment, but with a bigger local profile. With that shift came changes-Mike and Bobby exited the group, and a few lineup experiments followed—but it wasn’t until Louie Escalante and Dimas Garza joined the group that things started to click.

Louie, a popular basketball star from Lanier with no singing background, was brought into the group. “He didn’t really sing at first,” Henry said, “but he learned and just fit-he became part of the harmony.’‘ Not long after, Henry left for military duty, the group invited Dimas Garza to step in. Dimas had been singing with the Lyrics, a rival group also signed to Joe Anthony’s Harlem label, and had already recorded a single with another group called the Kool-Dips. With Oscar, Henry, Louie, and Dimas in place, the Jesters found a new groove-a steady vocal unit with chemistry, style, and soul. This became the core crew that recorded some of their most memorable singles during the early years of Epstein Enterprises.

As the group transitioned to Epstein’s Cobra and Jox labels, they recorded a string of English-language singles, including “Let’s Kiss And Make Up” b/w “Love Me” and “Never Will Forget” b/w “I Want To Be Loved.” Both singles were penned by Dimas himself. This lineup-Oscar, Louie, Henry (once he returned), and Dimas-would go on to define the Royal Jesters’ classic era, cementing their place in San Antonio music history. The singles earned modest national attention-three-star reviews in Billboard and steady airplay back home-but once again, the group found themselves facing broken promises and missing royalties. Tired of waiting on checks that never came, the Jesters decided to pursue their own business ventures.

Around 1965, they founded their own imprints—Jester Records and Clown Records—to control their recordings and carve out a future on their own terms. Despite leaving Abe Epstein’s Cobra and Jox labels behind, the split wasn’t bitter. The group recorded at Epstein’s studio located on General McMullen, and even assisted on a slew of singles that captured the group in its prime. The band found its footing in this era, locking into a rhythm section that felt both sharp and soulful. Charlie Cruz held down the bass, with Ignacio “Pache” De La Vega on guitar, Manuel “Bones” Aragon on drums, Luvine Elias Jr. on organ, Tony Peña adding also on bass, and a horn section led by Victor Alvarado and Jerry Aguirre on trumpet, and Alex Hernandez on tenor sax. “At first, I wasn’t sure,” said Bones, the longest-tenured member of the Royal Jesters. “I came from a different scene.

But they won me over—they were just locked in.” His favorite memory of the band’s energy? “A tight groove you didn’t want to fall out of. And if you didn’t wear the right suit or tie, they’d fine us!” One night, Henry told Bones he would open the set solo with a cover of Herbie Hancock’s “Watermelon Man.” No warning, and his only cue was, “Trust me.” Bones was nervous. But as he started playing, the crowd leaned in, and one by one, the band crept onstage behind him, layering the sound. By the time they hit full stride, the place was electric. Henry looked back at Bones with a smirk that said, See? I told you. Like many from those years, that moment stuck with Bones—clear as a soundcheck and full of soft nostalgia. It was also when Dimas began exploring his own sound. His solo work on the group’s Clown imprint was sparked by ambition and love. His wife, Gloria, wanted him closer to home, away from the late nights and smoke-filled bars. But Dimas never drifted far; he shared stages and studio time with the Jesters, and their musical bond remained intact.

In 1965, the Royal Jesters released their debut LP, We Go Together - an album of flawless harmonies, a powerful rhythm section, swirling organ, and heavy, soulful drums. The album leaned heavily on covers and a few instrumental cuts, with most tracks featuring the group harmonizing together behind Louie Escalante’s smooth baritone lead. But each member had their own moment to shine: Oscar took the lead on “Funny (Not Much),” Henry on “I Want To Meet Her,” and Louie again on “I’ll Be Home” - a heartfelt tribute to their brothers serving in the military, complete with a solemn taps intro. The album featured an instrumental cover ofMongo Santamaria’s “Afro-Lypso,” as well as an original composition by Luvine Elias Jr. titled “Stiletto-135.” The track was born from a harrowing experience: after being stabbed one night following a gig, Luvine began carrying a stiletto knife for protection. Not long after, he and his buddies were pulled over for speeding while on a road trip to visit a friend’s father. “I put the knife underneath the seat,” Luvine recalled. “when the cop found it, he said, ‘whoever owns this, confess now, or I’m taking everyone in.’ so I confessed, spent the night in jail, and paid a $135 fine. That’s how the song got its name.’‘ The album’s visual presentation came together through a tightly knit web of local talent. The cover was designed by Sosart, Bob Tanner’s go-to design team at TNT Records, while the photograph was taken by Zintgraff Photographers - a company where Louie Escalante, working part-time in the darkroom, may have helped develop the very image chosen for the sleeve.

Riding the momentum of their new ventures - and drawing on their natural business instincts - the Royal Jesters leased the now-legendary Patio Andaluz, a venue they called home for the next three years. In the heart of the west side of San Antonio, the Jesters curated a vibrant calendar of dances and sock hops complete with car clubs and live performances, offering a stage to some of San Antonio’s best local acts, like Henry & the Kasuals, The Eptones, Little Jr. Jesse and the Teardrops, and of course the king himself, Sunny & the Sunliners. Manuel Betancourt, a close friend of the Jesters, promoter, and the leader of the Road Griffins car club, recalls, “I would book nights with Oscar and Henry and invite all the car clubs in the city. There would be hundreds of people with lines wrapping around the corner waiting to get in - we had a nice thing going.” That thing did come to an end in 1968 when Henry and Louie got into a disagreement that ended with punches being thrown just before a gig. That incident led to Louie’s departure from the group, and the Jesters brought in David Marez-a former football standout and lead singer of the Eptones-to take his place.

Around that time, Oscar shifted into a behind-the-scenes role, focusing on production and management, while Henry stepped forward as the group’s bandleader. The Royal Jesters underwent several lineup changes in the following years, bringing in heavy­weights from the San Antonio scene, including Joe Jama (of the Revells and the Eptones), Jack Martinez (of the Commands), and the soulful Ralph Cortez. Their follow-up LP, Chevere, was released on a new Jester imprint called Optimum Records. Three more albums followed on Manny Guerra’s GCP label, but by the mid-1970s, the group stepped away from the spotlight. It wasn’t until the next millennium in 2005 that Oscar, Henry, and David reunited to record Odyssey: The Journey - a release earned the group their first Grammy nomination-and gave the Royal Jesters one more moment in the sun.

This reissue arrives 60 years after We Go Together first made its quiet debut. Oscar Lawson passed in 2011, Dimas Garza in 2008, and Louie Escalante in early 2025. Henry Hernandez-the last original Jester standing, now in his eighties-still speaks of the music and those years with joy, fondness, and a quiet pride. Henry and Louie stayed close friends and would talk daily until his passing. Many of the Jesters’ band members have since passed, but their presence lingers-they’re honored at oldies dances and remembered in stories shared over breakfast meetups at taco shops across the city. Though San Antonio has grown and reshaped itself over the decades, the essence of the world that produced this music still lingers in the intimate memories of those who lived it. If you’re holding this, you’re holding a piece of that enduring memory.

- Rae Cabello I Pecos Records

We Go Together personnel:

The Royal Jesters | Oscar Lawson, Henry Hernandez, & Louie Escalante.

The Royal Jesters Band I Igancio “Pache” De La Vega (Guitar), Chale Cruz (Bass), Manuel “Bones” Aragon (Drums), Luvine Elias Jr. (Organ & Keyboard), Tony Pefia (Bass), Victor Alvarado (Trumpet), Jerry Aguirre {Trumpet), and Alex Hernandez (Sax).

Acknowledgments and gratitude: Rob Sevier & Ken Shipley at the Numero Group for all their guidance and support. Jesse Garcia, Ruben Molina, Chris Varelas, Jason Chronis, Rosemary & the Lawson family, Luis “Dino” Escalante Jr., and Henry Hernandez.

The Birth of Thee: A Fusion of Musical Minds

In the musical cosmos of South Texas, Thee formed from the Big Bang of three distinct teenage garage bands. Juan Jimenez's soulful vocals and Juan-Raul Rodriguez's multi-instrumental brilliance from "The Optical Illusions" collided with the high-octane energy of Ruben Resendez on bass and Reginaldo "Reggie" Gonzalez on lead guitar from "The Extremes." Eddie Garza's commanding drumbeats from "The Chocolate Grapevines" provided a driving rhythm, while Bruno Lozano Jr.'s rhythm guitar added a rich, layered texture. This serendipitous blend of talents created an electrifying and harmonious ensemble, resonating deeply with the vibrant spirit of South Texas.

”Juan Raul lived a few blocks from my house, so it was easy to get together. I would walk to his house and we would just hang out and talk and listen to music all the time” - Juan Jimenez

Ruben and Reggie of The Extremes first met as kids living across the street from each other. Reggie, already seasoned with guitar skills and band experience, began teaching Ruben to play guitar. They eventually formed "The Extremes," featuring drummer Lupe Lomas and lead vocalist and guitarist Bobby Martinez. Their first gig at a youth center dance in 1965 tested their skills, but the band lasted only a year before Bobby Martinez’s father got stationed outside of Del Rio, prompting Bobby to quit the band, but not long after they met Juan Jimenez and Juan-Raul Rodriguez, childhood pals since their elementary days, grew closer over their shared love for music.

Raul and Juan were part of a garage outfit called "The Optical Illusions," featuring Juan on vocals, Raul on rhythm guitar, Raymond Rodriguez on bass, Joe Torres on lead guitar, and Joe Salas on drums. As other members of The Optical Illusions lost interest, Raul and Juan's passion for music only grew. As The Optical Illusions faded, Thee began to take shape. Influenced by the rise of counterculture and the mid-60s British Invasion, the group debated for hours before settling on the unique name "Thee." The lineup included Reggie on guitar, Ruben on bass, Raul on organ, Juan on vocals, and Lupe Lomas on drums. In a cosmic twist, Thee and another local group, "The Chocolate Grapevines," swapped drummers, with Eddie Garza joining Thee and Lupe joining The Chocolate Grapevines, and soon recruiting talented guitarist Bruno Lozano at the suggestion Juan-Raul and the lineup was complete.

”McDaris was a nice man who did so much for us. He believed in us and made sure to take care of us after every gig. We were grateful for him” - Ruben Resendez

Thee’s sound-waves eventually caught the attention of Lamar McDaris, a local DJ, music promoter, and occasional high school sportscaster, when he heard the band’s stellar rendition of "To Love Somebody" by the Bee Gees opening for '‘Flash in the Pan’ group Crazy Elephant, at the town’s civic center. Seeing the potential, McDaris decided to manage the band, booking gigs that allowed their sound to resonate in the surrounding Del Rio area.

He soon encouraged them to craft original compositions to pair with their cover. Juan and Raul, the compositional architects, created "Time With Her," a shimmering, atmospheric ballad with Juan’s haunting vocals, Raul’s cosmic organ and harmonies, Bruno and Reggie’s sparkling guitars, all head down by the rock-solid rhythms of Ruben and Eddie. Enthralled, McDaris loaded the band and their gear into his station wagon, embarking on a 156-mile voyage to Jeff Smith’s Texas Sound Studios in San Antonio, TX.

Lamar McDaris pressed 400 copies of their single at Bob Tanner’s TANNER ‘N’ TEXAS pressing plant, nestled on the west side of San Antonio on W. Poplar Street. The band chose the controversial name “Pot Records” to debut their new single. According to Ruben, the single soared through the regional charts, with all 400 copies quickly snapped up by eager fans. Their tune became a hit on Del Rio radio, thanks to the promotional magic of McDaris and his crew. Soon, Thee found themselves booked non-stop far and wide. Riding the wave of success, Lamar kept the Pot imprint alive, pressing records for several other groups, each release adding to the constellation of South Texas music.

A Legacy Beyond the Notes

The journey of Thee was brief yet impactful. By the summer of 1970, as high school drew to a close and life's paths diverged towards careers and higher education, Thee disbanded. Despite the brevity of our time together, the music we created and the connections we forged left an indelible mark on Del Rio's cultural landscape.

”Back then, the band meant a lot because we wanted to prove that we could be something special if we wanted to keep going to the next chapter of our lives” - Juan Raul Rodriguez

Today, Thee's music is more than just a memory; it's a legacy of a time when a group of young musicians could come together and, against the backdrop of a divided society, create something that would unite and endure the community. It's a testament to the power of music as a universal language—one that transcends the barriers of time, place, and even cultural divides. Thee reunited for a performance at the Del Rio Civic Center in 2015 that once again brought the whole town together. Thee's story is not just about a band; it's about how music can capture the spirit of a community, embody its hopes and dreams, and leave a legacy that endures long after the last note fades away. As we look back, we celebrate not only the music we made but also the journey that music took us on—a journey of discovery, unity, and timeless resonance.

You can purchase a copy of Thee’s “Time With Her” b/w “To Love Somebody” via our bandcamp.

Special thank you to Jason Chronis, Rob Sevier, the McDaris, Rodriguez, Jimenez, Resendez, Lozano, and Garza Families for all their support.

- Pecos Records

Born Daniel Ramos Escobedo in 1950, Danny's journey in music commenced at the tender age of ten with a Sears Roy Rogers guitar that his father gifted him. Dan’s father, Master Sergeant Guadalupe Salomon Escobedo, always supported Dan’s interests. The gift was a humble beginning that blossomed into a lifelong pursuit for Danny, but his evolution as a musician was marked by his transition to a silver-tone guitar (notable for its built-in amp). Danny attended several schools due including Horace Mann Middle School and Holy Cross, a private catholic school, but it wasn’t until he attended Irving Middle School on the west side of San Antonio that he started Danny & the Dreamers at the tender age of 13.

In 1964, Danny & the Dreamers' musical prowess was affirmed when they won the Battle of the Bands at the Joe Freeman Coliseum in their age division, an annual event still held in San Antonio today. This achievement led them to open for the Rolling Stones in June of 1964. Around this time, Danny started showcasing his talent as a songwriter, and by 1965, Danny's father founded and funded the Dreamer label for the boys to record. The Dreamer label made its foray into the music scene with a rendition of the Sunglows’ "O Heart," a song originally composed by Sunny Ozuna and Manny Guerra. The B-side, complemented this with another cover, this time with “I’ve Just Got To Forget You,” made famous by Tennessee's Bobby "Blue" Bland. This pairing of songs not only showcased the young band's musical influences but also their ambition to align with the tastes of their community, bridging generational music preferences while introducing their youthful energy.

Both recordings featured Jimmy Treviño —later to gain fame as Lil’ Jimmy Edward. It was through the band's first vocalist, Gilbert Hernandez, who introduced Danny to Jimmy Treivño, a meeting that proved fortuitous and catalyzed their budding careers. Their subsequent release, a double-sided single, signaled a crucial turning point for the band. Featuring "Baby, Something's Wrong" on the A-side and "(I Couldn't) Come Back To You" on the B-side, this record was the first to showcase Danny's emerging talents as a songwriter. "Baby, Something's Wrong" demonstrated Danny's knack for creating resonant and moving lyrics, revealing a musical sophistication that belied his young age. Although he showed considerable promise, Danny was not yet prepared to take on the role of lead vocalist. This release not only highlighted his evolving musical capabilities but also marked the beginning of a new creative chapter for the band.

As the band's popularity surged, internal dynamics began to shift, leading to a pivotal moment between Jimmy and Danny. A disagreement over compensation arose, a not uncommon challenge in the evolution of musical groups. However, both members approached the situation with maturity, opting to part ways amicably. This resolution opened a new chapter for the band and the Dreamer label. The label's third release featured two original tracks: "Eternal Love" b/w "Hey Little Girl." The A-side, "Eternal Love," drew inspiration from the ethereal tones of Santo & Johnny's "Sleepwalk," weaving a similar dreamlike quality into its melody. The B-side, "Hey Little Girl" marked a significant milestone for Danny as he took the lead vocals for the first time. This track showcased not just his evolving songwriting prowess but also his vocal ability, signaling his readiness to step into a more prominent role within the band.

As Danny assumed a more prominent role, the band caught the interest of seasoned label honcho Huey P. Meaux, also known as the Crazy Cajun, who owned and operated the Teardrop label. Their interest led to a partnership with the Teardrop label, which produced the Dreamers' fourth single. This record featured renditions of the Four Tops' "Ask The Lonely" and Curtis Mayfield's "Think Nothing About It," with Danny showcasing a more mature vocal prowess—exhibiting a refined control and enhanced vocal ability that marked a significant artistic development.

In 1968, the band shifted away from their soulful sound to a more regional one and recorded over at Epstein Enterprises—a studio owned by Abie Epstein. The band recorded a fifth single, “Nada Contigo” b/w “Un Mal Entendimiento” on Epstein’s Cobra label for his yellow label Spanish series. This recording demonstrated the diversity of the band and their ability to pivot quickly to cater to towards the local audience.

In the swirling years that followed, the Dreamers melded into the vibrant scene of Jimmy Edward's Spanish group, recording under the wing of Sunny Ozuna and Johnny Zaragosa on their Key-loc label. Meanwhile, Danny found himself back on the familiar turf of Monterrey St, where an unexpected meeting with Bobby Fraga, amidst the mundane chore of lawn mowing, steered his career back into an exciting new path. Bobby, along with a carload of Royal Jesters, spotted Danny and spontaneously offered him a spot as their bassist. Despite his lack of experience with the instrument, Danny’s adventurous spirit led him to bunk with Bobby, learning the bass and mastering the Jesters' repertoire in no time. His efforts bore fruit as he recorded "Chévere" on the Jesters' Optimum label. A record that featured all English soul tracks, including a handful of covers

As the 70s grooved on, Danny dove deeper into the eclectic sounds of the era with Trinity, a rock ensemble with a twist of the avant-garde that featured keyboardist Richard Hall and drummer Speedy Flores. In 1975, under the sage guidance of producer Foy Lee, Trinity released their debut album, “Trinity-I,” on the Teardrop label. This album was a kaleidoscope, blending rock foundations with the cosmic swirls of funk drenched with psychedelic synths. Richard Hall and Danny were the architects behind this musical odyssey, co-writing and crafting all the tracks.

Today, Danny's music legacy continues to thrive in and around San Antonio. His records are traded among collectors for hundreds, sometimes thousands, of dollars for the original. Danny continues to perform in a variety of venues, cantinas, and even retirement homes, cherishing his continued appreciation for his music and finding ways to give back to something he holds so dearly. In 2023, Danny told the SA Report, "I've been very blessed; music has treated me well." Purchase a copy of Danny & the Dreamers’ “Baby, Something’s Wrong” b/w “(I Couldn’t) Come Back To You” HERE.

Danny & the Dreamers (Pecos-004): Resonance of San Antonio’s West Side Musical Legacy

Born Daniel Ramos Escobedo, the mastermind behind Danny & the Dreamers, Danny's musical odyssey began with a humble Roy Rogers guitar gifted by his father. Little did they know this gift would ignite a lifelong passion for music that would shape the San Antonio music scene for decades. Formed in 1963 while Danny was just 13 years old, the Dreamers quickly made waves, winning the Battle of the Bands at the iconic Joe Freeman Coliseum.

Their meteoric rise continued as they opened for none other than the Rolling Stones in the summer of '64, solidifying their status as local legends. With a penchant for songwriting and a supportive father who founded the Dreamer label, Danny & the Dreamers etched their mark in music history with hits like "Baby, Something's Wrong" and "(I Couldn't) Come Back To You." Their versatility knew no bounds as they collaborated with renowned labels and artists, showcasing Danny's and the band's talent.

Today, Danny's enduring presence in the San Antonio music scene serves as a testament to his remarkable journey and unwavering passion for music. As he continues to grace clubs, cantinas, and community centers with his timeless tunes, Danny remains grateful for the love and support of his fans. "I've been very blessed," he humbly reflects. "Music has treated me well, and I'm honored to have people still interested in my music."

Thee (Pecos-005): Unraveling the Mystique of Borderland Garage Rock

From the culturally diverse border town of Del Rio emerged Thee, a band that defied conventions and transcended boundaries with their mesmerizing music. Formed by Ruben Resendez, Juan Jimenez, Juan-Raul Rodriguez, Reginaldo Gonzalez, Bruno Lozano, and Eddie Garza, Thee's journey began in the mid-1960s, weaving together influences from across the region to create a unique sound that captivated border town locals.

Despite the challenges of segregation, Thee united communities through their music, leaving an indelible mark on Del Rio's musical landscape. Their debut single, "Time With Her," recorded in San Antonio's Texas Sound Studios, showcased their raw talent and garnered local acclaim, becoming adolescent hometown heroes.

Though their time together was brief, Thee's legacy lives on, a testament to the power of music to transcend barriers and bring people together. As we celebrate their contributions to Texas music history, we honor the spirit of creativity, resilience, and camaraderie that defined Thee.

Reserve your copy today:

Secure your copy today of this limited-edition release, with only 300 copies available, by pre-ordering through our Bandcamp page at https://pecosrecords.com/. Don't forget to mark April 5th, 2024—the official release date when these singles will be shipped and streamed on all major digital platforms. Whether you relish the tactile sensation of 45s or prefer the convenience of streaming, now is your chance to own a piece of Texas music history.

Special thanks to the Escobedo and McDaris families, Jason Chronis, Matt Dawson, and Rob Sevier. 🙏🏼

-Pecos Records