Drums Latin Rock

The Latin rock band Del Castillo started in the winter of 2000 in Austin, TX, as a family CD project for singer/guitarists and brothers Mark del Castillo and Rick del Castillo, who eventually added Alex Ruiz on lead vocals, guitar, and harmonica; Albert Besteiro on bass; and Mike Zeoli on drums. That CD turned out to be Del Castillo's debut release, Brothers of the Castle, in 2001. Vida followed in 2002, and Brotherhood (with special guest Willie Nelson) in 2006. The group's self-titled fourth album appeared in April 2009. Del Castillo also has contributed to several films directed by Robert Rodriguez, including Spy Kids 3D, Once Upon a Time in Mexico, Sin City, and Grindhouse. Performing with Rodriguez under the name Chingon, they recorded a version of the traditional Mexican song "Malaguena Salerosa" used in the Quentin Tarantino film Kill Bill Vol. II.

Andalucia is the fourth studio album by Los Angeles rock band Tito & Tarantula, released in 2002. The album marked several line-up changes in the band, which had previously consisted of lead singer/rhythm guitarist Tito Larriva, lead guitarist Peter Atanasoff, and drummer Johnny "Vatos" Hernandez. This album featured the debut of lead guitarist Steven Hufsteter – who had previously played with Larriva in the Cruzados, bassist Io Perry, and keyboardist Marcus Praed. The band toured promoting the album for several years. They also filmed a music video for the song "California Girl".

Where does one begin to praise this CD? The bitter-sweet lyrics, the brilliant intertwining of piano and guitar, the perfect vocal harmonies, the atmospheric texture, the magic of the melodies? "Bringing Rosa Home" is the sixth and strongest CD so far from the English band Latin Quarter. The richness of ideas of joint band- leaders Steve Skaith and Richard Wright is overwhelming, their musical taste undeniable. The twelve pop-songs on their new CD sound smooth and effortless almost as a matter of course. Like all really first-class things.

Latin Quarter first burst onto the scene with their singles "Radio Africa" and "New Millionaires" - songs that stayed for months in the German single charts in the 80s, with the album "Modern Times" selling more than 300.000 copies worldwide. The band then went on to make 5 more albums before splitting up in 1998. However, in 2011 five of the original band members are back together with a new acoustic-pop album, entitled "Ocean Head". The album, was released in Europe on February 17, 2012, contains 10 new and 1 older song, and combines the political and the personal themes for which Latin Quarter have always been renowned.

For its third outing, Latin Quarter served up more surprises for its fans. Trimmed down to a quartet (half the band it used to be?), the band was more musically focused on this album than ever before. Choosing to keep the world rhythms to a minimum, the album's backbeat was clearly lush acoustic pop with a few touches added for flourish and flavor. Without completely altering their approach, the bandmembers were able to simplify their sound without giving up their identity. In doing so, they finally created what could be considered the "Latin Quarter" sound. Steve Skaith (vocals and guitar) served up some his best melodies to date, while lyricist Mike Jones proved to be as thought-provoking as ever, challenging the listener with each song.

Black Boots is packed with tunes that will slip into your consciousness forever. Each and every lyric will chime with those of us who've knocked about a little in the world and the tunes support the lyrics impressively…

When Latin Quarter released their debut album, Modern Times, in 1986, it was so musically diverse, it seemed to be a compilation of several different bands. When Mick and Caroline was released the following year, the band was essentially the same, but their different approaches began to melt together, making this album more cohesive, if not as interesting. Late-'80s pop once again mixed with world rhythms and socially charged lyrics (courtesy of lyricist Mike Jones), creating a sound that could have made a commercial impact had it not been for the inability to pigeonhole the band into a clear musical genre.