Los Lonely Boys Albums (6)
What The Critics Say
Before launching an acoustic tour in late 2009, Los Lonely Boys found time to return to the studio and record 1969, a short 'n' sweet homage to one of the most pivotal years in rock & roll. The bandmates cover material by the Beatles, Santana, the Doors, Buddy Holly, and Tony Joe White, and they do so with clean, polished execution. The Garza brothers are all comfortable with this genre, having grown up in a musical household filled with classic rock and Latin rhythms. Accordingly, 1969 draws a clear link between the band's studio albums and the material that inspired it. ~ Andrew Leahey, All Music Guide
What The Critics Say
It has become patently obvious that San Angelo, Texas' Los Lonely Boys have arrived at their true mainstream place in the musical order when they can release a Christmas album on Sony. And what's not to like? Everything the brothers Garza play is infected with pure bluesy groove and roots rock verve. The ten songs here are Garza-ized takes on Christmas standards: "Jingle Bells," "Rudolph the Red-Nosed Reindeer," "Away in a Manger," "Feliz Navidad," "Santa Claus Is Coming to Town," "Carol of the Bells," and "Silent Night." The latter two are fine instrumentals. "Carol of the Bells,'" especially, is a deeply satisfying guitar and percussion workout that embraces not only hard rhumba drumming, but funk, Mexican folk music, and screaming blues-rock. Hopefully, their version of "Run Rudolph Run" will make Chuck Berry proud, with its rumbling upright piano and bassline, and Henry's guitar offering his best modern read of Berry's instrumental innovation on the I-IV-V progression. But the real highlights here are the two originals that open the set. "I've Longed for Christmas" is a bona fide new seasonal tune with its warmth, soulful wah-wah guitar, and laid-back drum kit shuffling around a slippery groove. The brothers sing unfettered joyful harmonies about giving, peace, love, and joy -- and the celebration of Christ's birth. "She'll Be My Everything for Christmas" is inspired by Fats Domino's New Orleans brand of rhythm & blues with loose strolls up and down the keyboard and his celebration of love between two people. The relaxed, back to basics approach works well. So if you're looking for something else to put in your holiday selection, Christmas Spirit is an excellent bet , not only to inspire cheer in yourself, but to delight your guests as well. ~ Thom Jurek, All Music Guide
What The Critics Say
San Angelo, TX's Los Lonely Boys follow up their excellent 2006 sophomore effort, Sacred, with Forgiven. (Though they seem like they've been around forever, the Garza brothers -- Henry, Jojo, and Ringo -- have only been recording since 2003.) Produced by Steve Jordan, Forgiven doesn't sound a whole lot different than its predecessors, but that's not a bad thing. It contains the same combination of rock, blues, and soul coming together in a seamless blend of originals, offering proof that theirs is a signature sound. In fact, the more Los Lonely Boys record and tour, the deeper they cut the mark in terms of an individual sonic template. The album roars out of the gate with the Latin cum blues-rock of "Heart Won't Tell a Lie," a solid showcase for guitarist Henry Garza. In fact, it's safe to say that, after listening to this a few times, it becomes clear that Garza has forged a style of his own out his love for both Stevie Ray Vaughan and Jimi Hendrix. There is a more swinging, choppy element here in his rhythmic attack, both in his chord voicings and single-string soloing. They are fluid, electrifying, and deeply soulful. This is such an obvious opener that it should become a second single. In any case, Henry is one of the most underrated guitar players around -- his diversity is a strength, he integrates his approach, and he never waters down one thing in favor of another. On the title track, a silvery midtempo Latin-styled rock ballad, his distortion on the beautifully melodic tune contrasts with Jojo's clean bassline and Wurlitzer and the shimmering cymbal work by Ringo. Then there's the single, "Staying with Me." It feels cut from the same cloth that "Just Like Heaven" was, but what becomes apparent after just one listen is that these cats are creating their own brand of Texas bluesy soul, with gorgeous vocal harmonies; an instantly recognizable melody; the languid, relaxed pace of the groove that drips "emotion" in the vocals (think of a Latin version of the Rascals); and the good-time pulse of the rhythm section (with killer hand percussion as well as the drum kit). There is the acoustic norteño flavor in "Loving You Always," with Henry playing a nylon-string guitar, and those elaborate harmony vocals that come together as effortlessly as a backyard sing. There is a stellar cover of the Spencer Davis Group's "I'm a Man" that rivals the original's adrenaline-infused crackle and grit. The wah-wah work on Henry's guitar, the wailing hand percussion by Jordan, and the whomp of JoJo's Wurlitzer carry it into the red. Dr. John makes a guest appearance on the Hammond B-3 in "You Can't See the Light," one of the Garza brothers' finer songwriting moments with just enough of a jazzy background to undercut the Texas rock and Latin soul. All in all, Forgiven proves that Los Lonely Boys are around for the long haul, making records that separate their sound from their influences, and further establishes their identity as one of America's premier roots bands. ~ Thom Jurek, All Music Guide
What The Critics Say
Finally! After three years, four different editions of their self-titled debut, a couple of live outings, a handful of singles, and the radio smash hit "Heaven," San Angelo, TX, wunderkinds Los Lonely Boys drop Sacred, their second studio album. The Garza brothers -- Henry (guitar), JoJo (bass), and Ringo (drums) -- up the ante on this slab; it's a big production number that includes additional keyboards, horns, and extra percussion muscle. Does it take away from the immediacy of their debut? Nope. This is not the ill-fated sophomore slump. Sacred is, for the most part, an uptempo, rollicking, streetwise Texas rock record with many surprises. The Garza brothers' lyric writing is still developing, but the tightknit arrangements, popping grooves, and focused musicianship more than balance. The album's first single is "Diamonds," and true to corporate rock standards, it's an utterly catchy, infectious little track, but it's far from the best thing here. Henry's blistering guitar offers a beautiful hook for the trio to sing off of; it's a simple, hooky midtempo love ballad, played on stun, with two organs (played by Reese Wynans and Mike Finnegan) and producer John Porter lending a second guitar. All mixed up, it creates a big swirling danceable pop noise that will be instantly memorable to anyone who encounters it. That said, there are other cuts here that reveal the depths of the bandmembers' musical knowledge and ideas that they are capable of pulling off. Take "Roses" as an example. Henry's Jimi Hendrix-cum-Stevie Ray Vaughan-cum-Albert Collins guitar style flat out creates a groove for the trio to sing from -- its melody is sophisticated, entrancing, and layered through with B-3 fills. Ringo's polyrhythmic drum style and Carl Perazza's hand drums, the shimmering acoustic guitars, and the guitar solo make this the best driving track of 2006 so far. The deeper Latin flavor of this record enters on "Oye Mamacita." Henry's ear-popping funk riff is complemented by the organ and a large rhythm section laying down the floor. It's a loose, orgiastic stinger where riffs, vocals, hooks, and rhythms collide and then slip into place, stacking on top of one another. The wah-wah guitar solo in this cut is to die for, and truth be told, it's these guys who are creating a new mainstream Tex-Mex-driven Latin rock & roll that even gringos can cut a rug to. "Texican Style" (which is the best description of the music Los Lonely Boys play) features the button accordion of Michael Guerra right alongside Henry's guitar. The Texas Horns contribute to a couple of cuts, including the anthemic opener, "My Way" (no, not that one), and "Outlaws," which also showcases Willie Nelson and Los Lonely Boys' father, Enrique Garza, Sr., on vocals. The latter cut puts Henry front and center with his wah-wahed, "Voodoo Chile"-esque opening. Here is the one-two stomp of Texas outlaw country music updated for the 21st century. The Texas Horns play a funky, gritty mariachi style introducing Enrique's swaggering verse, which introduces Nelson. One might mistakenly perceive this as a nod to novelty, but it kicks ass. Period. The set closes with "Living My Life," a slippery, beautifully constructed Tex-Mex son in English. The three-part harmony is impeccable; the passion in the tune is balanced by its Sonoran desert feel. It's tempting to single out Henry for his fluid, intuitive, and imaginative guitar playing, but that would be a mistake, as his brothers' rhythm section is simply one of the best in the business. They add imagination, grit, and tough grooves to everything they touch. Add the fact that they co-write their songs -- and they all sing -- and you have a unit that is an entire thing unto itself. Sacred is an exciting, even wonderful second step for one of the truly unique bands on the scene. ~ Thom Jurek, All Music Guide
'Live at Blue Cat Blues'
Release Date 11/30/2005
Tracks 19
Label Blue Cat Blues
See Album Tracklist and Review
What The Critics Say
OK, we dig Los Lonely Boys. The single "Heaven" stormed the charts, and the Los Lonely Boys album on which it appeared was received so well that it was picked up by a major after its initial indie release in 2003 and re-released in 2004. On top of this, it was then repackaged again with a DVD in time for Christmas of 2004, and has come out in the two-sided Dual Disc format already in 2005. It's time for a new record, right? Apparently not. Sony has decided to issue Live at the Fillmore as yet another stopgap measure to keep the punters chomping at the bit for something new. That said, this set does smoke. These live versions of the album tunes are raw and charged with a kind of loose, frenetic energy that keeps the now overly familiar songs crackling. And guitarist Henry Garza really shines in this setting. To add ballast, Reese Wynans has been added on keyboards and fills the space beautifully, coloring the band's Texican rock with flourishes of funky soul and R&B. In addition to the album cuts, there are live readings of War's "Cisco Kid" and "La Bamba" that cook. Enough now -- it's time for something new. ~ Thom Jurek, All Music Guide
