Los Lobos still are:
Louie Perez- Drums, Guitars, Percussion, Vocals
Steve Berlin- Saxophone, Percussion, Flute, Midsax, Harmonica, Melodica 
Cesar Rosas- Vocals, Guitar, Mandolin
Conrad Lozano- Bass, Guitarron, Vocals 
David Hidalgo- Vocals, Guitar, Accordion, Percussion, Bass, Keyboards, Melodica, Drums, Violin, Banjo
Enrique "Bugs" Gonzalez - Drums/Percussion

More than three decades have passed since Los Lobos released their debut album, Just Another Band from East L.A. Since then they’ve repeatedly disproven that title—Los Lobos isn’t “just another” anything, but rather a band that has consistently evolved artistically while never losing sight of their humble roots. 

Los Lobos were already East L.A. neighborhood legends, Sunset Strip regulars and a Grammy Award winning band (Best Mexican-American/Tejano Music Performance) by the time they recorded their major label debut How Will The Wolf Survive? in 1984. 
Although the album’s name and title song were inspired by a National Geographic article about real life wolves in the wild, the band—David Hidalgo, Louie Perez, Cesar Rosas, Conrad Lozano and Steve Berlin—saw parallels with their struggle to gain mainstream rock success while maintaining their Mexican roots. Perez, the band’s drummer, once called their powerhouse mix of rock, Tex-Mex, country, folk, R&B, blues and traditional Spanish and Mexican music “the soundtrack of the barrio.” Three decades, two more Grammys, a worldwide smash single (“La Bamba”) and thousands of rollicking performances across the globe later, Los Lobos is surviving quite well -- and still jamming with the same raw intensity as they had when they began in that garage in 1973. The band chronicles a key moment of their expansive journey on Disconnected In New York City, a dynamic live album that marks the band’s 40th anniversary and launches their new association with 429 Records.
Recorded over two nights in December 2012 at The City Winery in NYC, the engaging 12-song set celebrates Los Lobos’ great legacy as a freewheeling and unpredictable live band, which most recently includes touring in Europe with Neil Young and Crazy Horse in June 2013. Disconnected in New York City features fresh interpretations of songs from throughout their three decade recording career, including their first ever live recording of “La Bamba,” their worldwide pop crossover hit from the 1987 film which reached #1 on the U.S. and UK singles chart and whose video won a 1988 MTV Music Video Award. The collection covers the band’s 25 year studio discography, from “Gotta Let You Know” (a bouncy zydeco rocker driven by Hidalgo’s accordion from How Will The Wolf Survive?) through “Tin Can Trust,” a bluesy rock ballad that was the title cut from their last studio release in 2010.  
By design, Disconnected in New York City has songs that have been longtime staples of Los Lobos’ tours mixed with other gems that had somehow fallen by the wayside over the years. The mix includes the mid-tempo shuffling rocker title track from The Neighborhood (1990); the easy flowing and whimsical (thanks to Berlin’s jazzy sax solo) “Oh Yeah” (from This Time, 1999); the spirited, traditional flavored, Rosas penned Spanish language “Chuco’s Cumbia” (from The Town and the City, 2006); the graceful and spiritual “Tears of God” (from By The Light of the Moon, 1987); “La Venganza de Los Pelados,” a fiery burst of Latin rock fusion with mariachi textures (from The Ride, 2004); the soulful, simmering blues of “Little Things” (from The Town and The City, 2006); the Latin blues funk classic “Set Me Free Rosa Lee” (from By The Light of the Moon); and two mid tempo funk pop/rock tunes from 2002’s Good Morning Aztlan, “Maria Christina” and “Malaque.”   
As per the literal meaning of its title, Disconnected In New York City sets itself apart from Los Lobos’ other acclaimed live recordings (most notably, 2005’s Live At the Fillmore) by stripping down the instrumentation for a mostly acoustic affair. Lozano, who drives the grooves with his bass and also plays the deep-bodied Mexican 6-string acoustic bass called the guitarron, says, “It’s funny because when the venue hired us, they specifically requested that we do something acoustic to fit its smaller dinner house vibe. The idea popped into our heads to ask them if we could record it and they were cool with that. 

“We’re well known for our electric, high energy performances but we’ve done acoustic stuff for certain smaller auditorium tours,” he says. “Playing these songs acoustically makes them feel more intimate. We notice that when you play softer and quieter, the audience tends to pay attention to everything we’re doing. When you play rock, they’re thinking more about rhythm than melodies and lyrics, but playing them this way allows for more subtle elements of the songs to stand out.” 

Perez laughs when he calls the Los Lobos Unplugged experience “folk music for the hearing impaired - it’s still loud because the acoustic instruments are amplified! The idea of making a record like this came from never having the opportunity to work some of our favorite songs from over the years into our usual sets. Because most tours are done in support of new albums, the fresh material we play means that some favorite older tunes fall away over time. When we thought about making another live album and what would make it different, the logical concept was to revisit songs we haven’t played in a while but had been requested by a lot of fans. We had already documented our rock show with Fillmore, so we felt kind of liberated to take another approach with this one. 

“There are two challenges releasing a live album, though,” Perez continues. “One is choosing certain songs over other ones. It’s like having kids. We love Tommy as much as Johnny but one day Johnny gets to go the park today and Johnny stays home. In spite of this, we do cover a lot of ground. The biggest problem is the way people sometimes perceive live albums, like they’re an afterthought put out to fill some kind of gap. Bands love doing them but fans don’t always pay attention. But historically, it can be a license for great creativity. Jimi Hendrix did Band of Gypsies to fulfill his last recording commitment, but it was one of the most incredible recordings he ever made. Because Disconnected in New York City marks a key anniversary and the start of us working with a new label, we put a lot of thought into the project, from its design and structure and how we performed the songs.”  

Steve Berlin is Los Lobos’ saxophonist, flutist and harmonica player who met the band while still with seminal L.A. rockers The Blasters. He joined the group after performing on and co-producing (with T-Bone Burnett) their breakthrough 1983 EP …And A Time To Dance. Though he wasn’t jamming with the others way back in the “Krypton days” (as Perez calls it) in the barrio garage, Berlin felt it was important to find a special way to mark his cohorts’ 40th year--just as they had done on their 30th by inviting special guests (Dave Alvin, Bobby Womack, Elvis Costello, Mavis Staples) to be part of their 2004 date The Ride.

“Trying to figure out a way to acknowledge 40 years as a band is harder than you might think,” he says. “We got to play with all of our heroes on our 30th so what was something we had not done? So, like Louie said, we thought the best thing was to bring back songs we rarely if ever play and put them into a fresh context. We wanted to create something of value for our fans that would reflect the mutual appreciation we share with them – starting, of course, with ‘La Bamba,’ which we had never documented live before. I think it was important also that once we knew the set lists for the shows that we would eventually choose the final tracking from, we didn’t over-think the arrangements. We only rehearsed these shows for a single day. The coolest part of how Disconnected worked out is that we hadn’t been doing some of these songs long enough to worry about how to pull them off. And because we performed them acoustically, we couldn’t just blast everyone with power and skate through them. We had to be present and make the choices that occurred to us in each moment.”

Around the time of their last big anniversary Rolling Stone magazine summed up that distinctive, diverse and spontaneous Los Lobos aesthetic perfectly: “This is what happens when five guys create a magical sound, then stick together for 30 years to see how far it can take them.” Most fans know that the group came together from three separate units. Hidalgo, the band’s lead vocalist/guitarist (whose arsenal includes accordion, percussion, bass, keyboards, melodic, drums, violin and banjo) met Perez at Garfield High in East LA and started a garage band. Rosas, who plays guitar and mandolin, had his own group, and Lozano launched a power trio. “But we all hung out because we were friends and making music was just the natural progression of things,” says Perez. “Like if you hang around a barbershop long enough, you’re going to get a haircut.” 
Looking back at the historical and cultural sweep of the band, Lozano sees the release of Disconnected In New York City as Los Lobos coming full circle. “A lot of people forget that though we were rock musicians when we got out of high school, the band started off as an acoustic outfit,” he says. “We wanted to play Mexican folk music because those were our roots and there was this whole Chicano awareness thing happening back in the early 70s. We started to pay attention to our traditions and culture, and focused on those styles of music for years. We studied music from every region of Mexico, learned how to play all these authentic instruments. So that’s what we did for ten years until we decided to play rock again by bringing in drum and electric bass.   

“We were playing this restaurant gig for two years, and some small local clubs, playing the same songs, when people in the crowd started shouting out, ‘Do you know any Beatles or Grateful Dead tunes?’” Lozano adds. “Soon we got fired from the restaurant and headed back to the garage to write our first original songs that were rock with some accordion on them: ‘Let’s Say Goodnight’ and ‘How Much Can I Do?’ We made a little tape and gave it to the guys in The Blasters, which included Steve Berlin, when we went to see them live on Sunset Strip. They loved our tunes and invited us to open their show at the Whiskey-A-Go-Go, which was the first time Los Lobos performed on the other side of the Los Angeles River. We played some originals and old favorites by Hendrix, Cream, The Yardbirds and Beatles – all the stuff we loved as kids. The icing on the cake is that the audience loved it, too.”

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Armin van Buuren has been named number one in the prestigious DJ MAG Top 100 poll four times in a row, as the first DJ in the history of the DJ Magazine and an indication of his prolific output over the more than 14 years he’s been dj’ing and producing. Being the official World’s Most Popular DJ is just one of his many achievements, but the driving force behind his success is an overriding passion for dance music.

Grammy nominated producer, DJ and radio host.
New album 'Music Rescues Me' out now!

MALIQ & D'Essentials adalah sebuah grup musik beraliran jazz yang berasal dari Jakarta, Indonesia. MALIQ adalah kepanjangan dari Music And Live Instrument Quality. Sejak penampilan pada pergelaran Jakarta International Jazz Festival 2005, popularitas mereka semakin meningkat terutama di kalangan anak muda Jakarta.

Perpaduan bahasa Indonesia dan bahasa Inggris dalam lagu-lagunya menjadi salah satu andalan khas mereka. Musik yang dimainkannya khas dan kadang tidak terkesan seperti lagu-lagu populer Indonesia pada umumnya.

Di sepanjang kariernya, MALIQ & D'Essentials sudah mengeluarkan enam album: 1st, Free Your Mind, Mata Hati Telinga, The Beginning Of A Beautiful Life, Sriwedari dan Musik Pop.

Universally accredited with being one of the first DJs to open up the world of electronic music to global chart audiences, transforming the sound of radio and with it, the musical tastes of millions of listeners across the world in the process, David Guetta has established himself as a true, modern day dance icon.
After first making his presence most notably felt in the US with his production work on the Black Eyed Peas‟ „I Gotta Feeling‟ in 2009, a track that has since gone on to record over 8.3 million sales and establish itself as the biggest selling download in U.S. history, Guetta effectively laid the foundations for what is now a burgeoning, worldwide dance music scene. This success translated across the Atlantic too, with both „I Gotta Feeling‟ and the equally anthemic „When Love Takes Over‟, featuring former Destiny‟s Child songstress Kelly Rowland, both rocketing straight to the top of the UK Singles charts. Similarly, Sexy Bitch ft Akon, hit the top spot in multiple countries and made David not only king of the clubs, but a household name.
Following the subsequent release of Grammy-nominated, platinum selling albums „One Love‟ in 2009 and follow up „Nothing But The Beat‟, both of which have boasted numerous #1 singles such as „Titanium‟, „She Wolf‟, „Without You‟ and featured collaborations with everyone from Snoop Dogg to Sia; Usher to Nicki Minaj; Lil Wayne to Rihanna, Guetta has continued to build on his vastly impressive, ever-growing musical legacy.
In total, Guetta has sold more than 8 million albums and 40 million tracks. Not bad for a DJ!
Fast forward to 2014 and having focused on his own „Jack Back’ imprint throughout the first half of year - the label from which he cultivated the careers of then-budding DJ‟s Nicky Romero, Avicci, Afrojack, Showtek and more – David released a trio of club singles including „Bad‟ and „Shot Me Down‟ that have each hit the #1 spot at Beatport within their first respective weeks, he is now channeling all his efforts towards what will be an incredible sixth studio album. The new major single “Lovers On The Sun” will bring together the three Jack Back singles for a summer 2014 EP; sure to be an anthem in the Balearics and beyond.
It is also worth noting that Guetta is now regarded as one of the world‟s most popular figures on both social media and streaming platforms. He has close to 55 million Facebook fans, 15 million Twitter followers and 2 billion YouTube views. Plus 5 million Spotify followers which is well over half their registered user base. The stats speak for themselves.
As well as his influence on the culture of dance music and its subsequent impact on popular music across the world, Guetta has also helped solidify the notion of the DJ being the artist. Not just prolific and talented producer, David is a DJ first and foremost and tours non-stop. He has already played to well over 1.5 million people in 2014 alone, reinforcing not only the global reach of his music, but the unprecedented demand that exists to watch DJs perform. Headlining multi genre festivals, EDM gatherings and his own stadium shows, he has helped lead the change of the landscape - forever.
Having also recently announced coveted Ibiza residences at both Pacha and Ushuaia, as well as an extended run of European festival dates across France, Germany, Estonia, Italy, Sweden, Iceland, Italy, Russia, Spain and Scotland before the summer is out, 2014 is shaping up to be one of David Guetta‟s biggest years to date.

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