For Los Amigos Invisibles, it has been over 60 countries visited, 1 Latin Grammy + 2 Latin Grammy nominations, 3 Grammy (NARAS) nominations, 7 studio albums, 1 live DVD+2CD, 1 record label, 20 years in the music business, and with high hopes to continue to do what they love to do.

2011 "Not So Commercial" is released in US and the band start the year touring the US to promote it. Later they embark in the "20 years together" Tour which hits important cities of the world including a very special show in Los Angeles along with Maestro Gustavo Dudamel and the LA Phil in the Hollywood Bowl. In December 1rst "Not So Commercial' is nominated for a Grammy in the category of Best Latin Rock, Pop or Urban album.

2010 January marks the release of "Commercial" in Australia followed by a tour throughout the country that would take them to such prestigious venues as the Queensland Performing Arts Center in Brisbane and the World Of Music, Arts and Dance Festival in Adelaide; whilst receiving rave reviews from the local press. In the spring, "Commercial" is released in both Spain and Argentina where Los Amigos Invisibles continue their promotional tour to sellout shows in both continents. In the summer, the band participates in festivals such as The Couleur Cafe in Belgium; Pirineos Sur in Spain; and Bonnaroo, Central Park Summerstage and Lollapalooza in the USA.

2009 On June 9th, their new album "Commercial" hit the stores in the US, Puerto Rico and Venezuela. Band starts the promotional tour visiting several places in the US, Mexico and Venezuela. In September "Commercial" is nominated for the Latin Grammys on the Best Latin Alternative Album category. On November 5th, Los Amigos Invisibles win their first Latin Grammy in a ceremony that took place in the city of Las Vegas.

2008 They kick off the year with a US west coast tour alongside Si*SE, followed by stops in Mexico and Puerto Rico. On May 12th they publish their first ever DVD, showcasing a live concert at Aula Magna in Caracas, Venezuela; in celebration of their 15 years together as a band. For the release of their DVD + 2CD, "En una noche tan linda como ésta", a live show is broadcast across Venezuela. They continue on a tour, sponsored by Movistar, across the country, making stops in Maracaibo, Valencia, and Caracas. Meahwhile, Los Amigos are wrapping up the post production of their latest album due out at the end of the year.

2007 Los Amigos Invisibles continue to tour non-stop around the United States and Latin America, taking part in important music festivals such as Rock Al Parque in Bogota, Colombia; and Vive Latino in Mexico City. In addition, the band travels to Guatemala and El Salvador to play for the very first time. Joined by the original authors of the songs on "Superpor Venezuela", they perform a show titled "Los Amigos y sus amigos" at the Poliedro de Caracas and the Aula Magna in Maracaibo, Venezuela. They return to New York City to record their sixth studio album.

2006 Los Amigos Invisibles make Gozadera Records USA official by publishing "Superpop Venezuela", their first album under the label. The album, produced by Dimitri from Paris, earned them a Grammy nomination for best urban-latin-alternative album.

2005 For the second time LAI goes to Australia starting the year with the amazing Sydney festival. Follow by tours in USA, Mexico & south America.

The upcoming Release of "Super Pop Venezuela" the 5 th newest Album promises a journey into Venezuelan pop and alternative music from 60s 70s and 80s all with Los amigos invisibles authentic musical style with the help of Dimitri from paris superb taste and production skills.

LAI performs at the "Jimmy Kimmel" show (ABC networks) and does LATV's SHADOWS new show that gives the viewer a behind the scenes from the artist lifestyle through a normal day on their lives.

In September LAI is nominated for the GRAMMY'S

2004 LAI keeps touring USA , UK and Mexico with the success from Venezuelan Zinga Son, with a mayor USA Album Release Show atÊ IRVING PLAZA NYC.

"Chill out Venezuela" the first CD from GOZADERA RECORDS catalog, featuring artist proposing new and original music from Venezuela was also release with grate success and appreciation.

LAI appears in American national TV and Radio PBA, LATV to name a few, also a live internet broadcast show from KCRW Radio studios in California.

2003 Los Amigos Invisibles participate in Louie Vega's Album Elements of Life as well as Dimitri from Paris' Crushing Attitude. Venezuelan Zinga Son is released in Europe and Japan thru Long Lost Brother Records, company responsible for Jamiroquais career, in Venezuela they form Gozadera Records to release their albums and start working on Chill Out Venezuela .

2002 Masters at Work and Los Amigos Invisibles start working together and they record the single "Bruja" on sale as 12 inch through MAW Records, both sides excited decide to start recording Los Amigos Invisibles next production "Venezuelan Zinga Son" which will be out late August this year.

2001 Taking into account the many work opportunities and convenience to travel worldwide, Los Amigos Invisibles decide to move to New York, going back to Venezuela every once in a while to play, promote the album and pay attention to the crowd that made them in the first place. They manage to contact several important personalities of the Dance Music worldwide and start to make remixes for different artists, they meet amongst others "Little" Louie Vega from Masters at Work with whom they become friends and start a strong working relationship.

2000 Maybe the reason why it took so long to produce their third album was the endless touring and the new workpace, but finally feeling comfortable to record again, they decide to try their luck with producer Philip Steir and move for a couple of months to San Francisco to create "Arepa 3000 a Venezuelan journey into space". The fruit of many long arguments between the band and the producer, this LP accomplishes a nomination to the Grammy and another to the Latin Grammy, consolidating the bands name worldwide.

1997 It's time to record "The new sound of the Venezuelan Gozadera." With the help of producer Andres Levin and sound engineer Fernando Aponte, Los Amigos Invisibles record their second album half in Caracas and half in New York. From now on music is now longer a hobby and becomes the profession of the band members, they start to tour around the world and to listen to new acts and new styles of music; in between we find of course Masters at Work's "Newyorican Soul" which becomes a permanent addition to their CD holster.

1996 Thanks to ex President Caldera's economic policies, Los Amigos Invisibles decide to try their luck with 20 CDs under their arms in New York. They manage to book a couple of shows in S.O.B.'s and through their future manager Alberto Cabello they place the 20 copies of their CD in a record shop in New York. Destiny throws the dice and David Byrne decides to buy one of their CDs in that very same store, and noticing a phone number in the back cover of the CD he decides to call and find out what the band is doing. By pure chance the band was out of the record deal with EMI and after a few conversations Los Amigos Invisibles, they become a part of Luaka Bop.

1995 Many hangovers after and with all the band members consolidated, Boris Milan, friend of the band and owner of a recording studio in Caracas persuades Los Amigos Invisibles to start recording their first album. With the intention of releasing it independently, the money needed to record the album is found through an anonymous friend who decides to lend the money to the band, but halfway through the recording, the said friend decides to marry, leaving Los Amigos Invisibles with a recorded album and a video but no way to distribute it. Fortunately through Caplis (friend of the band and bass player to Desorden Pœblico a local Ska Band) they contacted EMI Venezuela, who offers a distribution deal thus releasing "A typical and autoctonal Venezuelan dance band".

1991 In answer to the many rocker and dark acts frequently found in theaters in Caracas, a group of friends decide to form the best or rather the only Venezuelan dance band. In a crusade to convince the owners of forgotten discotheques that dance is not only salsa and merengue and that electric guitar is not the same as Punk, Los Amigos Invisibles start to conquer the club scene in Caracas thus offering their friends a way to party

The B-Side Players make music without borders or boundaries. On Fire In The Youth, their seventh album and first for Concord/Picante, they continue exploring the multifaceted grooves of Latin America and the Caribbean, incorporating the sounds of Cuba, Jamaica, Mexico and Brazil with the funk, rock, jazz and hip-hop rhythms of their homeland. With Latin music currently dominating the charts in most of the world, The B-Side Players are uniquely positioned to bring their uplifting message of unity, brotherhood and dance floor revolution to the people of planet Earth.

The B-Side Players are part of a new movement in popular music, a band that honors the international cross-pollination that has always made music the universal language. They use any beat that catches their ear, regardless of geography or genre, to create a compelling, horn driven, polyrhythmic groove. "The root of all pop music is African," says Karlos Paez, the band's lead vocalist, trumpet player and founder. "Our sound acknowledges that fact. That's why the music is so soulful. We're playing the ancient beats that came from Africa to create reggae, son, Afro-beat and funk and mixing 'em all together."

The band has been laying down their own inimitable global funk since they came together in 1994. Their incendiary live shows made them local legends, while their albums showcased a band with a restless musical intelligence, effortlessly blending genres to fashion their own forward looking, Latin flavored, future-funk.

Fire In The Youth was produced by the band with the help of Quetzal Flores, leader of the Los Angeles band Quetzal, another group with a wide-ranging style based in the Latin American continuum. "Quetzal performed all the guitar tracks on the record," Paez explains. "His eclectic arrangements helped polish our Latin, Mexican, Cuban, Funk and Rock vibe. He also brought a folkloric feel to some of the tracks with his knowledge of Jarocho (a syncopated Afro/Spanish style from Vera Cruz, Mexico) and Bajo Sexto ( a 12 string instrument with a sound somewhere between 12-string guitar and acoustic bass.) We recorded the whole record in 10 days, live in the studio."

Like their past recordings, Fire In The Youth captures the band's scorching musicianship and fierce political energy. The album kicks off with "Alegria", an earth shaking Reggaeton groove marked by a strong salsa flavor. "(Unplug) This Armageddon" rides a high stepping disco funk backbeat while Paez delivers a sizzling Bob Marley-influenced vocal full of soul and suffering. The song explores the lives of the people that drift from San Diego, to Tijuana, to Los Angeles in search of a better life. The band suggests a return to the Earth and community as an antidote for the technology that seems to be

sucking the soul out of modern life. "Fire In The Youth" combines a subtle trip hop pulse, a hint of reggae, a lush string section and a children's choir to offer a prayer for the salvation of the next generation. It's one of the most moving songs the band's ever recorded.

"In a world where people are afraid to say hello or smile and the media presents fiction as reality, it's getting harder and harder to tell what's real from what's not," Paez says. "But the young people are always real and demand the truth. Youth all around the world are marching and protesting. The New World Rebellion is a young, fearless movement coming after the oppressors. This song is an anthem to those young people." A Latin reggae rhythm is the foundation of "Crossroads," an inspiring hymn of rebirth that showcases Andy Krier's work on piano and organ, Michael Cannon's inventive drumming and the band's ability to lay down complex percussion tracks to create a cohesive groove. "Warrior Culture" is a salute to the Native Peoples of the Americas, with a jazzy Latin cadence driven by Damian DeRobbio's propulsive electric bass. It features cascading horn lines, delicate keyboard work and a vocal from Paez that blends hip-hop phrasing with his innate gift for melody. The tune closes with an extended conversation between the keyboards, percussion and brass. The band also drops a bit of Cumbia ("Mascara,") gritty street Samba ("Azucar Natural") Son Montuno ("Micaela") and Jarocho ("El Comal") into the mix.

"We want our sound to continue to grow until we represent the entire range of Latin music," Paez says forcefully. "This time we added a bit of the Vera Cruz, Mexican jarocho flavor, the Afro-Cuban Rhumba flavor, the Brazilian samba flavor and the Southwestern border funk flavor. Our sound was passed on to us by our ancestors along with their great teaching - Unity Is Love. We combine different styles and cultures in our music because that's the secret behind the harmony of all races, religions and cultures. The dance floor is testimony to our common ground, our common groove."

Karlos Paez, the man behind the B-Side Players, grew up in a musical family. His father Ezequiel Paez is a world-renowned trombone player and musical arranger who spent 17 years in Los Moonlights from Tijuana and 10 years in La Banda Del Recodo. Paez, Sr. still writes and arranges music for Bandas in Mexico. While he was still in grammar school, Karlos heard the music of Bob Marley and started playing guitar and writing songs. He met the musicians that would become the first incarnation of The B-Side Players in an African Drum class at Southwestern Community College in San Diego in 1994. "We were all playing with bands in the local funk and acid jazz scene in the early 90s," Paez recalls. "When we started playing together, our sound was different because we brought an Afro-Latin edge to the music."

The B-Side Players are a force to be reckoned with. "We're proud to be on the frontline of a new musical movement that no longer represents the minority," Paez says happily. "We now represent the Brown Majority. The surfer, suburban stereotype of California is changing fast; it's not all bleach blondes any more. It's nappy, Afro, rice bowled, dirty, dusty, wet, happy struggling people and we're right there in the struggle with our music."