In 1968, the Espinosa Becerra brothers—Luis, Francisco, and Emilio—began rehearsing together in Mexico City, initially performing popular rock and pop songs at gatherings for friends and family. Their early performances relied on Japanese guitars and a Teisco bass borrowed from a schoolmate. As they saved money, they were able to purchase guitar and bass amplifiers, along with a microphone, though their budget only allowed for Mexican replicas of the iconic Fender Bassman and Fender Super Reverb, as authentic equipment was out of reach.
As the group expanded, they welcomed three musicians from the school band "Tepeyac": Marco Nieto Bermudez on trumpet, Raymundo Mier Garza on tenor saxophone, and Alfonso Romero on trombone. Additionally, Carlos Mauricio Fernández Ordóñez, a classmate and pianist, joined the ensemble. His father, who owned a chemical factory in the United States, facilitated the acquisition of new equipment—amplifiers and a Farfisa Fast 5 organ—smuggled into Mexico hidden in a truck. Over time, they amassed further instruments, including basses and guitars from Gibson, Rickenbacker, and Fender, along with Shure microphones for vocals and horns.
With an expanded lineup and upgraded gear, the band performed extensively in their neighborhood of Lindavista and surrounding areas from 1970 to 1973. They played at various parties, festivals, and school events under the name "Sound Core Brass." However, the rise of "Sonideros," a sound system culture that emerged in the 1960s, began to impact their performances negatively. These sound systems, which provided a cheaper alternative to live bands, led to a decline in bookings.
During this period, three additional family members joined the group: Jorge Rafael on trombone, Sergio Alejandro on tenor saxophone, and Felipe de Jesus on drums and percussion.
Meanwhile, Carlos Espinosa Becerra, another brother, was studying electrical engineering at university. Alongside a fellow student, he developed a 10-channel console with advanced features that surpassed existing technology. They traveled to the United States to purchase JBL speakers and tweeters to construct their own sound system. On another trip to Los Angeles, they acquired Phase Linear amplifiers, known for their significant power and low distortion levels, enabling them to play loud, clear music.
During this time, the band shifted away from performing songs by English bands and youth groups, opting instead to focus on mambos, chachachas, pasodobles, and tangos for special occasions in larger venues. Occasionally, they would hire a string quartet of renowned Mexican violinists to enhance the musical experience at dinner events.
Classmate Pablo Rached Diaz later joined the band as a tenor saxophonist. He was instrumental in organizing many events and aided the band in securing a recording opportunity with the Mexican label Peerless. In 1975, Peerless Records invited them to record original songs, resulting in a total of 12 recordings, six of which were released across three 45rpm vinyl singles, primarily composed by Gustavo Ruiz de Chavez Sr. The band adopted the more commercial name "Colorado" at the label's request, and subsequently embarked on promotional tours and made appearances on Televisa, the leading television network in Mexico at the time.
As members of Colorado graduated and pursued their professional careers, the band became less active, though they continued to perform at events when possible, placing greater emphasis on their formal jobs.
About eight years ago, the band reunited, welcoming the next generation of musicians, including two sons, a nephew, and a brother-in-law of the original members. They have since returned to playing at family gatherings and friends' parties in Mexico City.
