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Los Lobos Goes Disney is a covers album by the Mexican American rock group Los Lobos, on which the band interprets songs from the Disney catalogue, most of which were featured in their animated films.[3] It was released on 27 October 2009 through Disney Sound.[4]

The album blends different musical styles across thirteen songs, such as rock and roll, surf-rock, Americana, country folk, Mexican norteño and Tejano music, Cajun, zydeco, ska, and blues jazz.[1][2][3][5][6] Los Lobos saxophone player Steve Berlin said, "The kids record doesn't sound like a kids record. It just sounds like Los Lobos playing funky old songs."[4]

AllMusic reviewer William Ruhlmann gave the album a rating of three-and-a-half stars out of five, and wrote, "Los Lobos Goes Disney could have been called Disney goes Los Lobos instead, since the group applies its familiar mixture of musical styles to Disney songs." He added that the band's interpretations "are hardly definitive, but they are enjoyable".[1]

For their second children's album (following 2005's Papa's Dream, made with Lalo Guerrero), Los Lobos pay tribute to the Walt Disney movie musicals, as others have done before them. This version of the Disney songbook falls in between Barbara Cook's traditional pop treatment on The Disney Album and producer Hal Willner's more imaginative, revisionist take of some of the material, Stay Awake. (Los Lobos appeared on the latter, performing "I Wan'na Be Like You," a song repeated here.) Put simply, Los Lobos Goes Disney could have been called "Disney goes Los Lobos" instead, since the group applies its familiar mixture of musical styles to Disney songs. At first, that seems more radical than it turns out to be over the course of the disc, as the band launches into a spirited version of "Heigh-Ho" sung in Spanish. English rules thereafter, as Los Lobos alternately play the songs in rock & roll ("The Ugly Bug Ball") and Mexican ("Bella Notte" in a norteño reading) styles, as is their wont. "Zip-A-Dee-Doo-Dah" gets a surprisingly relaxed arrangement, with a loping tempo, while "The Bare Necessities" is taken at a quick 2-step beat with a Cajun/zydeco flavor. Randy Newman's wistful "I Will Go Sailing No More" from Toy Story is as wistful as usual, however, and "Oo-De-Lally" from Robin Hood retains its identity as a typical country-folk number from the old "king of the road," Roger Miller. It all ends up with an instrumental medley of "When You Wish Upon a Star" and "It's a Small World" that sounds like it belongs on a tape of early Beatles recordings; it even comes complete with the crescendo from "Twist & Shout." Clearly, Los Lobos were having fun on this record, as they should have been. The interpretations are hardly definitive, but they are enjoyable and demonstrate the range and adaptability of the music written for Disney movies over the years.

During the 1960s, Lavoie performed with many other bands, including US Male, The Uglies, and Me and the Other Guys. It was in the latter band that he met musician Billy Aerts, who became a member of Lobo's touring band in the early 1970s and produced Lobo's comeback album in 1989.

His debut album, Introducing Lobo, followed that May. In June 1971 his second single, "She Didn't Do Magic", was released. In September of the same year, "California Kid And Reemo" was released, followed by The Albatross. When Big Tree Records merged with Bell Records, Lobo's second project album Close Up was never released.

With the release of Calumet in 1973, Lobo had three more Top 40 hits: "It Sure Took a Long, Long Time," "How Can I Tell Her" and "Standing at the End of the Line." He made an appearance on American Bandstand that year. There were two further minor hit singles from the album, "There Ain't No Way" and in 1975 "Standing At The End Of The Line".

In June 1974 Lobo's fourth album Just A Singer. It was the first album by Lobo to contain tracks not written by Lobo. The only single from the album was "Rings". "Don't Tell Me Goodnight" in 1975 became his last Top 30 single for Big Tree. Lobo also released the album, A Cowboy Afraid Of Horses with "Would I Still Have You" released as a single. The label followed it up with a compilation album that year entitled "The Best of Lobo".

In 1979, Lobo was signed to MCA Records, where he worked with producer Bob Montgomery releasing the single "Where Were You When I Was Falling In Love", which reached #23. He also released his first US album in four years, Lobo. Other singles for Curb were "Holding On For Dear Love", "With A Love Like Ours" and "Fight Fire With Fire".

Although far less followed in the United States, Lobo's popularity grew in Asia, fanned by the release of his greatest hits compilations in 1987 and 1988. This encouraged him to release in 1989, his first new album in 10 years, entitled Am I Going Crazy. It was recorded in Taiwan on UFO/WEA records and was produced by Billy Aerts. He signed a multi-album deal with PonyCanyon Records in Singapore, and in 1994 released Asian Moon, repackaging some of the tracks from Am I Going Crazy along with newly recorded marterials. His follow up album Classic Hits in 1995 were re-recordings of Lobo hits and some cover versions. in 1995. In 1996 he released the album Sometimes containing all new original songs.

On another Asian label, Springroll Entertainment, he released You Must Remember This in 1997, an album of pop standards that was released in two formats, one with vocals and the other with instrumental tracks.

In 2008 Lobo released Out of Time features old favorites and some new songs. A tribute album to the original era of the original Lobo recordings, and were made available exclusively from the web site www.fansoflobo.com.

. . . And a Time to Dance [Slash EP, 1983]At first I suspected tokenism or worse, but that's because the solid craftsmanship of a committed club band only gathers full impact at LP length. Once I saw them--felt them, really, in my bones more than my soul--the suspicion that maybe hip white Angelenos were working off Chicano guilt never entered my mind again. I just wondered whether there weren't more where they came from, and decided that finding competitors of equal chops, breadth, and reach would be pretty tough, especially with young Mexican-Americans so heavily into metal. Good old rock and roll East L.A. style, with a lope Doug Sahm fans will recognize long before Joe "King" Carrasco fans. A-

Colossal Head [Warner Bros., 1996]Set on proving how big a band from East L.A. could rock, they painted themselves into a cornball corner until Tchad Blake lured two of them out with his cache of found sounds. Result: Latin Playboys, impressionistic fragments coalescing into a self-sustaining aural counterreality. And although this return to their primary identity masquerades manfully as an arena-ready song collection, neither the one about rain nor the one about trains convinces me they'll ever revert. From enchanted-island salsa to Santana solo, from revolutionary disillusion to feeling happy anyway, their infinitely absorptive eclecticism feels blessed rather than bombarded. They're not dealing with it, they're digging it. And if you're as big as they are you will too. A

The Town and the City [Hollywood/Mammoth, 2006]Billed as a song cycle about a Chicano's epic journey from Mexican valley to neon metropolis--something like that--the East L.A. Grammy winners' 10th studio album may suit old fans but won't convert any new ones. Slightly stolid even at their best, these veteran roots-rockers have never been slower--they sound tired, depressed. There's subtlety aplenty in the singing and especially the guitar, for which credit both player David Hidalgo and mixer Tchad Blake. But unless you count the cumbia, not one song rocks out. And apart from the laid-back "Free Up," where the subtlety renders an apparent throwaway seductive with time, not one stands out either. [unknown]"Free Up" 2b1af7f3a8