Angel and Jesús were two brothers that put together a band dazzled by the crystal clear melodies of Los Shadows. The year was 1964 and they called the band Los Gringos. They started making covers from songs by the Beatles, The Kinks or The Who to name a few in their live shows -usually with lyrics in Spanish- at venues such as Imperator, where they were the resident band for a while and they shared the bill with bands such as Los Salvajes, Iberos, Pekenikes o Los Brincos. Ángel bails out and Jesús, decides to look for a lead singer. Pedro Ruy Blas is the chosen one, a sixteen-year-old kid who exuded soul from his pores and was as good as Teddy Bautista. His inclusion in the band allowed for the enrichement of their set with classics of Black Music that had already become familiar on this side of the Atlantic. That's how they made one of their dreams come true: playing in Caravana Musical, Ángel Álvarez's program. Los Gringos took advantage of the opportunity to play daily on a transatlantic cruise which took them from Bilbao to New York.

They change their name to Los Grimm -after the famous storytelling brothers, get a record deal, and record their first single: "La amistad" b/w "Un día soñé". In 1967 their second single arrives, with "Un palacio de cristal" y "Talismán", two beautiful, crystalline songs also written by Jesús, which left the melodic interests of band searching for its sound, which grew practice after practice, patent. For the third one, they cover "Pobre Hombre" (poor man) and "Mientras Viva" (1967), an Italian song and a dark, energetic soul number -with new Spanish lyrics -. The latter was ideal for showing off Pedro's prodigious, black voice, and included a wind section that nobly enriched its sound, reorienting it towards the soul arriving from Memphis, Detroit and New York.
Pedro leaves the band temporarily to substitute Teddy Bautista in Los Canarios. Los Grimm's music became more complex after echoing the emergent pshychedelia which flourished outside our borders. Jesús and his buddies were the ones who really headed the country's vanguard. Tomás joined the band, a new lead guitarist who was in love with Hendrix and Cream's Clapton. Shortly afterwards the band came across a Portuguese guy named Juan, and he became their keyboardist. In 1968 they record their fourth single: "Amor de niña" and "Viaje en la alfombra mágica", ( Steppenwolf's "Magic Carpet Ride" and Supremes' "Love Child"). In 1969 two other new singles arrived, their fifth shot containing two cover songs, "Para lograr que me quieras" & "Hoja de trébol", which took the band back to the sweet melodies of their beginnings. But the lysergic toxicity of guitar distortion had already invaded their veins and inevitably became the protagonist of their sixth single on which a fast paced version of Bubble Puppy's "Hot Smoke & Sassafras" stands out. "Tengo sueños" didn't exactly get left behind either, it's a song stigmatized for the groove of a powerful Hammond that competes in ferocity with Tomás's lead guitar…

Los Grimm’s music was loaded with psychedelic references and musical arrangements that put them far ahead almost any other national band... But Pedro left the band again. They took in Pablo Abraira, another excelent singer with which they recorded their last single, which consisted in the syrupy-sweet "Sin nombre, sin faz ni silueta" and the guitar-full "Want My Love Again" -their only song in English-, two new gems they played in their shows. Jesús, the band's true driving force, was pretty discouraged with how people kept leaving the group. He sold the equipment and that’s how their story ended...