Wikipedia parle mieux que moi des quatre albums de Tito & Tarantula donc here we go
Many critics and fans note Tito & Tarantula for their unusual musical style. Larriva's soft and clear but easily intensified voice appears throughout their career, as does Atanasoff's unique guitar-playing, which is said to "target a certain sound over skill". In addition to this, there are other uncommon elements in each of their albums. On Tarantism, Atanasoff sports a metal-resembling guitar sound on tracks like Strange Face of Love, Angry Cockroaches, and Smiling Karen, which when blended with Nick Vincent's very blues-driven drumming and Lyn Bertles's provision of violin, mandolin and recorder, results in a sound like nothing else. It was also on this album that the majority of the songs started out mysterious sounding, but slowly built up, and by the end sounded extremely intense.
On Hungry Sally & Other Killer Lullabies, Tarantula continued to play songs that started out light and built up as they progressed, particularly Hungry Sally and Bleeding Roses. This time, however, Atanasoff was trying out with a lighter lead guitar sound, and Johnny "Vatos" Hernandez was playing drums, resulting in a different and more prominent drum sound. Once again, though, instruments uncommon to the rock genre such as violin, mandolin, and recorder were featured, once more blending all these elements into something entirely new.
Tito & Tarantula - Betcha Can't Play
Tito & Tarantula - Woke Up Blind
Little Bitch is considered to be Tarantula's most experimental album. It was different from the past two albums in many ways: it featured a large amount of synthesizers, numerous female backing vocalists, and several entirely-acoustic tracks. Larriva also experimented with his vocals on this album, as can be heard in the falsetto singing in Forever Forgotten and Unforgiven and the screaming in Crack in the World. Also, surprisingly, the song Super Vita Jane featured a rap at the end, unlike anything they had ever done before. Songs like Everybody Needs were very reminiscent of the '80s, even though the album was released a more than a decade later.
Tito & Tarantula - Forever Forgotten & Unforgiven
On Andalucia, the band revisited the sort of music they had played on Hungry Sally & Other Killer Lullabies. A few of the tracks featured keyboards, which weren't too common of an instrument in their music before, but had to be incorporated so that their keyboardist, Marcus Praed, would have a contribution to the songs. Like on Little Bitch, the album featured female backing vocals, but this time they were all contributed by Io Perry. Overall, the album was general rock, but also featured several acoustic power ballads, such as You're the One I Love, California Girl, Bullets from a Gun, Make Me, and Mexican Sky.
Tito & Tarantula - Effortless
Pour l'enregistrement de Hungry Sally & Other Killer Lullabies, le groupe a fait appel à la formidable Petra Haden pour remplacer Lyn Bertles au violon, à la mandoline, à la flûte, ainsi qu'à la guitare. Ci-dessous, un petit bonus a cappella.
Petra Haden - Don't Stop Believing (Journey cover)
Journey - Don't Stop Believing
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