The youthful and adolescent nature of their music attracted a large audience, both at home and abroad – thousands covered the Gran Vía Madrileña during the release of their two films and Lima's Jorge Chávez International Airport was nearly closed due to the 20,000 fans that congregated on the landing runway during their first visit to Perú.

[3] The group's sound began to expand and show more adult concerns with the albums Voy a pasármelo bien (1989) and Ésta es tu vida (1990).

David pursued a solo career, Rafa and Dani remained involved in the music industry, and Javi devoted time to his bar in Madrid.

[2] In 2003, a variety of groups paid tribute to them – Voy a pasármelo bien, un tributo a Hombres G was released in Europe and ¿Qué te pasa?

Rafael Gutiérrez Muñoz and David Summers Rodríguez met in the hallways of Televisión Española by mere coincidence in 1982; they were participants in the show Aplauso.

[6] However, David was already committed to forming a group with his two childhood friends, Daniel Mezquita Hardy and Francisco Javier de Molina Burgos.

They discarded their first idea of a name, "Bonitos Redford", and found inspiration in the 1935 James Cagney crime film G Men, which in Spain aired as "Contra el imperio del crimen".

[6] Hombres G joined the independent recording company, Lollipop, who in 1983 released their first two singles: "Milagro en el Congo / Venezia" and "Marta tiene un marcapasos / La cagaste, Burt Lancaster".

After listening to the interview and viewing the concert later that night, Martín was convinced that Hombres G was the group that he and fellow founder Pepe Escribano were looking for.

The album featured two covers: "No lloraré", based on "I Never Cry" by Alice Cooper, and "Sin Ti", a remake of the song "Reality" by Romanian composer Vladimir Cosma.

Many of their fans were female adolescents and the group found itself increasingly pressured, for they could no longer stroll through the streets of any Spanish city without hordes of girls following them.

[9] Hombres G salvaged one of the songs from the Lollipop era, "Marta tiene un marcapasos" – the single went on to top the sales charts in Spain.

It made use of ska rhythms ("Visite Nuestro Bar") and was influenced by the slow sounds of the 1960s ("Te quiero" & "Un par de palabras").

[9] That summer, Hombres G went on tour, which included a performance at the Madrilenian bull arena Las Ventas, where the public began to congregate outside the venue beginning at 8 in the evening of the day before.

The group didn't have much time to write new compositions, but the fast and tight lifestyle that they'd recently experienced served as inspiration.

A week later, Hombres G left for Manchester with Chilean producer Carlos Narea, and recorded Estamos locos... ¿o qué?

The album featured a variety of sounds, including songs based on very rapid rhythms (such as No, no… no) and more traditional rock influences (such as Y cayó la bomba (fétida) ).

Their assistants faced a similar scenario: even though they were able to gain entrance to the screening, they were unable to hear it due to the deafening murmur originating from the street and the constant singing of the fans watching the film.

[14] Endorsed by the fervor of their popularity, the group embarked on a tour of 60 performances across the bull rings and soccer stadiums of the most important Spanish cities.

[15] In October, the group performed in America for the very first time, touring Peru, Ecuador, Chile, Venezuela, Colombia, the United States, and Mexico.

When they arrived in Peru, the airplane windows revealed a crowd of more than 20,000 people spread across the landing runway of the Jorge Chávez International Airport.

The group felt less pressured when composing songs for the album and their music showed a departure from the adolescent concerns of their previous works.

[18] Their sixth studio album contained more profound lyrics and a more sophisticated sound; it featured music performed by the London Symphony Orchestra.

[22] During this period Summers and Mezquita composed several songs for artist Luz Casal, including the ballad Te Dejé Marchar.

Production was completed by Colin Fairley, whose experience included working with artists Elvis Costello and Nick Lowe.

For the first time in over twelve years, Hombres G released a new studio album entitled Todo esto es muy extraño (This is all very strange) in 2004.

10 is described as tuning into the "raw energy of early rock" and hinting at Euro-rock and at the "atmospheric aesthetic favored by Coldplay and the legendary U2" by AllMusic.

[24] Hombres G finished off support for their tenth album and announced the beginning of a new phase in which Internet technology would play a major role in their music.

Furthermore, they performed the songs "Desayuno Continental" and "No Puedo Soportar Perderte", in addition to "Separados", to a small audience at their own Pop'n'Roll bar in Madrid.

[25] Hombres G's transition into modern Internet technology was also marked by their acquisition of Facebook and Twitter accounts and their use of those as main information outlets.