On March 31, 1995, Selena was shot and killed and Astudillo resumed performing during the opening of Sea World Texas, while still recovering from his mother's death the year prior.

The club's owners and workers appreciated their music, prompting The Bird to propose to management that whenever a popular band or performance was scheduled, Los Bad Boyz could open for them.

[3] After the show, Abraham approached Los Bad Boyz and inquired about their management and booking, offering his business card, and requested them to call him the following Monday to discuss potential future collaborations.

B. gradually persuaded Abraham, though initially reluctant due to financial concerns and the band's nascent success, to incorporate Los Bad Boyz into the group.

[24] During the recording sessions for the duet "Amame, Quiereme", Astudillo felt overwhelmed by the professionalism of Los Dinos in the studio, as the group had high expectations for him to match their level.

[27] Astudillo recorded the duet with Selena on "Yo Te Amo" for Ven Conmigo (1990), which was nominated for Vocal Duo of the Year at the 1992 Tejano Music Awards.

[8] Music critic for the Corpus Christi Caller-Times, Rene Cabrera proclaimed Astudillo as possessing the requisite attributes to succeed as a soloist, noting his adept vocal abilities harmonized with a polished and commanding stage demeanor.

[54] Rene Cabrera of the Corpus Christi Caller-Times, found Astudillo's rendition of "Un Hombre Busca Una Mujer" at the awards ceremony as commendable, which demonstrated his readiness to embrace challenges tackling a demanding arrangement.

Despite claims mentioned in the Del Rio News-Herald about relying on Selena's fame, Astudillo felt proud of his journey with her, asserting his ability to stand on his merit as a solo artist.

[63] Astudillo separated from Oxygeno and embarked on conceptualizing a distinctive moniker for his new band which included Jesse Jesus Ybarra on guitar,[64][65] who formerly was the guitarist for Selena y Los Dinos in the 1980s,[66] Danny Hernandez and Mike Hererra on keyboards, Sernando Orosco on bass, and Ricky Landeros on drums.

[16] The newspaper lauded Astudillo for his vocal abilities and songwriting skill, attributing these talents as providing him with a distinct advantage and positioning him as a competitive contender in the Tejano market.

[94] In July, Astudillo opened for Willie Nelson and received a commemorative plaque, along with Selena's family, which was hung at the Texas State Aquarium's Conservation Cove.

[107] Astudillo aimed to capture universal sentiments of longing and ache in "Como Te Extrano", purposefully omitting Selena and his mother's name to allow listeners to personalize the song.

[111] Paul Verna from Billboard magazine, hailed the album for its innovative blend of pop, cumbia, and ranchera styles that pushed the boundaries of Tejano music.

[112] Tracks like the rancheras "Si Me Vas a Dejar", "Cayo Una Lagrima", "Cree en Mi", and the pop cumbia "Completamente Enamorado", also received airplay.

[98] In January 1996, Astudillo opted for a more contemporary and sophisticated appearance by cutting his long locks, despite reservations from EMI Latin and advice from his label's manager, Lee Garza.

[123] Cabrera perceived the new rendition's inclusion on the album as "sort of for old times sake",[124] while Chris Riemenshneider of the Austin American-Statesman characterized it as an energetic Tejano track.

[146] At the 1997 Pura Vida Awards, Astudillo faced logistical issues that delayed the show's commencement as he was slated to co-host alongside George Rivas.

[148] Astudillo believed that Si Tu No Estas contained material of equal or superior quality, though acknowledged its success did not measure up to that of Como Te Extrano.

The Corpus Christi Caller-Times observed that Astudillo unleashed a torrent of Latin sounds, incorporating various musical elements into El Rey del Ritmo with uninhibited creativity.

Cabrera observed an abundance of rhythmic diversity infused with cumbia and South American dance influences in songs like "La Negra Tomasa", "Tu Tanga", and "Mira Como Se Le Mueve".

"Me Estas Doliendo el Corazon" offers a classic Tejano sound infused with a cumbia rhythm and personal lyrics drawn from Astudillo's experiences.

Cabrera noted "Una Flor Lloro" as a poignant track exploring themes of betrayal, showcasing Astudillo's adeptness at employing metaphor and symbolism.

[169] Olivia Ruiz of The Fresno Bee and Rogelio Olivas of the Tucson Citizen, regarded Astudillo's performance of "Como Te Extrano" as one of the most emotionally charged moments of the concert.

[173] The group consisted of Astudillo, Ojeda, bassist Adriel Ramirez, guitar-producer Manuel "Meatt" Riojas, guitarist Ruben Rea, and drummer Frankie Diaz de Leon.

[192] Astudillo is known for his engaging stage presence and penchant for interaction with his audience–a practice he values deeply, recognizing that his fans attend his shows not merely to witness him perform, but to actively participate in the music experience.

[33] Elizabeth Campbell of the Fort Worth Star-Telegram discerned Astudillo's vocals as opulent and refined, amidst his tenure alongside Los Dinos on tour.

[5] Astudillo's fusion of Latin music with Afro-Caribbean rhythms enchanted audiences, transcending Texas borders with a sophisticated sound, noted by Marty Racine of the Houston Chronicle.

[199] On November 27, 1996, Astudillo visited Miller High School in Corpus Christi, Texas, aiming to educate students about the perils associated with drugs and alcohol.

Astudillo performed several songs during his visit, that was sponsored by the Coastal Bend AIDS Foundation, as part of the school district's Red Ribbon Week initiative.