We are faced with a familiar situation: three high-quality versions of each of two popular concertos, neither one a musical heavy-weight. Angel Romero (HMV) offers them separately but brother Pepe, and Moreno (HMV) couple them on one disc. If you want both works then Pepe Romero is the clear choice, more refined in all respects and offering a small bonus in his arrangement of the Rodrigo piece, originally written for harp and orchestra, an evocation of sounds 'heard from' a famous bell tower and, to coin a phrase, 'sounds familiar' elsewhere in Rodrigo's parish.
In terms of technique there isn't the thickness of a sheet of tissue paper between the two Romeros: Angel is the more extrovert and urgent, Pepe the more poetic (most evident in the slow movements) and flexible in his rubato. Take your choice and pay your money. Pepe is less forwardly balanced, closer to reality—insofar as reality is a desirable feature in the recorded balance of a guitar concerto, though his summons to the orchestra at the close of the first-movement cadenza of the Castelnuovo-Tedesco reminds those with long memories of Blaster Bates of work.
The final choice may well rest with the couplings: Angel pairs the Villa-Lobos with Lalo Schifrin's enterprising Guitar Concerto, and the Castelnuovo-Tedesco with Torroba's Homenaje a la Seguidilla—for lovers of Spanishry, two concertos with no other recording. If you're hesitant about leaping into the unknown, as too many guitar aficionados are, then Pepe Romero is the 'safe' choice, providing that you want both concertos; otherwise you may find it rewarding to try your feet in the unfamiliar waters to which Angel beckons.'