Camarón, complete discography
by José Manuel Gamboa

The great revolution, the best Camarón, would come after two years. The chronicles of the time stated: "Camarón de la Isla is preparing a new album, to be recorded in the studio built by the comedian Josele". (ABC. Sevilla, J. L Montoya 2-4-89).

"Camarón has put the last touches to his new album, which will be finished in London". (ABC. Sevilia. J. L. Montoya 17-4-89).

(Photo caption) "Camarón de la Isla changes his shirt during a photo session for the cover of his new album". (El País. Amelia Camila 18-6-89).

"Camarón de Ia Isla records in London with the Royal Philharmonic Orchestra". (ABC. London. Carlos Galindo 27-7-89).

(Front page) "Camarón, in Abbey Road. Camarón de Ia Isla, one of the most controversial and active renovators of flamenco ends in London, with the Royal Philharmonic Orchestra, in the mythical of Abbey Road, the recording of his latest album, "Soy Gitano". The album will be released early october". (El País. Nacho Sáenz de Tejada 27-7-89). There was an expectation and tracking of Camarón's actions previously unknown to the world of Flamenco. Angel Alvarez Caballero titled the manuscript to be given to the press "The living legend of cante".

Ricardo Pachón once again took over the production of the album, the most expensive in the history of "jondo" art. The album was prepared in Seville, with the collaboration of a long list of important persons born or residing in that beautiftil capital: Jesús Bola, Diego Carrasco, Magüesin, Manuel Soler, César Cadaval (of the "Morancos"), Raimundo Amador, etc. On the silver-plated folding album of "Soy Gitano". Camarón de Ia Isla (his whole name was used once again) appears on the terraced roof of a house in Seville, with "La Giralda" in the background (the photograph is by Jaime Gorospe). The album was prepared in Seville, but what the recording company emphasized in its prelaunch publicity was the finishing touches done in the London studio where the Beatles recorded and the collaboration of the London Philharmonic Orchestra in the album. We should minimize the importance of those details because many spanish artists have recorded in those studios (which, incidentally, are not the most advanced in the world) and with that orchestra, flamenco artists included. Of course, the orchestra is superb and the technical equipment adequate, which directly translates to a quick and reliable job that results in cost savings. If this work had been done in Spain it would certainly have cost more.

The rumba-style "tangos-tarantos" that give the title to the album, are backed up by the orchestra and the guitars of Tomatito and Vicente Amigo, who sign the credits together with José. They would soon be played everywhere, at all hours of the day. The guitar of Tomatito, the bass of Benavent and the orchestra back up Camarón in the "alegrías" "Casida de las palomas oscuras", which includes women singers in the chorus. "Thamar and Amnon" is a "bulería romanceada" with Tomatito, Benavente and the percussion instruments of Tino Di Geraldo. "Dicen de mí", written by Diego Carrasco and Rafael Fernández, is a "bulería por seguiriya" with the guitar of Tomatito and orchestral arrangement by Jesús Bola whose participation in this album has unfortunately been played up to saturation by the sensationalist press of our country). The chorus and orchestra, the bass guitar of Tomatito, back up the "bulería" "Luna llena". Vicente Amigo takes charge of "El pez más viejo del río, two separate fandangos by the "Niño Gloria", with lyrics by Miguel Hernández. "Amor de conuco", a "merengue" by Juan Luis Guerra, is strummmed by Raimundo and Tornatito. In this cut the harsh voice of Camarón is joined by a dose of irritating, drooly vulgarity from Ana Belén. Pachón rescues the album at the end with the insuperable "Nana del caballo grande" from "La Leyenda", surrounded by the orchestra and Jesús Bola.

"Soy Gitano", before all things a flamenco album, immediately rose to the top of the sales charts. Camarón was at his peak. Although he sounds a bit forced, even frenetic in some moments, although he sometimes does not vocalize and the lyrics cannot be understood, although ... Camarón had reached the mass audience, and with him -flamenco.

An opportunity like this cannot be allowed to escape. Something had to be done to take advantage of the moment, and no one would wait until the legend would want to, or could, once again lock himself up in the studio. Maybe that was the reason why in 1990 the album "Autorretrato" is released, a double album compilation of his career that, advertised on television, would yield a sizeable amount of profit In "Autorretrato" (this was probably the first time a self-portrait would be created by someone other than the artist), Ricardo Pachón took charge of production and everything else. As sub-title and added information (?) the following sentence was written: "Versions and new mixes 1970-1990". We found three new things of interest. The mixes and arrangements of Jesús Bola of the "Romance del Amargo", "La Tarara" and "Volando voy". All the original accompanirnent is eliminated and is replaced byjuan Manuel Caflizares on guitar, Tino Di Geraldo on bass, Jesús Bola on keyboards and Manuel Soler, Tino Di Geraldo, Doctor Keyy and Diego Carrasco on percussion and hand-clapping.

The version of "Romance del Amargo" is very open. The warm tropical tone of "Volando voy" disappears and is substituted by a disco sound with its insistent drumbeat. "La Tarara", on the other hand, is completely different from the original. It begins with ihe "taranta" of "La Gabriela" (original lyrics) which at the end is fused with the popular "Tarara", once again returns to a "taranto" and ends with "La Tarara" again.

With just "La Tarara" (where the bass Jesús Abispón also plays) the manipulation is justified: there are at least some new "cantes" and the approach, in general, is effective. If it does not improve on the original, it at east offers a valuable alternative. The rest seems to us ike an artificial pastiche and unnecessary.

Towards the end of 1991 Tomatito finished his new olo album, "Barrio negro". Camarón participated in he second cut, "La voz del tiempo" -a few tangos by Tomate and Juan Carmona. Another more or less catchy tune. Okay.

Unfortunately, when we started to write this essay we had no knowledge of the rapid development of our prodigy's illness, much less did we wish to believe that his "Potro de rabia y miel" (1992) would be his farewell (in truth, we still do not accept it).

At the beginning of 1991 we saw him in the Cinearte studios of Madrid, initiating the preparations and surrounded by old friends: Paco de Lucía, Tomatito, Pepe de Lucía, Antonio Humanes and the young talents Juan Antonio Salazar and Antonio and Juan Carmona. He would take a year to finish it.

From the first sound we were thrilled to re-discover his sweet and balmy voice. How well does he sings! The album opens to the "tanguillo" rhythm with "Una rosa pa' tu pelo" by Pepe de Lucía, Ramón Trujillo and José Rodriguez. The chorus praises the person of Caracol and the lyrics later lead to other paths. The "bulería" "Mi nazareno" does not offer any special surprises. We are surprised, on the other hand, by the "taranta" "Se me partió la barrena" of Pepe de Lucía, the contents of which consist of a well-known "minera" by Chacón and a "cartagenera grande" that "Cojo de Málaga" would record under another title. In "Potro de rabia y miel" Camarón gives us goose pimples from the beginning. The cut is based on the "bulería" of Jerez and "La Perla" with nothing else but the fantastic "cante" of Camarón de la lsla-and that is not a small thing!

The other side starts out with a rumba-type cut, "La primavera", which is respectable only if performed by Camarón. The "bulería" "Yo vendo pescaito" is full of flamenco (lyrics by C. Varela), with an artful chorus in which we sense the presence of Pepe de Lucía. In it Juan Ramírez shows the great "bailaor" he is. The tangos "Eres como un laberinto" are ordinary "cantes", arranged with chorus and orchestra, which José saves from mediocrity. The album is ended with the "bulería" "Calle de los lunares" and the rumba "Un caballo y una yegua" (only on CD).

The music is arranged by Amargós and Kitflus, musical direction by Paco de Lucía and production by his brother Pepe. The front jacket cover, which we definitely do not understand (although we have already thought of various possible meanings, it would not be correct to mention them here), is the work of Miquel Barceló a very important gentleman. Regardig the authors, aside from those mentioned we have Juan Antonio Salazar, Antonio Humanes, Tomatito, Paco de Lucía, Antonio and Juan Carmona.

But we still have something remaining. The last audio sample of Camarón's genius. We refer to the four "cantes por Sevillanas " he left for the medium-length film of Carlos Saura "Sevillanas", sharing the stage with the godmother of his wedding, the "bailaora" Manuela Carrasco. The sound of the album is very different and much better than what we hear in the film. He is accompanied by Tomatito in his tour through those remarkable "sevillanas". If anyone yet doubts the flamenco character of the "sevillana", he should listen to these. Even a "bulería" comes out it the theme, written by Isidro Sanlúcar and José Miguel Evora. Manolo Sanlúcar was the musical director and Isidro the producer.

Thus we remain, with the sharp and piercing beginning with which Camarón tempers the last "cante". Farewell forever, maestro.