Camarón, complete discography
by José Manuel Gamboa

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