The style that Camarón most recorded was the "bulería" (44), going so far as to do a "bulería por seguiriyas". This is followed in number by "tangos" (20), in the styles of Extremadura, Cádiz, Triana and Málaga. His "natural fandangos" (18) are centered on the "cantes" of Antonio "el de la Calza", "El Rubio" and "Niño de Camas", but also borrowing others from Caracol), Macandé, Morente or "el Niño Gloria". Among the "cantiñas" (popular songs or well-known ditties) we find "alegrías de Cádiz" (11), "la romera" and "cantiñas de Pinini". In the case of "soleares" (11), he mostly repeated the styles of Enrique "el Mellizo", but also reminiscing those of Alcalá, Triana, "La Serneta" or the "soleá apolá". He also concentrated on the variations of Mellizo when recording "tientos" (7). Although it is difficult to distinguish where the rumba begins and the tango ends, we can say that he left us with 8 rumbas. In the case of "seguiriyas" (7), he based them mostly on the short styles of La Isla and others from Jerez and Triana. He also recorded "fandangos de Huelva" (7) often. Among the "cantes" of Levante we find "tarantos" (5), "tarantas" (4), "mineras de Chacón" (2), the "fandango minero" (miner's fandango) and the "cartagenera chica y grande". In the case of "malagueñas" (2), only one variation of Chacón and the one of Mellizo are interesting.

The rest of the "cantes" Camarón has left us are the following: "granaínas" (2), "sevillanas" (2), "tanguillos" (2), "canasteta", "fandango del albaicín", "peteneras", "verdiales", "fandango de lucena", "el polo", "villancicos", "bamberas", "nana", "martinete y toná", the "Romance del Amargo" (2), "LaTarara"(2) and the song "Sere.serenito".

In total, Camarón's recordings surpass 170 "cantes" accompanied successively by Antonio Arenas, Paco Cepero, Sabicas, Paco de Lucía, Ramón de Algeciras, Tomatito, Raimundo Amador and Juan Manuel Cañizares.