After another two-year wait "Camarón re-appears with Calle Real". Santiago Monforte photographs him in the shadows, covered by a hat, as if he were hiding his face. Nor is it necessary to mention that in a short time a large number of people could be seen wearing a similar hat. The album is similar to the previous one, perhaps a bit less acoustic, with Paco de Lucía and Tomatito on guitars, the productions of Pachim and the musical direction of Paco. Pepe de Lucía did not contribute to the work. The authorship of the cuts excepts the one beginning the album, "Romance de Ia luna", which was written by Paco Ibañez and Paco Ortega (who will later become famous for his collaboration with Isabel Montero) with lyrics by Lorca, and "Ná es esterno" by M. S. Melchor/José Soto are signed by José Monje in partnership with other co-writers: Antonio Humanes, Ricardo Pachim, M. S. Melchor, etc.

The "Romance" is composed in the rhythm of "tanguillos" and the bass of Carles Benavent is added to the guitars. It starts and ends with the "lolailos" of the chorus. Nothing significant except the "cantaor" performing them. "Esclavo de tus besos" is an airy "bulería" in which, aside from those mentioned above, Rubén Dantas on the box-drum joins them. In some passages we hear "cantes" of the "Perla de Cádiz" and it ends with the chorus "Life, life is/is a mishap/life, life is", which Camarón used so many times to finish off his performances, which here is performed by the chorus, to which an inharmonious keyboard or a synthesized bass joins (?). The chorus performed by Camarón together with the choir in the tango "Yo vivo enamorao" likewise became popular. With a "bulería" in the Jerez style is begun "Yo soy el viento", which the blond gypsy sings so well with his woeful voice. It is also the chorus that begins with the fandango "a cane'" "Calle Real", a fandango which José finishes off on a high note, followed by an immediate entry into the fandangos "alosneros", where he is sublime. The string arrangements of Joan Albert Amargós magnifies them and does not overshadow them. The well-controlled guitars play in the local style of the miner's town made popular by Bartolomé Cerrejón Cerrejón, "El Pinche". In the "bulería" "Ná es cterno", hand-clapping and guitars accompany the beautiful voice of the "cantaor". Nothing else is needed. The essence of this cut is, in our opinion, the verse that begins with "Luna que brilla en los mares", which many years ago we heard from Sebastián Blanco (its author?). In the rumba "Caminando"' the sound of the bass and the percussion is reinforced, and it ends with a chorus over which Camarón frolics. The album ends with a tribute to the "Perla de Cádiz", for which he performs "bulerías" full of charm and elegance, accompanied by guitars and hand-clapping.