The second album of Camarón de la Isla, with the special collaboration of Paco de Lucía, was released at the start of the new decade. The graphic design of the first album was maintained, with photos of both of them and similar headings, but in this one Pérez de León went even further and placed the pair face to face in a position similar to the Mountain of Olives, complete with cross and an apocalyptic horizon in red tones. The yellowed faces of the performers made them seem as if they had just suffered an attack of severe hepatitis. Ole'! León.

The authorship of the «cantes» was signed by the father of Paco de Lucía, Antonio Sánchez Pacino, and five of the lyrics by Antonio Fernández, «Fosforito». Ramón de Algeciras joined them as second guitar in the rhythmic passages. A generally calmer atmosphere can be noticed in this album, which begins with the «soleares», of La Serneta «Cada vez que nos miramos». The «romera», with «La cantiña de Ia contrabandista», although echoes «El niño de Barbate», keeps a personal tone maintained in the «tientos». In the "granaína" we can sense the influence of José Cepero. Camarón once again performs fandangos, singing those of Rafael, "El Tuerto" and "El Gloria" (3), as well as others from Huelva -a style quite appreciated by José and Paco. We say "once again" because those were not good times for these styles of "cante", wich the purists rejected outright because they considered them a minor variety. In more than one occasion they tried to convince Camarón not to perform those "cantes". Even Antonio Mairena himself, who was not infallible, went so far as to rebuke him because of it in the festival he organized in his home town. But Camarón never allowed himself to be persuaded and, intelligently, went his own way. In the opening notes of the "bulerías", tangos and "tientos" he begins to jabber the "lerele, le, le""lora,lolailo"...Behind the pretended "taranto" is hidden the popular (in other days) "taranta" of La Gabriela with a different verse. In the "seguirillas" he presents the innovative halftones of Enrique Morente.

To summarize, it should be noted that in this album Camarón reveals himself as an important figure. What was promising in the previous album is confirmed here. He stands out not only for his unique manner of using his voice, but because of his uncommon personality as a «cantaor». His music was played repeatedly on the radio and he was always requested to perform in the Andalusian summer festivals, where he would appear with the guitar of Paco de Lucía at first and later with that of Ramón de Algeciras.