But José Monje -who would not integrate with anybody- committed the audacity of challenging the established flamencologists right after they had given him their approval, by daring to present in his next project nothing less than a new style of flamenco «cante»: «La Canastera».

We recall at this point his interview with José María Velázquez: «If one has a good ear and interest he wants to learn more every day. I made this "Canastera" because I like it very much. But I did not record it well because I have it on tape just like it happened, by inspiration. It took place abroad. Paco -well we all know that he is an immense talent, and since I only had the tune I tell him inmediately "Paco, play this for me one more time", and I do it my way with the music I believe I should give".

What is certain is that the debate over this matter remains open, and Camarón himself seems to contradict himself when he tells Velázquez that "the "cante" is already complete. New tones and half- tones may come out, but I don't think a new "cante" can be created." There are some, however, who take these things so much to heart that they mount a crusade for purity. The late Francisco Vallecino Pecino, hammer of heretics, was one of these. He did not wait to shout blue murder when faced with the audacity of Camarón. Fourteen years later, in his post as Adviser of Flamenco Activities ("Mairenists") to the Andalusian regional goverment, Vallecillo recovered from his files the old article he wrote doubting the new creation, and published it in all the media within his reach. It ended thus: "Allow us our skepticism (...) As long as we are not shown likewise, I give you the words of another great spaniard: "Let them do the inventing".

Musically speaking, "La Canastera" is based on a fandango from Huelva and is accompanied by a rhythm similar to what Paco de Lucía uses in the rhythmic end of the "rondeña". What cannot be disputed is that "La Canastera" was a very popular "cante", so much so that dances were made to it (5). The record itself marks a break with the previous ones in that the entertaining kitsch style of the cover disappears, to be replaced by a picture taken by Lamarca. The title, "Canastera", is added and Camarón and Paco appear with equally sized lettering as a tandem, removing the phrase "with the special collaboration of". Paco de Lucía and Antonio Sánchez once again signed their authorship of all the cuts in partnership, and Ramón de Algeciras joins them again on the second guitar.

Together with "La Canastera" we have some "alegrías" in which Camarón recalls the land where he was born, a "cante" he would always include in his repertoire. Using "seguiriyas" he follows the models of Paco Ia Luz and Manuel Molina, with modulations and cadences of Enrique Morente, especially in the beginning lines. In the fandangos he follows Antonio "El de la Calzá'" and "El Rubio" making his own contributions. The "soleá" "Estás ciego pa' no ver" is actually a "bulería for soleá" and very well done, actually . In the tangos, "tientos" and "cartagena" he is not particularly brilliant, but the tangos -full of "neinos, noneinos"- clearly show the qualities of the "cantaor", who comes through with flying colors in the risky fine-turning of the low tones of the "estrofa" "Mentira es". The "verdiales", which are very beautiful, sound like Pepe de Lucía, who had a great influence on Camarón. The first one is really a modernized "verdial" and the second a fandango of Albaicín. The "bulerías" abound in flamenco and in them a constant dialogue between "cante" and guitar is maintained, especially in the first one, "No quisiera que te fueras", which José and Paco perform alone. In 1972, Camarón de Ia Isla appears in the filming of the movie "Casa Flora", where, accompanied by a small orchestra in the background , sings the "cante" "Sere ... serenito" of Rafael de León and Juan Solano, as if he were a re-born Manolo Caracol. The cut was released in 1973 on side A of a single, the B side having the tangos "Detrás del tuyo se va", which started his first Long-Play.

In the new year we have a new record. The jacket cover is a magnificent picture of Camarón by Pepe Lamarca. Paco de Lucía had gone his way and performed concerts, gaining magnificent successes and, for the first time, does not appear in the picture showing us Camarónn, now in the pose of a "star". The classic heading "CAMARON DE LA ISLA, in collaboration with PACO DE LUCÍA" remains. Antonio Sánchez sings as author of alI the cuts. Ramón deAlgeciras is on second guitar.The record begins with the "taranto" "Caminito de Totana" and continues with some "seguiriyas" of Manuel Molina and Juanichi "El Manijero" with some rhythm of "trianera". Three different "fandangos" are included. The first ones are of "El Niño de Camas", the second ones are "onubenses" (from Huelva) and the third ones are of Antonio "el de la Calza'". Two successive "bulerías" follow; and Camarón once again improves himself, although he overdoes the "lolailo" in the finishing touches. He also interprets the tangos of Malaga in his own way, followed by a "bulería por solea'", although this time it remains a "bulería" because of the first cante, while the two following are "soleás" (6). The other cuts are formed by "soleares trianeras", "La Malagueña" of Enrique "el Mellizo" and a "martinete" in the Camarón style, which he tempers with a "tuna".

The world of record-making has by now dew secrets left for Camarón de Ia Isla, but this does not mean that he is totally at ease in the studios. José confessed to Velazquez his method of preparing for recordings: "I go to Paco's house and there we start to play and sing between the two of us. Then if Paco hears me do something he thinks is good, he tells me: "do it once again", and we record it. In this way we search for tones and new things (...) I can listen to a "cante" - a fandango I like, for example-, and I can imitate it exactly. But if I think I can give it something of my own that I think is good, if I see that it will not diminish it, it has to be something that l know l can use, I do it... But when I am about to record I become very nervous -I lose my voice!"