The title of his new album in 1975 seems to indicate the path politics would take, because of its reference to "majestad" (majesty, or King). "Arte y majestad" is a work in the Camarón manner as few others -his styles and vocal twistings are presents in each track, although the authorship of the cuts is still signed by Antonio Sánchez. To prove it, all that is needed is to listen to the "soleares", "tarantas" (the credits say "tarantos"), "seguiriyas" and "bulerías", outstanding the one dedicated to his admired Curro Romero, in which Paco de Lucía gave a preview of some sounds from the coming "Almoraima". The "trianero" tangos of "El Titi", some "cantiñas gaditanas", two natural fandangos and others from Huelva are also included (7). Among the fandangos, those that are hidden behind the title "Ni que me manden a mi" were created by Enrique Morente, which Camarón recorded before their composer with a personal beginning. With respect to the front jacket cover, which consists of a color photo by Lamarca, it should be noted that it returns to the original design "CAMARON DE LA ISLA with the special collaboration of PACO DE LUCÍA". Algeciras accompanies them on second guitar.

Camarón had just received the National Prize of "Cante" from the Professor of Flamencology and Andalusian Folklore Studies of Jerez de Ia Frontera, which seems to release his natural reaction of provocation because in his new album he again comes up with another version of "La Canastera", and he even attempts a few "sevillanas". And to think he complains about the purists getting angry with him! Provocateur! Ingrate! Now that he had been forgiven!...