Camaron de la isla

I think that the poor recording adds to the rawness and passion..which is what flamenco is all about. The songs are on fire and they make me want to dance!

Camaron de Isla's pieces on this CD are wonderful and passionate, especially if you appreciate the (what some call) "moorish" influence - the anguish and emotional languishing of the sung parts.

Unfortunately, the album also showcases other flamenco artists (which would be fine, but it is presented as an album of Camaron's work) and the recording quality is horrific...as though someone whipped out a cassette recorder at an in-home session. I don't believe anything was done to salvage the quality (some digital post-processing)

The saving grace of the CD is its passion, which I know I've said often in this review but it is almost palpable. I will check out other CD compilations and perhaps refer you to one of them.

Uno de las mejores recopilaciones de flamenco jamas grabadas. Te se pone la carne de pollo cada vez que escuchas cada quejio.

Paco de Lucia participates on this recording!!!!!!!!
It is a must have for any real flamenco lovers...

If you don't know who Camarón and Paco are, it will have to suffice to say that they are (or were, in Camarón's case), by universal consensus the greatest flamenco singer and guitarist of the last fifty years.

However, their recording history, confusing enough even at the beginning, is now so complex that I think it worthwhile to include a short guide as to where the present album fits in.

They started recording together in 1969, when Paco was barely into his twenties and Camarón even younger; the collaboration revolutionised both their chosen fields, and changed the course of Flamenco forever.

Unbelievably, their first five records together were *all* entitled "El Camarón de la Isla con la colaboración especial de Paco de Lucía". For this reason, they are known to aficonados by the titles of their opening tracks, as follows:

1969 Al verte las flores lloran
1970 Cada vez que nos miramos
1971 Son tus ojos dos estrellas
1972 Canastera*
1973 Caminito de Totana

They also recorded four further albums within the traditional framework, before abandoning it for the experiments with rock, bossa nova, orchestras etc. that resulted in the Flamenco Fusion we know today. These albums are:

1974 Soy Caminante
1975 Arte y Majestad
1976 Rosa María
1977 Castillo de Arena

All of the above adhere strictly to the traditional format, which is to say just voice and guitar, plus the usual rhythmic and other support known as jaleo. Frequently Paco's brother Ramón (a fine player in his own right) is heard on second guitar.

I am not alone in thinking that these albums are some of the finest Flamenco ever recorded; musically, you can't go wrong with any of them.

They are, however, short by CD standards. Only the present album is over 40 minutes, and "Castillo de Arena" is just over 31. But If you're serious about Flamenco, it's still worth getting all of them instead of the various anthologies.

The title track of the present album is a driving bulería, with Ramón on second guitar. The soleá and the siguiriya are alone enough to show that Camarón was a master of traditional material, before he started doing his own thing. Paco's accompaniments, the virtuosity always under strict control, are models of what such things should be.

I could go on, but you get the idea...

*Canastera is in fact so labelled on some copies. Also, I'm noticing that some CD reissues have the more useful titles.

This CD combines the best cantaor (flamenco singer) and guitar player of recent times (although Paco Peña should not be ignored). These two were best of friends and they collaborated on this and another 4 albums (with similar names). Just pour yourself a cup of Jerez wine, sit back and say "¡Ole!" whenever you feel like you can't hold it in any longer.

For Paco, this is one of his "pure flamenco" CDs; this is not one of his more recent "New Flamenco" adventures.

Arguably flamenco's finest singer, who died prematurely in 1992, Camaron de la Isla was more than a singer; he was at the vanguard of flamenco. This recording of live material covers his short yet illustrious career. Many songs from his landmark "La Leyenda del Tiempo" are featured here , some in alternate recording mode. Included from "La Leyenda del Tiempo" are the title track (twice), "Homenaje a Federico","Viejo Mundo" and "Nana del Caballo Grande" which all of their individual special qualities. The use of sitar by Gualberto on " Nana del Caballo Blanco" gives the mournful song a world music flair unheard of in the seventies. "Homenaje a Federico" is a rare alternate find that was found in a drawer and presented here. The two dazzling performances of "Leyenda del Tiempo" are nothing short of spectacular. Each version is slightly different but each is a fusion masterpiece including elements of jazz and rock. Of particular note is Camaron playing at the tender age of sixteen accompanied by himself on guitar playing for a private gathering. There is a certain romanticism to the three songs featured from this private performance;it is a bare bones recording and the intimate ambience comes through. His vocals at age sixteen are quite remarkable to have such passion and depth at such an early age. The depth of flamenco music usually is associated with the life experiences that result in bulerias and fandangos that are highly charged emotionally.His colloborations with Tomatito are featured on seven tracks for some amazing historical recordings. Curiously enough their is a beautiful picture of Paco de Lucia and Camaron decked out on hoseback but there are no Paco colloborations featured here. Some of his last recordings are featured including "Camino de la Algaba" and "Camaron en Montilla" taken from 1989 and 1990 that features a more mature sounding voice. The live recording of "Camaron en Montilla" features a give and take between audience and artist that explodes throughout the song. If you have never heard Camaron de la Isla this would be as good as any place to begin as it is a retrospective of sorts covering the years 1967-1990. However, don't miss the landmark disc "Leyenda del Tiempo." Camaron was an amazing talent that left us his music but left this planet much too soon; Camaron lives on on these recordings for future generations. The accompanying booklet is attractive and filled with anecdotes, photographs in black and white and color, unfortunately, the written word is in Spanish only. If you like flamenco you will love this disc; it is pure , essential and vital music for the flamenco aficionado.

Como norte americano (pero no soy guiri, eh) este disco es uno de los mejores discos de Flamenco que he escuchado. Solo queria decirle a alguna gente (los que piense que en los EE.UU. solo escuchamos los Gypsy Kings) que algunos de nosotros sabemos algo del Flamenco real. Cuidado con llamarnos a todos guiris!

Con este disco Camarón lleva al flamenco a la altura del rock y del jazz como nunca nadie -ni Triana ni Alameda- llegaría a hacerlo. Después de oir "la Tarara" parece lógico que venga el "Volando voy volando vengo" de kiko de veneno, porque uno ya ha despegado los pies del suelo.
Los guiris pueden seguir oyendo los "Gipsy Kings", pero esto es caviar del de 200.000 pesetas la lata.

Camaron de la Isla is one of the finest flamenco musicians Spain has ever produced, and this is perhaps his best album. It is one of the first--and most powerful--instances of traditional flamenco being melded with modern sounds (e.g. electric bass guitar and backing drums) but is LIGHT YEARS better than the hollow, fluffy modern flamenco fusion so popular today. Mixing traditional cante jondo with rock-influence, deep bass famenco fusions, "Leyenda del Tiemp" provides an amazing experience every listen.

Wow! I picked this CD up as an introduction to Camarón along with his seminal (and also highly recommended) album "La Leyenda del Tiempo", and listened a lot more to the former, using this album - a collection of 19 of his songs from all points of his career - as a reference here and there. A year later, I've finally found myself delving fully into this album, and what I'm hearing blows me away. All of Camarón's best is here, with most of the major flamenco palos represented. It's got depth, width, quality, quantity. It's hard to keep this out of a true flamenco lover's collection. Note also that some tracks, like "La Leyenda del Tiempo" and "La Tarara", are re-arranged here, and the new mixes will certainly be pleasing to fans of the originals.

Now, as the two negative reviews here show, this CD isn't for everyone, and the ear unaccustomed to flamenco singing might well have a tougher time with this. Flamenco singing isn't the sweetest-sounding by any stretch. No, it's raw emotion shaped by a couple of hundred years of collective pain. But I do believe that anyone with an open mind can come to understand and truly appreciate cante flamenco with an effort, and the rewards you reap from this are tremendous. I hardly know of any type of song in the world as exhilarating and beautiful, when you know how to listen. This album might not be a bad introduction - who knows?

I PICKED THIS C D UP IN THE USED BIN....I PUT IT ON AND MY CAT HOWLED AT THE SOUND OF THE VOICE AND KEELED OVER DEAD!!!! "ENOUGH WRITTEN"-I BURIED THE C D WITH THE CAT.....

I first heard this CD in Madrid in '05 and was blown away by the emotional intensity expressed by the singer. I purchased it in Salamanca a few days later and have enjoyed it since then, but be warned, it is neither easy listening nor for faint of heart. It's a great testimony to the versatility
of Camaron, but not a totally cohesive package; on the other hand, the serious music lover,will no doubt be amazed and cheer for more.

The few cuts with the Royal Philharmonic save the album from complete disaster. Nothing is good. The arrangements are unimaginative. The accompaniments add nothing positive. As for Camaron's vocals, I wouldn't listen to this again if you paid me. My dog howls better.

This album is a great overview of Camaron's different types of work. It shows the incredible depth of Spanish music as a genre, as well as Camaron's impressive ability to sing each style with passion and grace. It is not cohesive as an album, because it is an overview of his work, selected by the singer. There are some fantastically moving songs in here though, and it is probably my favorite album of his. Although not nearly as famous, I find it much more of a pleasure to listen to than the Paris 1987 album. It has more songs that have a rhythm to them that is pleasing to the ear, whereas some Flamenco can at times seem disjointed. In short, a great introduction to Flamenco and Camaron, its greatest singer.

If you don't know who Camarón and Paco are, it will have to suffice to say that they are (or were, in Camarón's case), by universal consensus the greatest flamenco singer and guitarist of the last fifty years.

However, their recording history, confusing enough even at the beginning, is now so complex that I think it worthwhile to include a short guide as to where the present album fits in.

They started recording together in 1969, when Paco was barely into his twenties and Camarón even younger; the collaboration revolutionised both their chosen fields, and changed the course of Flamenco forever.

Unbelievably, their first five records together were *all* entitled "El Camarón de la Isla con la colaboración especial de Paco de Lucía". For this reason, they are known to aficonados by the titles of their opening tracks, as follows:

1969 Al verte las flores lloran
1970 Cada vez que nos miramos
1971 Son tus ojos dos estrellas
1972 Canastera*
1973 Caminito de Totana

They also recorded four further albums within the traditional framework, before abandoning it for the experiments with rock, bossa nova, orchestras etc. that resulted in the Flamenco Fusion we know today. These albums are:

1974 Soy Caminante
1975 Arte y Majestad
1976 Rosa María
1977 Castillo de Arena

All of the above adhere strictly to the traditional format, which is to say just voice and guitar, plus the usual rhythmic and other support known as jaleo. Frequently Paco's brother Ramón (a fine player in his own right) is heard on second guitar.

I am not alone in thinking that these albums are some of the finest Flamenco ever recorded; musically, you can't go wrong with any of them.

They are, however, short by CD standards. Only the present album is over 40 minutes, and "Castillo de Arena" is just over 31. But If you're serious about Flamenco, it's still worth getting all of them instead of the various anthologies.

The title track of the present album is a driving bulería, with Ramón on second guitar. The soleá and the siguiriya are alone enough to show that Camarón was a master of traditional material, before he started doing his own thing. Paco's accompaniments, the virtuosity always under strict control, are models of what such things should be.

I could go on, but you get the idea...

*Canastera is in fact so labelled on some copies. Also, I'm noticing that some CD reissues have the more useful titles.

This is possibly the first CD that de Lucia and Camaron recorded together. Although they were both very young (19-21) at the time, they show a great deal of artistic expression and technical virtuosity. This is unadulterated, absolutely pure flamenco. Highly intense and emotional - a must have for the lover of traditional flamenco.