[.ca] Al Verte Las Flores Lloran

The beginning of a legend:
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.

• Al Verte las Flores Lloran \oBulerías\c
• Que un Toro Bravo en Su Muerte \oTientos\c
• Si Acaso Muero \oSeguiriyas\c
• En Una Piedra Me Acosté \oFandangos\c
• Anda y No Presumas Más \oBulerías Por Soleá\c
• Camina y Dime \oTarantos\c
• Detrás del Tuyo Se Va \oTangos\c - Camarón de la Isla, Camarón de la Isla, Paco de Lucía
• Y Tú No Me Respondías \oSoleares\c
• Llorando Me Lo Pedía \oFandangos de Huelva\c
• Una Estrella Chiquitta \oBulerías\c
• Con la Varita en la Mano \oFandangos\c
• Barrio de Santa María \oAlegrias\c