La Leyenda Del Tiempo by Universal
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Reviews By Caracoleo : Date 25 Feb 2008
After several years of success within the flamenco fraternity Camaron was, by 1979, ready to try his hand at something big, really big. For a while an air of disatisfaction with the status quo governing orthodox flamenco circles had been bubbling inside. Camaron was about to burst the bubble.
Mario Pachon got a group of sessions players together and locked them in an old Andalucian house for a fortnight with some amped instruments (and plenty of weed).The result was something that not only rocked flamenco to the core, but laid the way for future musicians to explore new territory without fear of recrimination, safe in the knowledge that, flamenco, like any other musical idiom, has the right to adapt and interact with other styles and influences.
This recording emerges as an incredible head of creative steam with bulerias, bamberas, alegrias, tangos all dazzling. Styles are broken up, reinvented, twisted and put back together with alarming indifference to tradition. Guitar interplays with electric bass, drums, flute and synthesiser in a swirl of ideas. Frenetic handclapping, drums substituting foot stamping - searing electric guitar solos. Nothing is sacred here.
It doesn't all work out perfectly however. The moog synthesiser oozes cheesiness, where once it would have been the epitome of cutting edge production. The electric bass is thick and blocky, without any of the gurgling jazziness that Carles Benavent would later bring to it. But it is brave and wears its heart on its sleeve - as any good flamenco should.
And there are real gems. The solea por buleria is as good as it gets, and has even resulted in a spat among the artists involved aver who should get the most credit for it. There is the remarkable La Tarara, which opens as a mournful taranta, transforming into a tango and finishes off with an electric guitar solo. Finally, worth the price of the cd alone - the Nana Del Caballo Grande, an absolute spine tingling track with Camaron backed up by sitar! Pure heaven!
Another reason for any flamenco aficionado to buy this recording is to hear a young whippersnapper named Tomatito on guitar. He absolutely explodes with energy from the first moment and it is shocking to think that he didn't even appear on the credits of the original!
Not a recording that will please everyone, and in fact in its day it sold less 10,000 copies, I believe. Nevertheless, this recording marks a 'before' and 'after' in the history of flamenco.
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