canciones de flamenco que marcaron la historia. Artistas y letras
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Flamenco songs that have marked the history of music

About This Project

In each musical genre there are artists and compositions that mark  before and after in the world conception of them. These are people who, with their art, help us to understand and feel music, creating, improvising and risking.

It occurs with music from different periods and styles. But lets go to where we belong, to what moves us, Flamenco, of course.

Without detracting from the rest of musical genres, Flamenco is the most powerful music in this sense.

We notice that when you see “baile”, “toque” or “cante” Flamenco it touches your soul, no matter where you come from. We associate this statement with the reiterated feeling produced when someone completely unconnected to this discipline is moved when they see flamenco “baile”, “toque” or “cante” .

Here, we offer a list and analysis of Flamenco songs that marked a before and after in the history of music.

There are songs that seem to have been composed for oneself, as if the author knew us. The identification we feel when listening to certain songs is so great that sometimes it is inevitable to get excited.

Do you happen to have any of the selected?

Flamenco songs

COMO EL AGUA

The magic de Camarón, Paco de Lucía y Tomatito.

The unquestionable virtuosity of Paco de Lucía and the dominant voice of Camarón de la Isla create Como el Agua.

A declaration of love and good intentions from a humble and devoted position. A metaphor in which admiration for the other and the elements of nature merge.

Camarón achieved unanimous success with his music, made the revolutionary flamenco of the time, being able to merge with other musical styles such as jazz or rock, which included other great artists such as Kiko Veneno or Tomatito. The latter intervenes with his gypsy guitar in Like Water.

How many Koreans, Australians and other nationalities have been moved in their first contact with flamenco?

How many lovers of this art reinvent themselves and live flamenco again and again with the same intensity?

Flamenco is a universal language. It doesn’t understand about gender, age or nationality.

 

The King of the Gypsies made Flamenco more accessible

Limpiaba el agua del río
Como la estrella de la mañana
Limpiaba el cariño mio
El manantial de tu fuente clara
Ay como el agua,ay como el agua,ay como el agua
Como el agua clara
Que baja del monte
Así quiero verte
De día y de noche
Ay como el agua,ay como el agua,ay como el agua
Yo te eche mi brazo al hombro
Pequeño brillo de luna
Iluminaban tus ojos
De ti deseo ‘toito’ el calor
Pa ti mi cuerpo si lo quieres tu
Fuego en la sangre
Nos corre a los dos
Ay como el agua,ay como el agua,ay como el agua
Si tus ojillos fueran aceitunitas verdes toda la noche estaría muele,que muele
Muele que muele
Toda la noche estaría muele que muele
Muele que muele
Luz del alma me adivina
Que a mi me alumbra mi corazón
Mi cuerpo alegre camina, por que de ti lleva la ilusión
Ay como el agua, ay como el agua, ay como el agua
Ay como el agua, ay como el agua, ay como el agua.

He cleaned the water of the river
Like the morning star
I was cleaning up my affection
The spring of your clear fountain
Oh, like water, oh, like water, oh, like water. Like clear water

That comes down from the mountain
That’s how I want to see you
Day and night
Oh, like water, oh, like water, oh, like water. I put my arm on your shoulder.

Small moonshine
Illuminated your eyes
I want the heat from you
For you my body if you want it
we both have fire
running us both
Oh, like water, oh, like water, oh, like water.
If your eyes were green olives all night I’d be grinding, grinding. Grinding, Grinding
All night long I’d be grinding and grinding
Grinding Grinding
Light of the soul knows me
That my heart lights me up
My cheerful body walks, because it carries the illusion of you
Oh like water, oh like water, oh like water
Oh like water, oh like water, oh like water

Oh like water, oh like water, oh like water

SOY GITANO

Más sobre José Monge Cruz (Camarón)

That blond gypsy called Juan José and nicknamed Camarón marked with all his music a new starting point in Flamenco. He has been and will be a reference for all the cantaores and cantaoras (flamenco singers) in history.

Flamenco has Indian roots

None of his songs avoid our attention and emotion: La leyenda del tiempo, Gitana te quiero, Viviré or Volando voy are some of the first flamenco songs to introduce new sounds that, accompanied by this unique voice, get under our skin no matter how long time goes by.

Soy gitano is the name of the first Gold record in Spain for Camarón, with more than 50,000 copies sold when it was released. Camarón recorded these tangos with the London Symphony Orchestra.

 

A kind of hymn of joy and vindication of the culture and gypsy race. The lyrics scream and ask for moral and corporal liberation

«Soy gitano» includes in its lyrics millenary expressions from Rajasthan (India). Frequent expressions in the flamenco world such as “Me parto la camisa”, the origin of it goes back to gypsy weddings, once the bride has been proved to be virgin with the handkerchief, the patriarch breaks his shirt in honour of chastity, then the rest of the men who are in the ceremony perform the same action. To them, this gesture is a symbol of pride.

Another of the expressions that appear in “Soy Gitano”, and which is curious when analyzing, is that of “me tiñeron la camisa“, also referring to the proven virginity of the bride, when after performing the tradition of the handkerchief test.

Some songs marked the story.

Además de marcarnos personalmente, hay canciones que marcan la historia

Yo no puedo aguantarme
Y ni vivir de esta manera
Porque yo no puedo, porque yo no quiero, ni aunque Dios lo quiera
Porque ya no puedo ay, porque yo no puedo ay, porque yo no puedo vivir sin ella.

Soy Gitano y vengo a tu casamiento,
a partirme la camisa,
la camisita que tengo,
Yo soy Gitano y vengo a tu casamiento,
a partirme la camisa, que ellos tiñieron.

Ay me retiro,
del esparto yo me aparto,
Ay que te lo digo me retiro,
En el sarmiento me arrepiento,
de haberte querio tanto,
Ay que te lo digo me retiro,

Soy Gitano y vengo a tu casamiento,
a partirme la camisa,
la camisita que tengo,
Yo soy Gitano y vengo a tu casamiento,
Me parto la camisita, la camisita que tengo.

Y a mi me gusta saborear la hierba, la hierba buena,
Un cante por soleá,
Un voz quebrada y serena,
Una guitarra y tus ojos,
Ay al ladito de una candela

Soy Gitano y vengo a tu casamiento,
a partirme la camisa,
la camisita que tengo.

I can’t stand it anymore
Or live like this
Because I can’t , because I don’t want to, even if God willed it
Because I can’t anymore, because I can’t, oh, because I can’t live without her

I’m a Gipsy and I’m coming to your wedding To rip my shirt, the shirt I’m wearing
I’m a Gipsy and I’m coming to your wedding To rip my shirt the one that was stained

Oh, I’m retiring,
from the esparto I move away, Oh, I’m telling you, I’m retiring, In the slips I regret it,
for loving you so much,
Oh, I’m telling you, I’m retiring,

I’m a Gipsy and I’m coming to your wedding To rip my shirt, the shirt I’m wearing
I’m a Gipsy and I’m coming to your wedding To rip my shirt, the shirt I’m wearing

And I like the taste of the herb, the mint herb A song in soleá
And a voice that is broken and calm
A guitar and your eyes

Oh next to the candle-light

I’m a Gipsy and I’m coming to your wedding To rip my shirt, the shirt I’m wearing
I’m a Gipsy and I’m coming to your wedding

I like the taste of the herb, the mint herb A song in soleá

FUERA DE MI

José  el Francés, Niña Pastori y Vicente Amigo.

This trio interprets in “Fuera de mi” joy, passion and purity resulting, this marvel of song that narrates a sad story invaded by jealousy and the first heartbreak suffered.

And that in turn, tints the atmosphere of joy and restlessness.

José el Francés is an internationally renowned cantaor flamenco. He was born in Hérault (France) in a gypsy family of emigrants, his real name is José Rodríguez Vázquez. He always had flamenco around him, although he tried to follow his father’s profession as a painter. Finally he started with cante, cante jondo sometimes mixed with pop structures. And it didn’t go unnoticed. Between 1992 and 2009 he recorded six albums and numerous collaborations with other great artists. José el Francés has had an artistic career tinged with successes and misfortunes, always remaining in the flamenco universe.

Niña Pastori's voice has unmistakable harmonic abilities and is both sweet and wild, a gift from nature.

On the other hand, we have the great Niña Pastori or María Rosa García García. A whole life dedicated to flamenco, in continuous evolution. La Niña Pastori has deserved and worked success that all her colleagues recognize. Not only her voice makes this woman unmistakable, but also her humbleness and the inherent art she has to communicate, not only singing.

Any Niña Pastori theme is worthy of being included in this list: Dime quien soy yo, A la orilla de mi pelo or the biggest bulerías Estoy aprendiendo a vivir, are some of her masterpieces.

But we have chosen the song she performs with José el Francés and one of the best guitarists in the history of Flamenco, Vicente Amigo. A perfect song, don’t you think?

And, what can we say about Vicente Amigo? This Sevillian raised in Cordoba is known worldwide as one of the best guitarists in the history of flamenco. He has composed inspired by great poets, accompanied by the greatest international artists and has driven his art left and right.

Thanks to the marked beats, the excellent combination of voice and toque by these three flamenco virtuous artists make “Fuera de mi” an exciting and catchy song.

Vienes arrepentida, vienes pidiendo perdón,
diciendo que me quieres he sido tu primer amor.
Ya no quiero tus labios porque otros lo han besado,
y el amor que te tenía con tristeza lo he olvidado.

Fuera de mi, ya no quiero tu querer,
de mi mente te he borrado,
ya no quiero besar tus labios.
Fuera de mi, ya no quiero tu querer,
de mi mente te he borrado,
ya no quiero besar tus labios.

Eres parte de mi vida y te llevaba en mi corazón,
te di toda mi riqueza y me pagaste con dolor.
Por tus venas no corre sangre ni sentimiento en tu corazón,
y ahora vives sufriendo como he sufrido yo.

Fuera de mi, ya no quiero tu querer,
de mi mente te he borrado,
ya no quiero besar tus labios.
Fuera de mi, ya no quiero tu querer,
de mi mente te he borrado,
ya no quiero besar tus labios.

Después de un largo tiempo quiere de nuevo mis caricias,
y vive en el pasado y está fuera de mi vida.
Ya no quiero tus labios porque otros lo han besado,
y el amor que te tenía con tristeza lo he olvidado.

Fue-fue-fuera de mi, ya no quiero tu querer,
de mi mente te he borrado,
ya no quiero besar tus labios.
Fuera de mi, ya no quiero tu querer,
de mi mente (de mi mente) te he borrado, (te he borrado)
ya no quiero, no, besar tus labios.

You come repenting, you come asking for forgiveness, saying that you love me, I’ve been your first love.
I no longer want your lips because others have kissed it, and the love I had for you with sadness I’ve forgotten.

Outside of me, I don’t want your love anymore, I’ve erased you from my mind,
I don’t want to kiss your lips anymore.
Outside of me, I don’t want your love anymore, I’ve erased you from my mind,

I don’t want to kiss your lips anymore.

You are part of my life and I carried you in my heart,
I gave you all my wealth and you paid me in pain.
Your veins do not run blood and no feelings in your heart, and now you live suffering like i have suffered.

Outside of me, I don’t want your love anymore, I’ve erased you from my mind,
I don’t want to kiss your lips anymore.
Outside of me, I don’t want your love anymore, I’ve erased you from my mind,

I don’t want to kiss your lips anymore.

After a long time wants again my caresses,
lives in the past and is out of my life.
I no longer want your lips because others have kissed them, and the love I had for you with sadness I’ve forgotten.

outside of me, I don’t want your love anymore,
I’ve erased you from my mind,
I don’t want to kiss your lips anymore.
Outside of me, I don’t want your love anymore,
of my mind (of my mind) I have erased you, (I have erased you) I don’t want to kiss your lips anymore.

LÍO

 José Mercé, referent of Flamenco

Named José Soto Soto, José Mercé was the first gypsy to perform at the Teatro Real in Madrid. A lifetime dedicated to flamenco singing that began in the flamenco tablaos, where the beginnings of the flamenco profession are undoubtedly present.

His first album, Bandera de Andalucía, was recorded accompanied by the great Paco de Lucía.

A ripped and huge voice that reaches inconceivable levels. And has nourished flamenco for half a century.

His own creations inspired by personal experiences capable of touching a diverse audience.

A bulería that excites half the world

The song we have chosen is a bulería, from one of his three platinum albums, Lío. It was born in 2002 and leaves us all speechless.

A lyrics that motivates body and mind, it speaks to us about the passion and uncontrollable desire that emerges from the love between two people. Full of compliments and confessions dressed up as comparisons of light and assured hope.

Eres la alegria, prima de mi habitacion
Eres, vida mia, mi té de meditation
que bonita eres

Tu eres mi lio, mi mantalia, lio, lia

Eres la alegria, prima de mi habitacion
Eres, vida mia, mi té de meditation
que bonita eres

Por eso ni lindes, muralia, ni techo
blusa averiá, noche desebrocha
y que bonita eres

Será el dia segun como me mires,
será en ello va que el sol no desafine
porque la luz si no es de ti
a mi, a mi no me amanece
Esas luces.

Llave tu eres la llave de vuelta y media
la luna una es la que abre ,
la média, la que cerra
tu eres la llave de vuelta y media

Tu eres mi lio, mi mantalia, lio, lia

Eres la alegria, prima de mi habitacion
Eres, vida mia, mi té de meditation
que bonita eres

Tu eres mi lio, mi mantalia, lio, lia

Yo paro en el bien perdio
de la perdedera calle
garito de la alegria
llenito de soledades
Si fui al rio no fui al agua
Si fui al rio no fui al agua

Vamos
vamonos que nos vamos
que viene el solano
y suenan campanas.

Me llamas
Me llamas
Me llamas

Eres la alegria, prima de mi habitacion
Eres, vida mia, mi té de meditation
que bonita eres

Tu eres mi lio, mi mantalia, lio, lia

Eres la alegria, prima de mi habitacion

Tu eres mi lio, mi mantalia, lio, lia

You are the joy, cousin of my room
You are, my life, my meditation tea
How pretty you are
You’re my mess, my mantalia, mess, mess. You are the joy, cousin of my room

You are, my life, my meditation tea
How pretty you are
That’s why neither borders, murals, or ceilings busted blouse, undressed night
and how pretty you are
It’ll be the day depending on how you look at me, it will be that the sun does not out of tune because the light if it’s not from you
To me, to me it doesn’t dawn
Those lights.
Key you are the key back and a half
the moon is the one that opens ,
the media, the one that closes
You’re the key back and a half.
You’re my mess, my mantalia, mess, mess.
You are the joy, cousin of my room
You are, my life, my meditation tea
How pretty you are
You’re my mess, my mantalia, mess, mess.
I stop at the lost good
of the loser street
Happiness places
full of loneliness
If I went to the river I didn’t went to the water

If I went to the river I didn’t went to the water Let’s go.
Come on, let’s go. Let’s go.
that the sun comes

and bells are ringing. You call
You call me
You call me

You are the joy, cousin of my room
You are, my life, my meditation tea
How pretty you are
You’re my mess, my mantalia, mess, mess. You are the joy, cousin of my room

You’re my mess, my mantalia, mess, mess.

TODO ES DE COLOR

Lole y Manué

The marriage between Manuel Molina and Lole Montoya marked a new starting point in the music history.

Although these artists were “Más flamencos que un lunar“, their art was inspired by great references from other genres such as The Beatles, Janis Joplin and The Doors. Without planning it, they gave way to the beginning of Andalusian rock.

The introduction of the mellotron, the changes in rhythmic and harmonic bases or his peculiar way of interpreting the Andalusian cadence (term adopted from flamenco music for a chord progression) made Lole and Manué immortal.

Before settling down as Lole and Manué tried their luck with Jesús de la Rosa, and although the relationship was good, they had very different ways of interpreting and living music. So, the couple abandoned what would later become Triana, another of the great reference groups for Flamenco, without a doubt.

“Todo es de color” is a distinctive song in all senses. One of its peculiarities is that the two groups, Triana and Lole and Manué, shared the song in their first albums, both conceived in 1975.

The same theme and different lyrics.

Triana’s version is less than three minutes long, introduces real sounds of nature and ends with the voices of a religious choir. A transgressive bet, which curiously did not have the success obtained by other songs from the same album such as Abre la puerta, En el lago or Sé de un lugar.

Todo es de color by Lole and Manué, it’s quite different. They claimed in their speech that the main intention of their music was to show the happy face of flamenco, the experiences and real colours that make up the essence of the Andalusian people.

From Sevilla, revolutionaries and brave when exploring artistic creation

Y lo consiguieron. En su música podemos acercarnos al jolgorio y la alegría de las casas blancas de Andalucía, con macetas en los balcones y sillas en las puertas.

Es enternecedor descubrir estas resonancias a través de los quejíos y requiebros de una voz tan puramente flamenca como la de Lole, acompañada de la guitarra de su marido, bajo la premisa de unas letras que son auténticos poemas.

Todo el mundo cuenta sus penas
pidiendo la comprensión
quien cuenta sus alegrías
no comprende al que sufrió

Señor de los espacios infinitos
tu que tienes la paz entre las manos
derrámala Señor te lo suplico
y enséñales a amar a mis hermanos

De lo que pasa en el mundo
por Dios que no entiendo “na”
el cardo siempre gritando
y la flor siempre “callá”

Que grite la flor
y que se calle el cardo
y todo aquel que sea mi enemigo
que sea mi hermano

Vayamos por esa senda
a ver que luz encontramos
esa luz que esta en la tierra
y que los hombres apagamos

Señor de los espacios infinitos
tu que tienes la paz entre las manos
derrámala Señor te lo suplico
y enséñales a amar a mis hermanos

Y enséñales lo bello de la vida
y a ser consuelo en todas las heridas

y amar con blanco amor toda la tierra
y buscar siempre la paz, Señor
y odiar la guerra

Y en aquel jardín han “entrao”
cuatro hombres ha porfía
y sin compasión se han “llevao”
la rosa que yo quería
y luego la han “despreciao”

Y quien me puede demostrar
que Cristo no fue gitano
ni que sabía cantar

Las flores de tu balcon
lloran por verte

que lo se yo.

Everyone tells their sorrows
asking for understanding
who tells his joys
doesn’t understand the one who suffered

Lord of infinite spaces
you who have peace in your hands Spill it, Lord, I beg you.
and teach them to love my brothers

Of what happens in the world
For God’s sake, I don’t understand anything. the thistle always screaming
and the flower always shuts up.

Let the flower shout
and let the thistle be silent and whoever is my enemy, be my brother

Let’s go that way.
to see what light we find that light that is on the earth and that we men put out

Lord of infinite spaces
you who have peace in your hands Spill it, Lord, I beg you.
and teach them to love my brothers

And show them the beauty of life and to be consolation in all wounds

and love with white love all the earth

and always seek peace, Lord and hate war

And in that garden they have come in.
four men has porphyry
and without compassion they’ve taken away the rose I wanted
and then they’ve despised her.

And who can prove to me that Christ was not a Gypsy or that he couldn’t sing

The flowers on your balcony They cry for seeing you.
I know.

Up to here is our list!
No doubt there are more themes and artists who have collaborated in the evolution of the flamenco history.

Some of them are doing it at the present moment like Rosalía, Kiki Morente or her sister Soleá. Others did it a century ago, like La Niña de Los peines or Tío Luis de Juliana.
Let’s take care of flamenco with the affection and love with which we have done it until now. This is the only way to keep it alive.

Let’s take care of flamenco with the affection and love with which we have done it until now. This is the only way to keep it alive.

¿Nos sugieres más canciones flamencas que revolucionaron la historia de la música?