It was there that he met Paco de Lucía with whom he would record nine albums between 1969 and 1977. The two would tour extensively together during this period. As Paco de Lucía became more occupied with solo concert commitments, Camarón would work with one of Paco's students, Tomatito, also one of the important figures in modern flamenco guitar.
At the age of 23 Camarón married Dolores Montoya, a gypsy girl from La Línea de La Concepción who he nicknamed "La Chispa" (The Spark). At the time La Chispa was only fourteen. Shortly afterwards the couple had two children, and were eventually to have a total of four.
Many consider Camarón to be the single most popular and influential flamenco "cantaor" (singer) of the modern period. Although his work brought criticism from some traditionalists, he was one of the first to feature an electric bass in his songs. This was a turning point in the history of Flamenco music that helped distinguish Nuevo Flamenco.
All good things must come to an end though, and in 1992, José Monje Cruz died of lung cancer. It was estimated that more than 100,000 attended his funeral.
In 2005 director Jaime Chávarri brought out the biopic "Camarón" in Spain starring Óscar Jaeneda as Camarón himself and Verónica Sánchez as La Chispa.
The film, produced in consultation with Camarón's widow, was subsequently nominated for several Goya Awards.
Partial discography
with Paco de Lucía
"Al Verte las Flores Lloran" (1969)
"Cada Vez Que Nos Miramos" (1970)
"Son Tus Ojos Dos Estrellas" (1971)
"Canastera"* (1972)
"Caminito de Totana" (1973)
"Soy Caminante" (1974)
"Arte y Majestad" (1975)
"Rosa María" (1976)
"Castillo de Arena" (1977)
with Paco de Lucía & Tomatito
"Como el Agua" (1981)
"Calle Real" (1983)
"Viviré" (1984)
"Potro de Rabia y Miel" (1992)
with Tomatito
"Te lo Dice Camarón" (1986)
"Flamenco Vivo" (1987)
"Camarón Nuestro" (1994)
Other
"La Leyenda Del Tiempo" (1979)
Released as a solo album
"Soy Gitano" (1989)
Released with The Royal Philharmonic Orchestra, with guest appearances by Tomatito
The titles given for the first five albums with Paco de Lucía are those in popular usage, often being the titles of the first tracks. Formally, all of them are excitingly titled "El Camarón de la Isla con la colaboración especial de Paco de Lucía" with the exception of Canastera.
Samara
Camarón de la Isla Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Yo te recuerdo llorando
Y me morire de pena
Mientras tu estas disfrutando
Ay que dolor, que dolor, que dolor
Ror llanto iban mis ojos a la fuente del querer
Cuanta mas agua cojia mas veces queria volver
En mi sueño te llamaba
Y tu no me respondias yo en mi dia
Llorando me despertaba
Porque yo no te veia
¡Ay, ay, ay!
La que me lavó el pañuelo fue una gitanita mora
Reina de la moreria
Me lavo en agua fria
Me lo tendio en el romero
Y le canté por bulerias mientras se secó el pañuelo
Y le canté por bulerias mientras se secó el pañuelo
Fue elegida por los moros
Reina de la moreria
Toito el pueblo la adoraba
Y le rezaba noche y dia
Porque la reina Samara con su cara tan gitana
Y una virgen parecía
Ay, Samara reina de la moreria
Samarita si, Samarita no
Que Samarita niña de mi corazón
Que Samarita niña de mi corazón
The song "Samara" by Camarón de la Isla is a deeply emotional expression of heartache and longing for lost love. The lyrics speak of the singer being in prison and remembering his beloved, who he imagines is enjoying life without him. The pain of this realization is overwhelming, and the singer fears he may die of sorrow. The first two lines, "Y metido en la trena / Yo te recuerdo llorando" (And locked up in prison / I remember you crying), set the scene for the rest of the song, which is a lamentation for lost love.
The mood of the song shifts in the second verse, where the singer dreams of his lost love but is unable to reach her. He wakes up crying because she is not there. The third verse tells the story of a gypsy woman who washes the singer's handkerchief and sings bulerias (a type of flamenco song) while it dries. Finally, the song speaks of Samara, a queen of the Moorish quarter, who was adored by all who knew her. The singer compares her to a virgin, suggesting she was pure and beautiful. Despite her greatness, he cannot help but long for his lost love.
Overall, the lyrics of "Samara" are a haunting expression of loss, longing, and pain. They capture the intensity of emotion that can accompany a separation from someone we care deeply about.
Line by Line Meaning
Y metido en la trena
Imprisoned and trapped
Yo te recuerdo llorando
Remembering you crying
Y me moriré de pena
And I will die of sorrow
Mientras tu estas disfrutando
While you are enjoying yourself
Ay que dolor, que dolor, que dolor
Oh what pain, what pain, what pain
Por llanto iban mis ojos a la fuente del querer
My eyes went to the fountain of desire due to my tears
Cuanta mas agua cojia mas veces queria volver
The more water I collected, the more I wanted to return
En mi sueño te llamaba
In my dream I called you
Y tu no me respondias yo en mi dia
And you didn't respond to me in my day
Llorando me despertaba
I woke up crying
Porque yo no te veia
Because I couldn't see you
La que me lavó el pañuelo fue una gitanita mora
The one who washed my handkerchief was a Moorish gypsy girl
Reina de la moreria
Queen of the Moorish Quarter
Me lavo en agua fria
She washed me with cold water
Me lo tendio en el romero
She spread it out on the rosemary
Y le canté por bulerias mientras se secó el pañuelo
And I sang bulerias while the handkerchief dried
Fue elegida por los moros
She was chosen by the Moors
Toito el pueblo la adoraba
The whole town adored her
Y le rezaba noche y dia
And they prayed to her night and day
Porque la reina Samara con su cara tan gitana
Because Queen Samara with her gypsy face
Y una virgen parecía
Seemed like a virgin
Ay, Samara reina de la moreria
Oh, Samara queen of the Moorish Quarter
Samarita si, Samarita no
Samarita yes, Samarita no
Que Samarita niña de mi corazón
That Samarita girl of my heart
Que Samarita niña de mi corazón
That Samarita girl of my heart
Writer(s): jose monge, pecino antonio sanchez
Contributed by Lillian M. Suggest a correction in the comments below.
@joseluismayorga6899
Tengo que decir una cosa que tengo muy, muy clara en esta vida! el mejor cantaor del mundo (del estilo que sea) es y será siempre CAMARON y el mejor guitarrista del mundo es y será por siempre PACO DE LUCÍA (ni siquiera hay con quién comparar...) tenemos unos artistas tremendos pero estos dos son lo mejor a nivel mundial! INSUPERABLE
@josecortes2462
Este disco es uno de mis favoritos de Camarón, aquí empezaba a tener la voz más bonita aún. Simplemente increíble!! ETERNO CAMARÓN!!👏🏼👏🏼
@inmacanovas6138
Por esto mi hija se llama Samara💕
@Saamm16
Yo me llamo Samara JAJAJA
@stretscproject540
El mayor incomprendido del flamenco y el mejor de todos los tiempos cuando se te mete su cante en el sentido y en el corazón comprendes porque es el mejor ..
@patrilana8148
Este hombre es único no hay no habrá ni existirá gracias por tu música y tu sentimiento trasmitido que viva el flamenco verdadero
@lauragomez-md8nn
ELEVÓ EL FLAMENCO AL NIVEL MAXIMO, LO ACERCÓ A TODOS LOS PÚBLICOS Y CAUTIVÓ CON ESA VOZ POTENTE, GITANA Y SIEMPRE INCREÍBLE,💋 SIEMPRE JOSÉ!!!
@imLesbianWh0re
Para mí él mejor vivó o muerto un monstruo y nadie llegará a su altura, me rompo la camisa, por Camarón.
El mejor del mundo.
@ivanlozano4902
Es brutal! Camaron alucino cada vez que lo escucho
@mbrodriguez563
Humilde persona y gran artista ,no hay palabras para describir a este genio