Dos guitarras flamencas
Encyclopedia
Dos guitarras flamencas en stereo (Two Flamenco Guitars in Stereo) is the first of three collaborative albums between Paco de Lucía
& Ricardo Modrego.
The two had met while working for José Greco
, a talent agent and flamenco dancer, and had composed most of the songs while touring around the world with him. When they finally returned to Madrid, they proceeded to pitch their work to local record companies with no success. Modrego's father, however, happened to know Ricardo Fernández de la Torre at Philips Music and got them in the door.
Unfortunately, they had been unable to secure studio time and all they had was a poor recording they had made in Modrego's home, but they pitched it anyway. Six hours after dropping off the tape they received a call to come in the next day, on February 11, 1964 and sign a two year contract that would mark the beginning of De Lucía's illustrious career.
Recording was done over two days, six songs per day, and on only two tracks. Due to the limitations in the recording studio at the time, there were also no cuts, meaning a mistake or a problem with the recording equipment meant having to start over completely from scratch.
In addition, as stereo equipment was still a relatively new phenomenon, they didn't have any when the record was released and were quite angry at how bad the album sounded on their mono record player. Modrego actually had to rent a stereo record player so they could hear it properly.
Paco de Lucía
Paco de Lucía, born Francisco Sánchez Gómez , is a Spanish virtuoso flamenco guitarist and composer. He is considered by many to be one of the finest guitarists in the world and the greatest guitarist of the flamenco genre...
& Ricardo Modrego.
The two had met while working for José Greco
José Greco
Jose Greco was a flamenco dancer and choreographer.He was born in Montorio nei Frentani, Italy of Italian parents. He was raised in New York City from the time he was 10 years old. He began dancing in Brooklyn with his sister Norina at a young age.He made his professional dancing debut in 1937 at...
, a talent agent and flamenco dancer, and had composed most of the songs while touring around the world with him. When they finally returned to Madrid, they proceeded to pitch their work to local record companies with no success. Modrego's father, however, happened to know Ricardo Fernández de la Torre at Philips Music and got them in the door.
Unfortunately, they had been unable to secure studio time and all they had was a poor recording they had made in Modrego's home, but they pitched it anyway. Six hours after dropping off the tape they received a call to come in the next day, on February 11, 1964 and sign a two year contract that would mark the beginning of De Lucía's illustrious career.
Recording was done over two days, six songs per day, and on only two tracks. Due to the limitations in the recording studio at the time, there were also no cuts, meaning a mistake or a problem with the recording equipment meant having to start over completely from scratch.
In addition, as stereo equipment was still a relatively new phenomenon, they didn't have any when the record was released and were quite angry at how bad the album sounded on their mono record player. Modrego actually had to rent a stereo record player so they could hear it properly.
Track listing
- "Jerez en fiestas" – 3:53
- "En la Alcazaba" – 4:58
- "Gaditanas” – 3:43
- "Tientos del amanecer" – 4:12
- "Guajira flamenca" – 3:50
- "Real de la feria" – 2:49
- "Taconeo gitano" – 3:01
- "Sortilegio" – 4:18
- "Seguiriya tradicional" – 4:09
- "Entre arrayanes" – 3:47
- "Fuente de Carmona" – 4:18
- "La caleta" – 3:42