Entre Dos Aguas Paco de Lucía (1973)
Entre dos Aguas (Between two Oceans) was actually a compilation album, but it launched the great flamenco guitarist onto the international stage and also introduced real flamenco to a mass global audience. The album hung on the astonishing title song - an instrumental flamenco rumba - which was both a massive hit as a single but also emblematic of the revolution that Paco de Lucia was causing in the flamenco world, by incorporating electric bass, two guitars, and a bongo instead of the traditional palmas. Entre Dos Aguas was Gold certified in 1976 and spent 22 weeks at the top of the sales charts. It is unusual in being both a masterpiece of flamenco and hugely popular, both in Spain and internationally. Despite being a compilation album, the tracks flow seamlessly and reveal an artist who was ahead of his time, innovative and experimental, incorporating Latin American and jazz influences (hence between two Oceans) and instruments (the Peruvian cajón, which De Lucía discovered while on tour in Peru) to modernise flamenco forever.
La Leyenda del Tiempo Camarón de La Isla (1979)
Camarón de la Isla is considered one of the greatest flamenco singers that ever lived. His untimely death in 1992, at the age of 41, threw the country into national mourning and contributed to make his legendary status even bigger. This album, his tenth, and the first not to feature his long-time collaborator, guitarist Paco de Lucía, was a commercial flop when it came out. It infuriated critics and flamenco purists by breaking with traditions, incorporating electric piano and synthesiser solos, rock, jazz and Latin American rhythms and lyrics based on the poems of Federico García Lorca. Retrospectively, it became one of the most iconic albums ever made in Spain and opened the door for the wave of experiments with flamenco, as well as presenting to the world the magnificent talent of Tomatito who would go on to become of the most acclaimed Spanish guitar players. The album is considered to mark the year zero of Nuevo Flamenco.
Descanso Dominical Mecano (1988)
Despite being heavily influenced by their time in the UK, aesthetically and musically, (some say the band was the spanish answer to Duran Duran and the New Romantics) Mecano’s sound evolved into a class of its own. This album brought Spanish pop back to the masses, emerging like a punch in the face to the creative suppression of the Franco decades. It marked the pinnacle of their career, especially in Latin America, where they became one of the continent’s most popular acts. Mecano’s sound was completed by the voice of a lead female singer Ana Torrojas, which was also revolutionary for that time in Spanish pop, and who would sing using the He pronoun. Mecano showed a softer side of Spanish pop as well as avant-guarde, their lyrics dealing with taboo issues such us lesbian love, as in their song Mujer Contra Mujer.
Astronomia Razonable El Último de la Fila (1993)
El Último de la Fila and their album Astronomía Razonable truly represent a landmark in Spanish pop-rock history. Released in the early 90s, this album not only showcased the band's unique blend of pop, rock, and traditional Spanish musical elements but also highlighted the poetic depth of their lyrics. The album had monumental success, pushing past a million sales and supported by a massive tour across Latin America, testament to the widespread popularity. The band’s lyrical richness and poetic approach resonated with young audiences in Spain and Latin America, craving for something new and beyond the conventional pop themes and love songs that most pop artists were focusing on. The album is considered a quintessential part of Spanish music from the 90s.
De akí a Ketama Ketama (1995)
In the days when few beyond Spain had heard of flamenco fusion or Nuevo Flamenco, (or those who had, thought that the simplified strumming of Gypsy Kings was it) and years before Rosalía was even born, Ketama came out like a lightening bolt. To those who were lucky enough to get their hands on this album (for yes those were the days of physical goods) this was pure joy to listen to, bringing their own flamenco flair to the masses. What Camarón and De Lucía started in the 70s and 80s, Ketama carried forward, bringing flamenco ever more into the pop world. De akí a Ketama achieved massive success, sweeping major music awards in Spain, attracting an ever wider audience to flamenco and cementing Ketama's legacy in the nation's musical heritage. By now, traditional flamenco aficionados had accepted the new genre, and this album is celebrated for its significant role in further modernising and popularising flamenco, ensuring its relevance in contemporary pop culture.
Más Alejandro Sanz (1997)
Heart-throb, multi-talented artist—singer, songwriter, and musician— Alejandro Sanz had it all. Single-handedly, this album, which became one of the best-selling Spanish albums of all time, moving over six million copies, brought a long tradition of Spanish romantic music into the next century, solidifying its relevance into the next century. Because of his credentials as a musician and flamenco background, Sanz brought a fresh take to the traditional Spanish crooner. Featuring the iconic track Corazón Partío, it not only showcased his capabilities but also refreshed the concept of the Spanish pinup, blending good looks with genuine artistic talent. Its success was driven not just by its multiple hit singles but also by the high quality of its production and the lyrical depth of Sanz's compositions. This album solidified Alejandro Sanz's status as a major figure in Latin music.
Lagrimas Negras Bebo & Cigala (2003)
One of the most unusual collaborations in the Spanish language, when Cuban pianist Bebo Valdés came together with Spanish flamenco singer Diego el Cigala to make an unlikely album of Cuban standards sung in flamenco style, nobody expected a global hit. What resulted was a fusion of Cuban rhythms and flamenco vocals, produced by Spanish composer Javier Limón, that seduced listeners across the world and spread like wildfire. The album arrived on the back of the Buena Vista Social Club’s success, which created a market for traditional Cuban music. Bebo Valdés, one of the founders of Latin jazz, had been one of Cuba’s great under-publicised jazz pianists when, in his 70s, he was suddenly catapulted back onto the global map with this album. The result was nothing short of magical and resulted in a well-earned Grammy. In the world of collaborations, you don’t get much better than this.
Malamarismo La Mala Rodriguez (2007)
Arguably Spain’s most international rapper, this sexy, sassy, badass girl can hold her own when it comes to free-styling. Having paid her dues on the underground for many years, La Mala crossed over to the Latin American and US markets a decade before any other Spanish urban artist. She paved the way for what was to come, the Rosalías and Bad Gyal, collaborating with the biggest commercial and reggaetón artists of the time such as Tego Calderón, Calle 13, Romeo Santos and Nelly Furtado. Malamarismo was the album that got Mala noticed outside Spain and her acceptance by the fiercely protective Puerto Rican-dominated reggaetón and Latin hip-hop world was testament to her talent and proof that this girl from Cádiz was the real deal. Almost 20 years later, Malamarismo has become a classic of Latin hip-hop and features Mala as her lyrical peak. Still active she is no longer the powerhouse she once was, but her achievement and talents are undeniable.
El Mal Querer Rosalía (2018)
This album marked a significant moment in modern Spanish music. This album, deeply rooted in her flamenco training at the conservatory in Barcelona, showcases a blend of traditional and contemporary sounds. Based on Flamenca, a 13th-century romance, the album uses storytelling to weave its themes, bringing an innovative twist to flamenco (the proponents of which, the Catalana proves, no longer need to come from Southern Spain) and broadening its global appeal. Tracks like Malamente exemplify how Rosalía merges traditional flamenco with modern production, earning her critical acclaim and several Latin Grammy Awards. El Mal Querer not only boosted Rosalía's career but also reinvigorated international interest in flamenco. Now that her predecesors (all the above) had paved the way, the international music market was now ripe for its first flamenco fusion superstar.
El Madrileño C Tangana (2021)
After years of searching for his sound, C Tangana delivered what can be considered one of the best conceptual albums to come out of Spain for a while. The album features a rich mix of genres, including flamenco, rumba, and copla, fused with contemporary pop, rap, and reggaeton, and the result ended up being a homage to the diverse musical heritage of his country. Featuring artists from three generations and different continents, it embraced contemporary Spain and his Tiny Desk showcase was epic, making it the most watched concert of the series by a hispanic artist. This album, on top of the Rosalía phenomenon, firmly cemented flamenco urban pop as a money spinning genre into the global pop world.
