Dom. Nov 28th, 2021
    Camela miguel ángel cabrera jiménez

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    For this, the maximum leader of Producciones AR and the first one that edited the discs of the group, in the times in which they were consecrated as «kings of the gas stations» without any promotional apparatus, there is also historical adjustment of accounts in ‘Camela por Camela’.

    In it, it is detailed that «Del Corral made money from the sale of the records, obtained 40% of the publishing rights and also earned from the concerts through the representation agency he had created. Miguelito, on the other hand, had the other 50% of the author’s rights, his royalties and the money from the galas. Ángeles and Dioni only received 1% of royalties and what corresponded to them from the performances».

    In this sense, the role that his first producer, David Muneta, played in the configuration of his very personal sound is emphasized. «I don’t sing there. That sounds like codfish», Martín protested at first, but was later convinced when I told him about how Las Grecas or Los Chichos had innovated in the field of flamenco songs by adding rock instruments.

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    For this, the maximum leader of Producciones AR and the first one who edited the discs of the group, in the times in which they were consecrated as «kings of the gas stations» without any promotional apparatus, there is also a historical settling of accounts in ‘Camela por Camela’.

    In it, it is detailed that «Del Corral made money from the sale of the records, obtained 40% of the publishing rights and also earned from the concerts through the representation agency he had created. Miguelito, on the other hand, had the other 50% of the author’s rights, his royalties and the money from the galas. Ángeles and Dioni only received 1% of royalties and what corresponded to them from the performances».

    In this sense, the role that his first producer, David Muneta, played in the configuration of his very personal sound is emphasized. «I don’t sing there. That sounds like codfish», Martín protested at first, but was later convinced when I told him about how Las Grecas or Los Chichos had innovated in the field of flamenco songs by adding rock instruments.

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    In 1990, they decided to make a home-produced demo (Tinieblas) which they distributed among friends and family, but it was never commercialized. Later, in 1992, they decided to compose some of their own songs to record them in a demo that they called «Junto a mí». They needed to raise 200,000 pesetas, which none of them had to spare, hoping to sell a few cassettes to recover part of the money. With the help of their families and friends they published a second demo «Me gustan tus ojos», which was more successful than the first one, it sold like hot cassettes in spite of not leaving the circuit of gas stations, flea markets and bars.

    The year 1998 brought two new albums, «Camela Dance», which covered the most popular songs, and another unreleased album «Solo por ti», in which Camela could be heard more mature and faithful to themselves. Before appearing physically in the stores, about 160,000 copies of this album had been distributed, a figure that increased week after week.

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    That first album received a moderate success, but it began to generate a legion of fans that would always be loyal to the band. Their style of flamenco pop with a base of techno drums and keyboard arrangements would mark a style of their own.

    During the nineties, the band released seven albums, including compilations and studio albums. A large number of fans began to know them and to go to their concerts, although the critics always treated them from afar, relegating them to the role of a flamenco group for ethnic minorities.

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