“Ropavieja” is a work made up of soft biorhythms. Contained,
intimate. A classic record within this ebullient art of ours. I don’t
think it’s necessary to present any of our readers to a artist like
Arcángel. He’s one of today’s top flamenco singers.
Period. But this simple, straightforward statement complicates things.
This is one of the records of the year. But even that simple affirmation
brings complications. Perhaps it’s unfair to the artist, but Arcángel’s
fans always demand more. His appearance was so surprising, and he triggered
so much expectation with his youthful voice, that we are all still waiting
for him to come out with the perfect work of art, the flamenco record
of the century. And “Ropavieja”, once again, with three recordings
on the market, is not that record. As I say, this statement may seem unfair.
And in fact, it is. High expectations always lead to disappointment. So
our feeling of being let down isn’t so much the singer’s problem
as it is ours. “Ropavieja” is what it is, a wonderful flamenco
record. But at this point there is no point hiding our disappointment.
Ropavieja
– Arcángel
Produced by Isidro Muñoz. Ediciones Senador.
guitars: Miguel A. Cortés, Daniel Méndez
1. Tita María
2. Hay días que
3. A qué sabe la vida
4. Humeaban las chozas
5. Jacaranda
6. Revolera
7. Calle Sanlúcar
8. A temprano
9. Carita de chocolate
10. Mucho mejor te amo
Isidro Muñoz is at the helm, producing, writing the lyrics and
half the music (the other pieces are traditional). One of today’s
great flamenco creators, who did important work for such different musicians
as José Mercé, Morente and Salmarina, Muñoz always
brings verses involved with the individual and with internal rebellion:
“I don’t want to see my feelings sitting on the night-table”.
Implosive revolutions which so far have proven to be the most effective.
A record with moving moments: the alegrías, which follow the melodic
scheme Arcángel tends to use in live performance, from Cádiz
to Córdoba, with new verses. An explosion of joyous guitar in Méndez,
with falsetas full of intense caramel. The fandangos de Huelva, this singer’s
most representative form, with silky viibrant choruses. The taranta, intimate
and restrained, solidified, austere and truthful, while at the same time,
that touch of social consciousness in three-four time with abundant melisma.
The best thing on the record in my opinion is the trilla-seguiriya. A
trip to the daily hell of desolation and melancholy. Lonliness. Traditional
models dressed up in contemporary trappings, Mauricio Sotelo’s arrangements,
connecting with the horrified gaze of all academic music from the twentieth
century, a gaze which, like the best literature, like the best dancing,
continue to be held prisoner of the horror of Auschwitz. Or Dani Méndez’
guitar, gentle vestments, gentle biorhythms for emotions on the verge
of explosion. A stop-start rhythm, full of wisdom: many generations have
moved through the twelve-beat compás.
