Entre Dos Aguas
Paco De Lucía
Entre Dos Aguas is a compilation album by Spanish flamenco guitarist Paco de Lucía, first published in 1975 by Phonogram Records on LP and reissued in 1981 by Universal Music Spain with a substantially revised track listing. The album takes its name from the most celebrated piece of de Lucía's career — an instrumental flamenco rumba he composed almost entirely by accident in 1973, when his producer asked him to fill the remaining time on his fifth solo album, Fuente y Caudal. He improvised it on the spot, recording it with his brother Ramón de Algeciras on second guitar, an electric bass, and bongos played by Pepe Ébano — a rhythmic combination then virtually unheard of in flamenco. When de Lucía's manager Jesús Quintero convinced Philips to release it as a single in 1974, it spent
22 weeks at the top of Spain's sales charts, sold over 300,000 copies, was certified gold in 1976, and catapulted de Lucía from revered flamenco specialist to internationally recognized artist.
The 1981 reissue, which is the most widely circulated version, expanded the compilation to fourteen tracks spanning recordings from 1967 through 1981, offering a broad survey of de Lucía's early career. It draws from across his catalog, mixing traditional flamenco forms like fandangos and panaderos with the more experimental, fusion-influenced direction that was reshaping the genre during that period — pieces such as "Zorongo Gitano," "Río Ancho," "Chanela," and "Mantilla de Feria." The title track alone stands as one of the most recognizable guitar pieces of the twentieth century, and the compilation around it captures a musician in the process of transforming flamenco from a deeply local art form into a global one, bridging its classical heritage with a restless openness to rhythm, texture, and innovation.
Entre Dos Aguas
Paco De Lucía
Entre Dos Aguas is a compilation album by Spanish flamenco guitarist Paco de Lucía, first published in 1975 by Phonogram Records on LP and reissued in 1981 by Universal Music Spain with a substantially revised track listing. The album takes its name from the most celebrated piece of de Lucía's career — an instrumental flamenco rumba he composed almost entirely by accident in 1973, when his producer asked him to fill the remaining time on his fifth solo album, Fuente y Caudal. He improvised it on the spot, recording it with his brother Ramón de Algeciras on second guitar, an electric bass, and bongos played by Pepe Ébano — a rhythmic combination then virtually unheard of in flamenco. When de Lucía's manager Jesús Quintero convinced Philips to release it as a single in 1974, it spent
22 weeks at the top of Spain's sales charts, sold over 300,000 copies, was certified gold in 1976, and catapulted de Lucía from revered flamenco specialist to internationally recognized artist.
The 1981 reissue, which is the most widely circulated version, expanded the compilation to fourteen tracks spanning recordings from 1967 through 1981, offering a broad survey of de Lucía's early career. It draws from across his catalog, mixing traditional flamenco forms like fandangos and panaderos with the more experimental, fusion-influenced direction that was reshaping the genre during that period — pieces such as "Zorongo Gitano," "Río Ancho," "Chanela," and "Mantilla de Feria." The title track alone stands as one of the most recognizable guitar pieces of the twentieth century, and the compilation around it captures a musician in the process of transforming flamenco from a deeply local art form into a global one, bridging its classical heritage with a restless openness to rhythm, texture, and innovation.