Some rough translations from the booklet of Inquietudes e Compás :

* The creativity of Pansequito :

Pansequito won in 1974 the Prize of Creativity, within VII the National Aid of 
Flamenco Art of Cordova *. Nobody could forbid the way  of singing of this 
artist, but their ways did not adjust to orthodox establishment. He mentioned " 
to the creativity ". In the era of denominated by Agustin Gómez, 
"neoclassisistic flamenco ", was opened for freedom for the official doors that 
one decade before couldn't be opened before in Cordobá**. 
For the good or badly, some flamenco artists began to change the courses 
instituted by the flamencological dogma, long before which this stage began its 
decay. Entering the 70's, there already sounded voices with new echoes, rates 
and contra points, melodies, keys and instruments without change. 

* Lole y Manuel entre flores

It was so that in their concerts in the theater Lepe de Vega of Seville Lole and 
Manuel could reach the public. People left singing her songs. 
The gypsy Manuel Molina had sung " El Garrotin " before with a group of 
Sevillian progressive rock artists, with for sure Gualberto. There was no 
sureness of continuity in their success. Manuel continued working with the 
producer Ricardo Pachón, writing and recording up to four LP's and a 
singles. It did not happen anything without happening much. Manuel Molina
jiménez (Ceuta, 1948) contributed as well as there was accompany guitar of the 
producer. That made an impression on Lole. He wanted to start a group called 
"Manuéwith the guitar of Ilamaba Manuel, Changuito and Manuel with Lole. But at 
the end only Lole and Manuel were left. So they decided to put " Lole and 
Manuel' to them.   Lole was a gypsy from Triana, born in 1954, with the name 
Dolores Montoya Rodriguez and later fiancee of Manuel. Lole and Manuel supposed 
a true convulsion, for the world of the flamenco and for the Spanish popular 
music in general. They made their debut in 1975 with "Nuevo Día" 
(="New day "), a brilliant work that has become a classic imposible to avoid. 


With Manuel, spokesman of the pair, we entered ourselves in background of the 
triumph. The interview we together made the Pedro Calvo subscribes: "It has been 
understood badly. We, in fact, were the pioneers as far as putting a battery, an 
electrical guitar with the bulerias. Now they can do this and spoil things by 
producers. At those days we did this because we knew what he was happening. 
The Smash group helped me excessively to clear to me of those prejudices that we
have each one in its scope, and to being able to open to me and being able to 
express in another way, although with other forms. Because we continued singing
by bulerias, alegrias and tangos. From were I left of many people are now making 
this attempt. When we left, the flamenco people said that to the personnel and 
that we were  not authentic. ..but we still have the really body of flamenco. 
…It caused many conversations.

*The Gualberto Experience.

The year 1975 was surprising for everybody. There was also this solo album by 
the guitarist Gualberto from Smash, soul of one of the grzatest groups of that 
time. He had just returned from his American experiences. He had listened to 
Jimi Hendrix. In the United States he had prepared some material and asked 
Enrique Morente to work together. If you look at it all may be Moerente became
one of the most influential voices of the contemporary culture.
Gualberto knew how to adapt an instrument like sitar to the flamenco melody. 
Next to Ricardo Mino, the sitar occupies the place of the flamenco singer. 
Gualberto was the "tocaor" rocker of Triana with a North American homing. Within 
a Spanish atmosphere he also creates the suitcases to America. It is a rockopera 
composed for New York.. But that was only the beginning. Like limi Hendrix, 
Gualberto wanted to mahe his  "experience". The album from 1975 was in fact 
already his second solo albumwhile his first, recorded in " Hindu" Catalan, is 
still unpublished -, inaugurating by the Gong label. The cover from this one is 
I magnificent " collage " of tracks: Celtas cortos, Hendrix, Beatles, jaimito, 
Marcial Estefanía, chancias, Celtas short, Hendrix, Beaties, Jaimito, Marcial 
Estefanía, chanclas, drink buttons, , a shaft section, photographic devices, 
drawings, "amotillos ", electrical guitars and flamencos, sitar, " happenings " 
rustic, people of all the colors and ages, old toys... And Gualberto to follow 
experimenting it. He will produce discs for You Remedios Amaya, La Susi, Lole 
and Manuel, Marfa Jiménez, Carlos Cano,some rock groups and choirs. He starts 
directing, for Jose Manuel Grove, the orchestra of the OTI - oh sielos, is 
sierto -. For the Municipal Band of Sevilia, he orchestrated also a suite of 
flamenco - from soleá to bulería, through seguiriya -. He will make the 
framework for the same Biennial of Flamenco, in Seville, with help of the 
director and founder José Luis Oriz Nuevo. 

* To Guietas, heavy metal 

The recording with Agujetas came forth out of a serie of previous recitales.  
It was made directly. Nothing was arranged nor repeated.  It became a collage of 
the gypsy Manuel de los Santos Pastor, Agujetas, with ancestrial roots with 
Gualberto's North American interest. Manuel Agujenta, totem figure of the « 
cante jerezano » was born in 1939 in Rota clames that he was born in sherry -.  
He left his family to dedicate himself to the singing, and travelled to Madrid 
at the beginning of the 70's. There he recorded some disc and it worked in bars.   
At that time Francisco Almazán recognised his great talent. Agujetas will 
receive a National Flamenco Prize and despite his anarchical and imprevisible 
personality, he has extended the habitual circuits. Its powerful expression 
blends with the wild primitivism of his singing. After " Flamenco " of Carlos 
Saura he will participate at " Gualberto and Agujetas".

* People with flamenco soul 

Gualberto incorporated with sitar in innumerable works : with Vainica Doble; 
Carmen Santonja and Gloria Van Aersen. The album "Contracorrienté", that 
appeared in 1976, opens in a flamenco vein and many of the compositions are true 
flamenco songs, although that has been ignored. 
In the nineties out of the flamenco explosion there was also the anniversary of 
the Sevillan group Triana. Here, jesús de la Rosa (1948-1983) is remembered in 
their work.
From the factory Gonzalo Garcíapelayo Surgió Granada, another progressive group 
arose, in this case Madrileno, that with moments was fed on black sounds. 
with the guitar of Diego de Morón. 
We closed this compilation with a composition of Enrique Morente at the end of 
the seventies, where he sang " estrella " now interpreted by the three Heredia 
sisters who formed together Vuelo Blanco.