Not many records can be pinpointed as genuine historical turning points, but La Leyenda Del Tiempo is a bona fide before/after landmark in the flamenco world. El Camarón de la Isla, almost universally regarded as the greatest flamenco singer of all time, put aside his classic partnership with Paco de Lucía to record with different musicians and incorporate rock and jazz elements on an album often called the Sgt. Pepper's of flamenco. It was a radical, daring step by a singer in his late twenties who opened the door for a whole wave of musicians and bands who are still major figures in Spanish music. It cemented the legend of El Camarón de la Isla as a towering creative force who, much like Bob Marley in reggae, brought flamenco into the present without losing the essence of the root tradition.
Sintesis is one of fews Cuban Symphonic Rock group formed at the end of 1976 when the vocal quartet Tema IV join another musician wich purpose is to mix the Afro Cuban folklore with elements of Pink Floyd, Genesis, ELP, Rush and Yes.
Released in 1978, this album is a very interesting mixture of traditional prog and folk elements and some of "Nueva Trova", an epic Cuban revolutionary songs style. Soft, elegant and beautiful, a sort of a very melodic prog music. Very nice interplay between male and female voices (in Spanish), chorus, electric guitars, classic piano, Moog and organ.
M.I.A.'s second album finds this peculiar ensemble exploring the realms of acoustic folk and Renaissance-inspired pastoral music with particular interest; even if this stuff is not all that is represented in the album's repertoire, it is indeed the most recurrent factor. The Baroque academicism is also very present here, especially in many of the piano parts. The harmonic basis for the first three tracks heavily rely on the arpeggio sequences delivered on classical guitars and/or grand piano, with the female and/or male vocals strongly staging the main melodic lines: the sung parts not only tell tales of sweet princesses and majestic windmills, but they also incarnate the main motifs to the songs, providing an evidently bucolic ambience of ancient enchantments and troubadour stories. Track 2 'Crisálida, Mi Niña' is a bit more surprising than the other two, since it comprises some symphonic nuances on the keyboard department, which add an air of mystery.