A frankly surprising album because Antonio el Rubio has entered the recording studio at the age of 91 and, furthermore, he is not a professional singer, although there are some in his family, and they are very prominent, such as the great Miguel el Rubio , his son. , or Ingueta Rubio , his grandson, singer, multi-instrumentalist and composer. He is also the brother of Joaquin el Canastero.
I don’t think there are many record releases that can be assimilated to this one: recording an album at 91 years old is not something that happens every day. Of course, El Rubio knows cante, his cante, naturally, to perfection despite not having been a professional but an antiques dealer at the Rastro de Madrid, where he came from his hometown, La Linea, with the intention of dedicating himself professionally. to cante, although later life took him down other paths. He had already sung in venues in La Linea and even made his first steps in the world of the Madrid tablaos, but things did not prosper in that sense.
Admirer of Antonio el de la Calza, Antonio el Rubio coined his own fandango that, according to the cantaor, even influenced CamarĂ³n de la Isla, to whom he often sang in private. La Nina de los Peines, Lola Flores, El Pescailla, Pansequito or Manuela Carrasco were also admirers of his art, as today is the young flamenco star Israel Fernandez, who has produced Sigo ser.
Antonio el Rubio sings with enormous flavor and a trickle of toasted voice, which sometimes becomes a whisper, traditional songs and his own lyrics that he has been singing all his life. In the buleria por solea, the harmonic support is given by Manuel Parrilla and in the tangos it is the voices of La Fabi and Mari Vizarraga , with the guitar of Josemi Carmona, who underline the youthful impulse.
Because there are 18-year-olds and 91-year-olds, as this work demonstrates.
Fandangos are one of Antonio el Rubio’s most personal styles, which he has bequeathed to his son and grandson, as evidenced by the third track on this album, with the brand-new guitar of Pepe Habichuela , forever young. Sigo ser includes three other fandanguero styles. Thus, we find a cante from Huelva, with the guitar of Vicente Amigo and a beautiful chorus by the great Jose Soto Sorderita. Accompanied by Diego Amador

‘s spectacular piano, Antonio el Rubio also leaves us a priceless note for fandangos. And the fantangos or fandangos por tangos, with none other than Parrita, Duquende, Guadianaand Israel Fernandez and El Package on guitar.
In addition to the fandangos, the delivery through bulerias is notable on this album.
Not only because of the characteristics of this cante, but also because of the inimitable sonanta of Diego del Morao , one of the greats of today’s guitar, forever. Diego and Antonio form an unrepeatable duo here: the falsetas that Diego pours are delicious and Rubio’s natural sense of compass is delicious, especially in that trademark chorus. The icing on the cake is Farruquito ‘s dance .
There is also serious cante in this work. The taranto with his son’s guitar From him Camaron de Pitita, a guitarist who repeats in the seguiriya, and who received his artistic name from the very same singer from the Island. Or the solea with Paco Heredia.
Indeed, you have understood: this album is a tribute to a jondo patriarch made by some of the most important singers, dancers and guitarists, young and old, of the moment.
This is not the first album by Antonio el Rubio since in 1974 he published another one with his children Con mi Charo y mi Miguel, with Luis Habichuela and Manzanita , for CBS. A few years earlier he had published My best fandangos with the guitar of Pepe Habichuela, who again collaborates with the singer on Sigo ser.

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