The two record albums named by Helen,
"Gipsy Kings" and "Mosaique,"
were the first two albums, as I understand it,
released by the Gipsy Kings in the United States.
Some twenty-five to thirty years of albums have been released since,
and the United States has remained a constant in
the Gipsy Kings' international tours.
(I'm in the US and I've never been; I only know them from records, books, and interviews.)

But these recordings were hardly the first time that
the Gipsy Kings had been inside a recording studio.
In fact they were thoroughly seasoned performers,
both in public and for hire in private,
by the time they recorded those two albums.

"Parce que nous sommes Gitans," the official French-language biography,
goes into considerable detail, with interviews from several Europeans,
about the years before the breakthrough hit song "Bamboleo,"
and that may in fact be the greatest strength of said book.
The Gipsy Kings, in those days -- let's say, before 1990 --
were in demand on the French Riviera for
wealthy socialites' house parties, wedding receptions, and so on;
those private soirées were big money-makers for the group,
who continued to busk on the beaches as well.

"Parce que nous sommes Gitans", in two or three specific chapters,
goes into detail about the two occasions during the '80's
when the Gipsy Kings went into a recording studio in France,
and made recordings of what was on their set-lists
for one of these engagements.
They went into the studio, set up, the tape started rolling,
and the group launched right into the list of songs,
behaving exactly as they would behave if they were crowded together
on some platform or stage, with the party guests dancing around them.
That means,
no second takes, and lively conversation within the group between songs. It is all played out on the recording.
There is no big back-up group of pop musicians:
no bass guitar, no drums, no keyboards.
It's just the singing, the guitars, and "las palmas" -- the handclaps.

The result, years after their big success,
was compiled on a single album titled "Allegria."
Well, in Spanish it ought to be Alegría with a single l, not a double ll as in Italian, but too bad --
what's done is done.

When this collection was finally released in the USA,
cassette tapes were still in vogue, so it came out on cassettes,
on Compact Discs, and finally went digital.

Also the publishing company changes with the formats, it seems.
"Allegria" as a compact disc was released on the Nonesuch label.
"Allegria" as a cassette album was released by WEA which is, what? Warners of old?
"Allegria" on MP-3 is copyrighted by Passport Songs Music.

The personnel on the "Allegria" compilation consists of:

Jahloul "Chico" Bouchikhi, handclaps, guitar, backing vocals, and most of the cheering shouts (or, "jaleo") between verses
Paul "Pablo" Reyes, vocals, backing guitar
Francois "Canut" Reyes, some lead vocals, backing guitar
Patchaï Reyes, some lead vocals, backing guitar
Maurice "Diego" Baliardo, backing guitar, handclaps
Paco Baliardo, backing vocals, backing guitar
Hippolyte "Canard" Baliardo, some lead vocals, backing vocals, backing guitar
Tonino Baliardo, lead guitar
Nicolas Reyes, lead vocals and backing guitar

Note: "Canard," officially named Hippolyte Baliardo, is NOT a Baliardo brother; there is a blood relationship but it is kind of remote, more of a cousin situation. He was only a Gipsy King for a handful of years, because he wanted to stay closer to home.
"Canard" is interviewed in depth by journalist Francois Mattei in the book,
"Parce que nous sommes Gitans."

In short:
I recommend this collection, "Allegria." It is the Gipsy Kings Unplugged,
how they sang and played before they had backup musicians
(to whom they good-naturedly refer as "les rongeuers,"
which means "the varmints".)