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  1. Guardia Nueva9 days agoDescribed as Electrical recording (microphones) reached Argentina in 1926; before that all recording was acoustic, with a horn driving a stylus straight into wax.
  2. Recording 142969 days agoDescribed as Called a personal favourite by both hosts, an instrumental built around melting violin work from Camerano, rarely heard at milongas.
  3. Recording 33979 days agoDescribed as Picked for Serpa's unusual, non-porteño voice and the recurring theme of the sea in Di Sarli's work, who was born on the coast.
  4. Recording 105049 days agoDescribed as An instrumental chosen to show D'Arienzo's 1950s return to his 1930s hard-beat, mostly-instrumental repertoire with a stronger four-bandoneón section.
  5. Recording 144609 days agoDescribed as The 1951 of two recordings of this song, preferred by the hosts over the better-known 1952 version for its subtler, more relaxed vocal.
  6. Recording 7559 days agoDescribed as Picked to show Maciel's voice used very differently than it later was with Pugliese, and Gobbi's more milonguero, classically-interesting style.
  7. Recording 144389 days agoDescribed as The third piece of Pugliese's 'triptych' to be recorded, though the first written, held back roughly six years until Pugliese judged it finished.
  8. Recording 110919 days agoDescribed as An instrumental tribute to Troilo from De Caro's favourite, final recording period, said to show Pugliese's influence folding back into his old teacher.
  9. Recording 14749 days agoDescribed as Played as Rivero's whispered masterpiece, noted as partly Manzi's own farewell letter written while dying of cancer.
  10. Recording 14249 days agoDescribed as One of two Troilo classics played back to back, introduced with the story of Argentine dancers rushing the floor for a Troilo-Ruiz tanda while European visitors
  11. Recording 104739 days agoDescribed as Laborde's first recording, learned and cut in only three days before the band left for Montevideo.
  12. Recording 12959 days agoDescribed as An uncommonly-played track chosen to show Marino's full operatic vocal range; the lyric is about a funeral and the title refers to a city in northern Morocco.
  13. Recording 143479 days agoDescribed as An instrumental favourite from Pugliese's second year recording, chosen for its freedom of piano phrasing and liquid double-bass playing.
  14. Recording 152079 days agoDescribed as Tanturi's new singer after Castillo went solo, chosen for the thick, creamy violin sound typical of the orchestra's period.
  15. Recording 33199 days agoDescribed as Picked as one of the best examples of counter-melody in tango, where a violin line answers and weeps against Rufino's vocal.
  16. Recording 146369 days agoDescribed as Chosen to show how a listener can identify Laurenz's phrasing by its characteristic volume waves within each phrase.
  17. Recording 8789 days agoDescribed as Chosen for D'Agostino's unusually clean, spacious 'crystalline' piano playing on a classic number.
  18. Recording 14139 days agoDescribed as From Troilo and Fiorentino's first vocal recordings in 1941, an up-tempo track picked to show the mood shift from extrovert verse to a more introvert chorus alr
  19. Recording 153649 days agoDescribed as Chosen for Castillo's street-smart delivery and the 'life is short, live it' lyric, picked as advice for dancers returning after the pandemic.
  20. Recording 101489 days agoDescribed as A very fast New Year's Eve vals from D'Arienzo's fastest period, introducing Mauré as the voice that would later pull the orchestra toward a more lyrical style.
  21. Recording 32049 days agoDescribed as Di Sarli's December 1939 comeback recording, introducing his 17-year-old new singer nicknamed 'Terremoto' for his powerful voice.
  22. Recording 163459 days agoDescribed as An instrumental chosen to show Biagi building his signature off-beat piano feel into the whole orchestra after leaving D'Arienzo.
  23. Recording 12459 days agoDescribed as Troilo's only 1938 recording, a one-off test disc for Odeon that did not sell, leaving a three-year gap before his next session; chosen to show his extrovert-to
  24. Recording 146329 days agoDescribed as Laurenz's first recordings, chosen as a masterpiece full of marcato-to-syncopation shifts, already road-tested live for two years before being recorded.
  25. Recording 42279 days agoDescribed as Charlo's solo, guitar-backed version of Juan Carlos Cobián's hit, used as the image for the original Tango 1936 event.
  26. Recording 105279 days agoDescribed as Rodolfo Biagi's first-ever recording session with D'Arienzo, played as the start of the orchestra's new rhythmic era, though it was not yet commercially success
  27. Recording 86349 days agoDescribed as An unusually wild instrumental with a manic mid-song piano break, picked as an atypical Lomuto track.
  28. Recording 31459 days agoDescribed as Di Sarli's last recording before an eight-year gap, chosen to show his mature sound was already fully formed by 1931.
  29. Recording 75899 days agoDescribed as A soloist's vals chosen to show the non-dance side of the catalogue; the song Di Sarli, Discépolo's close friend, never got to record because he lost his contra
  30. Recording 29219 days agoDescribed as One of the first milongas ever recorded, picked to show it is a folk rhythm, not yet dance music; the lyric is a jealous rant at an ex-girlfriend's new boyfrien