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1. Recording 39849 days agoDescribed as Federico's own composition, later better known from Pugliese's and Troilo's 1945 versions and Biagi's 1945 recording.Recording 39849 days agoDescribed as Federico's own composition, later better known from Pugliese's and Troilo's 1945 versions and Biagi's 1945 recording.
2. Recording 39829 days agoDescribed as Federico's own composition and his new orchestra's first recording, played to show his walking-bass piano style.Recording 39829 days agoDescribed as Federico's own composition and his new orchestra's first recording, played to show his walking-bass piano style.
3. Recording 120549 days agoDescribed as Picked for its strange, unique mood; actually played before the next track despite being announced second.Recording 120549 days agoDescribed as Picked for its strange, unique mood; actually played before the next track despite being announced second.
4. Recording 34879 days agoDescribed as An instrumental Dag picked to show off Di Sarli's growling left-hand piano bass and weeping-violin counter-melody.Recording 34879 days agoDescribed as An instrumental Dag picked to show off Di Sarli's growling left-hand piano bass and weeping-violin counter-melody.
5. Recording 146249 days agoDescribed as Dag opens with one of the new duet singers Laurenz took on after Podestá left early in 1944.Recording 146249 days agoDescribed as Dag opens with one of the new duet singers Laurenz took on after Podestá left early in 1944.
6. Golden Age9 days agoDescribed as 1941 is the last year of tango's accelerated, fast-tempo explosion that began at the end of the 1930s, playing out while first- and second-generation Spanish anGolden Age9 days agoDescribed as 1941 is the last year of tango's accelerated, fast-tempo explosion that began at the end of the 1930s, playing out while first- and second-generation Spanish an
7. La cumparsita9 days agoDescribed as La Cumparsita has been recorded more than 300 times between 1925 and 1965, but only two of those years have no recording at all, and 1941 is one of them.La cumparsita9 days agoDescribed as La Cumparsita has been recorded more than 300 times between 1925 and 1965, but only two of those years have no recording at all, and 1941 is one of them.
8. Alberto Castillo9 days agoDescribed as Tanturi recruited singer Alberto Castillo, a young doctor, after being told about him while playing a medical students' ball at a hospital; both men had ties toAlberto Castillo9 days agoDescribed as Tanturi recruited singer Alberto Castillo, a young doctor, after being told about him while playing a medical students' ball at a hospital; both men had ties to
9. Carlos Di Sarli9 days agoDescribed as Di Sarli returned to Buenos Aires in 1938 and started his orchestra, disappearing from view for a while before his first recordings around 21 November 1939; by Carlos Di Sarli9 days agoDescribed as Di Sarli returned to Buenos Aires in 1938 and started his orchestra, disappearing from view for a while before his first recordings around 21 November 1939; by
10. Francisco Lomuto9 days agoDescribed as Lomuto apprenticed himself to Canaro to learn how to run a band, even though their sounds ended up very different.Francisco Lomuto9 days agoDescribed as Lomuto apprenticed himself to Canaro to learn how to run a band, even though their sounds ended up very different.
11. Francisco Canaro9 days agoDescribed as DJs generally avoid Canaro's post-1938 recordings; his versions of songs that later became hits for Troilo are considered much worse than those other versions.Francisco Canaro9 days agoDescribed as DJs generally avoid Canaro's post-1938 recordings; his versions of songs that later became hits for Troilo are considered much worse than those other versions.
12. Osvaldo Fresedo9 days agoDescribed as Fresedo is one of tango's 'dinosaurs,' recording since the early 1920s, and deliberately didn't chase the D'Arienzo trend the way Canaro did; his sound sits betOsvaldo Fresedo9 days agoDescribed as Fresedo is one of tango's 'dinosaurs,' recording since the early 1920s, and deliberately didn't chase the D'Arienzo trend the way Canaro did; his sound sits bet
13. Raúl Berón9 days agoDescribed as Caló's orchestra finds its own distinctive sound the following year, 1942, once singer Raúl Berón joins.Raúl Berón9 days agoDescribed as Caló's orchestra finds its own distinctive sound the following year, 1942, once singer Raúl Berón joins.
14. Miguel Caló9 days agoDescribed as Caló recorded in the early 1930s and again in 1936 and 1938, then, trapped in Odeon's contract limbo, did not record again until March 1941.Miguel Caló9 days agoDescribed as Caló recorded in the early 1930s and again in 1936 and 1938, then, trapped in Odeon's contract limbo, did not record again until March 1941.
15. Pedro Laurenz9 days agoDescribed as Laurenz's avant-garde music didn't sell well at the time; his orchestra, now considered a major one, was second-tier commercially in the early 1940s.Pedro Laurenz9 days agoDescribed as Laurenz's avant-garde music didn't sell well at the time; his orchestra, now considered a major one, was second-tier commercially in the early 1940s.
16. Pedro Laurenz9 days agoDescribed as Laurenz played in Julio De Caro's orchestra from 1926 to 1934, making him one of De Caro's most direct musical descendants, but pushed De Caro's complexity towaPedro Laurenz9 days agoDescribed as Laurenz played in Julio De Caro's orchestra from 1926 to 1934, making him one of De Caro's most direct musical descendants, but pushed De Caro's complexity towa
17. Julio De Caro9 days agoDescribed as De Caro led a musicians' union strike for better conditions that caused him real trouble, contributing to a four-year retirement from the scene; when he returneJulio De Caro9 days agoDescribed as De Caro led a musicians' union strike for better conditions that caused him real trouble, contributing to a four-year retirement from the scene; when he returne
18. Julio De Caro9 days agoDescribed as De Caro's 1941 orchestra has no real marcato: the double bass acts as just another melodic string line rather than marking the beat, which is why dancers can't Julio De Caro9 days agoDescribed as De Caro's 1941 orchestra has no real marcato: the double bass acts as just another melodic string line rather than marking the beat, which is why dancers can't
19. Julio De Caro9 days agoDescribed as De Caro's father threw him out of the house over his music career when he was a young man, and it was more than 20 years before his father attended one of his sJulio De Caro9 days agoDescribed as De Caro's father threw him out of the house over his music career when he was a young man, and it was more than 20 years before his father attended one of his s
20. Julio De Caro9 days agoDescribed as By 1941 De Caro, having spent 15 years making tango more complex, was completely disoriented by D'Arienzo's success with simpler, faster, old-style tango, and sJulio De Caro9 days agoDescribed as By 1941 De Caro, having spent 15 years making tango more complex, was completely disoriented by D'Arienzo's success with simpler, faster, old-style tango, and s
21. Osvaldo Pugliese9 days agoDescribed as Pugliese's band started in 1939 but was not yet famous in 1941, playing small venues; surviving 1942 radio transcription discs show he had not yet found his sigOsvaldo Pugliese9 days agoDescribed as Pugliese's band started in 1939 but was not yet famous in 1941, playing small venues; surviving 1942 radio transcription discs show he had not yet found his sig
22. Aníbal Troilo9 days agoDescribed as Troilo's stated mission was to make his orchestra phrase the way Carlos Gardel phrased as a singer.Aníbal Troilo9 days agoDescribed as Troilo's stated mission was to make his orchestra phrase the way Carlos Gardel phrased as a singer.
23. Aníbal Troilo9 days agoDescribed as 1941 is the year Troilo finally signs his record deal with Victor, after being stuck for three years in a dead-end contract with a label that would not record hAníbal Troilo9 days agoDescribed as 1941 is the year Troilo finally signs his record deal with Victor, after being stuck for three years in a dead-end contract with a label that would not record h
24. Ángel D'Agostino9 days agoDescribed as D'Agostino is played far more in Argentine milongas than abroad; for Argentines he does what Canaro does for European DJs, but is more interesting to listen to Ángel D'Agostino9 days agoDescribed as D'Agostino is played far more in Argentine milongas than abroad; for Argentines he does what Canaro does for European DJs, but is more interesting to listen to
25. Ángel D'Agostino9 days agoDescribed as D'Agostino is a traditionalist in texture, giving the listener only one melodic idea at a time, but moves that idea around the orchestra unusually fast, unlike Ángel D'Agostino9 days agoDescribed as D'Agostino is a traditionalist in texture, giving the listener only one melodic idea at a time, but moves that idea around the orchestra unusually fast, unlike
26. Rodolfo Biagi9 days agoDescribed as Biagi was fired by D'Arienzo at the end of June 1938 and was already recording with his own new orchestra by the middle of August, suggesting he may have seen tRodolfo Biagi9 days agoDescribed as Biagi was fired by D'Arienzo at the end of June 1938 and was already recording with his own new orchestra by the middle of August, suggesting he may have seen t
27. Rodolfo Biagi9 days agoDescribed as Biagi's sound barely changed after 1938: an extremely sharp marcato, sharper than D'Arienzo's, with the orchestra built to surprise the listener rather than to Rodolfo Biagi9 days agoDescribed as Biagi's sound barely changed after 1938: an extremely sharp marcato, sharper than D'Arienzo's, with the orchestra built to surprise the listener rather than to
28. Cayetano Puglisi9 days agoDescribed as Puglisi, D'Arienzo's new violinist, was a well-respected musician who had led his own sextet in earlier years, but it never became a big band.Cayetano Puglisi9 days agoDescribed as Puglisi, D'Arienzo's new violinist, was a well-respected musician who had led his own sextet in earlier years, but it never became a big band.
29. Héctor Mauré9 days agoDescribed as Mauré joined D'Arienzo in 1941 as a young singer with a rich, creamy voice that would have a big impact on the band over the following years.Héctor Mauré9 days agoDescribed as Mauré joined D'Arienzo in 1941 as a young singer with a rich, creamy voice that would have a big impact on the band over the following years.
30. Juan D'Arienzo9 days agoDescribed as The orchestra D'Arienzo lost had recorded La Bruja, Pénsalo bien and (probably) Mandria; none of its members carried over into the 1941 band.Juan D'Arienzo9 days agoDescribed as The orchestra D'Arienzo lost had recorded La Bruja, Pénsalo bien and (probably) Mandria; none of its members carried over into the 1941 band.