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1. Recording 105448 days agoDescribed as D'Arienzo's very first recording, a waltz rather than a tango, played instrumentally as most bands did at the time.Recording 105448 days agoDescribed as D'Arienzo's very first recording, a waltz rather than a tango, played instrumentally as most bands did at the time.
2. Jorge Maciel8 days agoDescribed as Maciel sang for years with Alfredo Gobbi's orchestra before moving up to Pugliese's in the 1950s, where he became more dramatic to suit Pugliese's harder, more Jorge Maciel8 days agoDescribed as Maciel sang for years with Alfredo Gobbi's orchestra before moving up to Pugliese's in the 1950s, where he became more dramatic to suit Pugliese's harder, more
3. Francisco Fiorentino8 days agoDescribed as Fiorentino's last three recordings were made in Uruguay in November 1951 with the little-known Pulía Pedrosa orchestra; he died in a car accident in 1955, just Francisco Fiorentino8 days agoDescribed as Fiorentino's last three recordings were made in Uruguay in November 1951 with the little-known Pulía Pedrosa orchestra; he died in a car accident in 1955, just
4. Francisco Fiorentino8 days agoDescribed as Fiorentino sang with Troilo for seven years until March 1944, then went solo but never again reached that level of success: he quit José Basso's band even thougFrancisco Fiorentino8 days agoDescribed as Fiorentino sang with Troilo for seven years until March 1944, then went solo but never again reached that level of success: he quit José Basso's band even thoug
5. Horacio Salgan8 days agoDescribed as Salgán's orchestra eventually gave rise to the (original) Quinteto Real, not to be confused with the later Nuevo Quinteto.Horacio Salgan8 days agoDescribed as Salgán's orchestra eventually gave rise to the (original) Quinteto Real, not to be confused with the later Nuevo Quinteto.
6. Horacio Salgan8 days agoDescribed as Salgán, a pianist who died in 2016, led a 'musician's orchestra' not aimed at dancers; when he opened, the venue was packed but entirely with other musicians coHoracio Salgan8 days agoDescribed as Salgán, a pianist who died in 2016, led a 'musician's orchestra' not aimed at dancers; when he opened, the venue was packed but entirely with other musicians co
7. Osvaldo Pugliese8 days agoDescribed as Pugliese began pushing his vocal numbers toward the edge of danceability starting with Barro, then two recordings of Pasional (1951 and 1952), building toward SOsvaldo Pugliese8 days agoDescribed as Pugliese began pushing his vocal numbers toward the edge of danceability starting with Barro, then two recordings of Pasional (1951 and 1952), building toward S
8. Golden Age8 days agoDescribed as Orchestras can be classified by whether their marcato uses 'arrastre' (a dragging bass figure giving a walking beat): D'Arienzo and his followers (Varela, CanarGolden Age8 days agoDescribed as Orchestras can be classified by whether their marcato uses 'arrastre' (a dragging bass figure giving a walking beat): D'Arienzo and his followers (Varela, Canar
9. Carlos Di Sarli8 days agoDescribed as Of the 20 tracks on Di Sarli's 1951 comeback, every one was an old song from his existing repertoire with nothing new, and 19 of the 20 were instrumentals.Carlos Di Sarli8 days agoDescribed as Of the 20 tracks on Di Sarli's 1951 comeback, every one was an old song from his existing repertoire with nothing new, and 19 of the 20 were instrumentals.
10. Carlos Di Sarli8 days agoDescribed as During Di Sarli's absence, imitator orchestras in his style sprang up, the best known led by Ricardo Pedevilla, but none could really copy the sound because theCarlos Di Sarli8 days agoDescribed as During Di Sarli's absence, imitator orchestras in his style sprang up, the best known led by Ricardo Pedevilla, but none could really copy the sound because the
11. Carlos Di Sarli8 days agoDescribed as Di Sarli quit after the Carnival season of 1949 (not 1948, as often misreported) and took a two-year break, living at his house in the leafy Buenos Aires suburbCarlos Di Sarli8 days agoDescribed as Di Sarli quit after the Carnival season of 1949 (not 1948, as often misreported) and took a two-year break, living at his house in the leafy Buenos Aires suburb
12. Juan D'Arienzo8 days agoDescribed as D'Arienzo's bass player in this period plays without a bow, using a percussive 'snapping' technique (pulling the string off the ebony fingerboard and letting itJuan D'Arienzo8 days agoDescribed as D'Arienzo's bass player in this period plays without a bow, using a percussive 'snapping' technique (pulling the string off the ebony fingerboard and letting it
13. Hugo Duval8 days agoDescribed as Duval joined Rodolfo Biagi's orchestra as singer in 1950 and remained until the band dissolved, recording four numbers in 1951.Hugo Duval8 days agoDescribed as Duval joined Rodolfo Biagi's orchestra as singer in 1950 and remained until the band dissolved, recording four numbers in 1951.
14. Golden Age8 days agoDescribed as Formal censorship of tango lyrics wasn't really enforced until the middle of 1943; even so, some lunfardo words were already being removed from recordings as eaGolden Age8 days agoDescribed as Formal censorship of tango lyrics wasn't really enforced until the middle of 1943; even so, some lunfardo words were already being removed from recordings as ea
15. Carlos Gardel8 days agoDescribed as At a gig, asked to sing Mano a Mano, Gardel asked the crowd whether they wanted it 'with gomina or without' (code for censored or clean); the audience chose uncCarlos Gardel8 days agoDescribed as At a gig, asked to sing Mano a Mano, Gardel asked the crowd whether they wanted it 'with gomina or without' (code for censored or clean); the audience chose unc
16. Golden Age8 days agoDescribed as One secret lunfardo word documented by researcher José María Otero was the term for an informer, usable as a coded warning in front of a prison guard.Golden Age8 days agoDescribed as One secret lunfardo word documented by researcher José María Otero was the term for an informer, usable as a coded warning in front of a prison guard.
17. Edmundo Rivero8 days agoDescribed as Rivero was a 'cantor nacional' with a broad repertoire rather than just an orchestra singer; he loved lunfardo and the figure of the compadrito, and visiting prEdmundo Rivero8 days agoDescribed as Rivero was a 'cantor nacional' with a broad repertoire rather than just an orchestra singer; he loved lunfardo and the figure of the compadrito, and visiting pr
18. Aníbal Troilo8 days agoDescribed as Troilo left RCA Victor in 1949 after an executive said his music was getting too modern; he walked out and signed with the new local label Tecal (TK), rumored tAníbal Troilo8 days agoDescribed as Troilo left RCA Victor in 1949 after an executive said his music was getting too modern; he walked out and signed with the new local label Tecal (TK), rumored t
19. Homero Manzi8 days agoDescribed as Manzi, Troilo's close friend and the lyricist of Sur among others, died in 1951, likely of a long illness (Lavocah guesses cancer).Homero Manzi8 days agoDescribed as Manzi, Troilo's close friend and the lyricist of Sur among others, died in 1951, likely of a long illness (Lavocah guesses cancer).
20. Aníbal Troilo8 days agoDescribed as Piazzolla's Brazilian-drum-influenced modernism split Troilo's fans; after a tour of Brazil the material was a hit there, but back home a fight broke out betweeAníbal Troilo8 days agoDescribed as Piazzolla's Brazilian-drum-influenced modernism split Troilo's fans; after a tour of Brazil the material was a hit there, but back home a fight broke out betwee
21. Aníbal Troilo8 days agoDescribed as Troilo brought Astor Piazzolla back as his main arranger in 1950. Piazzolla had been Troilo's second bandoneón player roughly 1940-44 and arranged about ten numAníbal Troilo8 days agoDescribed as Troilo brought Astor Piazzolla back as his main arranger in 1950. Piazzolla had been Troilo's second bandoneón player roughly 1940-44 and arranged about ten num
22. Juan D'Arienzo8 days agoDescribed as Arranger Héctor Varela left D'Arienzo's orchestra in 1950, taking singer Alberto Laborde with him; Laborde returned after a year away, but for the 1951 recordinJuan D'Arienzo8 days agoDescribed as Arranger Héctor Varela left D'Arienzo's orchestra in 1950, taking singer Alberto Laborde with him; Laborde returned after a year away, but for the 1951 recordin
23. Juan D'Arienzo8 days agoDescribed as D'Arienzo's post-crisis sound is essentially his late-1930s style again, only louder; having rejected Di Sarli's influence in the 1930s, he now rejects the 1940Juan D'Arienzo8 days agoDescribed as D'Arienzo's post-crisis sound is essentially his late-1930s style again, only louder; having rejected Di Sarli's influence in the 1930s, he now rejects the 1940
24. Recording 67728 days agoDescribed as A sung version by Charlo, a voice from the early 1930s; chosen as a fitting close before next episode jumps back to the 1930s.Recording 67728 days agoDescribed as A sung version by Charlo, a voice from the early 1930s; chosen as a fitting close before next episode jumps back to the 1930s.
25. Recording 107318 days agoDescribed as The year's best-selling record, discussed earlier: a million copies in Argentina, a quarter million in Japan.Recording 107318 days agoDescribed as The year's best-selling record, discussed earlier: a million copies in Argentina, a quarter million in Japan.
26. Recording 35788 days agoDescribed as First of three closing versions of La Cumparsita, played back to back.Recording 35788 days agoDescribed as First of three closing versions of La Cumparsita, played back to back.
27. Recording 33948 days agoDescribed as From Di Sarli's comeback batch of 20 re-recorded old numbers; picked to showcase his powerful 'growling' left-hand piano.Recording 33948 days agoDescribed as From Di Sarli's comeback batch of 20 re-recorded old numbers; picked to showcase his powerful 'growling' left-hand piano.
28. Recording 144608 days agoDescribed as The first of two recordings of Pasional (the second from 1952); part of Pugliese's push into vocal numbers that test the edge of danceability.Recording 144608 days agoDescribed as The first of two recordings of Pasional (the second from 1952); part of Pugliese's push into vocal numbers that test the edge of danceability.
29. Recording 143028 days agoDescribed as An early-50s Pugliese instrumental from a dense, tense period of his style (before the brighter, spacious late-50s sound); considered underplayed at milongas.Recording 143028 days agoDescribed as An early-50s Pugliese instrumental from a dense, tense period of his style (before the brighter, spacious late-50s sound); considered underplayed at milongas.
30. Recording 8298 days agoDescribed as A strikingly modern instrumental with constantly shifting colour and flexible tempo, described as sounding like a gentler, rounder cousin of Pugliese's style.Recording 8298 days agoDescribed as A strikingly modern instrumental with constantly shifting colour and flexible tempo, described as sounding like a gentler, rounder cousin of Pugliese's style.