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1. Golden Age8 days agoDescribed as Tango records give an incomplete view of the period because overtly political material was censored from recordings and radio; a later repurposing of Donato's GGolden Age8 days agoDescribed as Tango records give an incomplete view of the period because overtly political material was censored from recordings and radio; a later repurposing of Donato's G
2. Golden Age8 days agoDescribed as 1930s tango recordings were direct-to-disc, live takes with no editing or splicing, unlike later studio work — part of why period recordings, imperfections inclGolden Age8 days agoDescribed as 1930s tango recordings were direct-to-disc, live takes with no editing or splicing, unlike later studio work — part of why period recordings, imperfections incl
3. Golden Age8 days agoDescribed as The ranchera is an invented folk-style rhythm based on the mazurka, created in Buenos Aires around 1930 for a stage show; its three beats carry roughly equal weGolden Age8 days agoDescribed as The ranchera is an invented folk-style rhythm based on the mazurka, created in Buenos Aires around 1930 for a stage show; its three beats carry roughly equal we
4. Golden Age8 days agoDescribed as Japanese interest in tango predates the 1980s revival by decades: Baron Megata ("Tsunami") learned tango in Paris in 1926 during post-surgery physiotherapy, theGolden Age8 days agoDescribed as Japanese interest in tango predates the 1980s revival by decades: Baron Megata ("Tsunami") learned tango in Paris in 1926 during post-surgery physiotherapy, the
5. Golden Age8 days agoDescribed as Tango was gaining ground on jazz as a Buenos Aires dance-floor phenomenon by the end of 1937, though jazz remained widely played and would stay so into 1938.Golden Age8 days agoDescribed as Tango was gaining ground on jazz as a Buenos Aires dance-floor phenomenon by the end of 1937, though jazz remained widely played and would stay so into 1938.
6. Pedro Laurenz8 days agoDescribed as Laurenz's first two recordings, both in 1937, were unusually a ranchera and a milonga rather than a tango.Pedro Laurenz8 days agoDescribed as Laurenz's first two recordings, both in 1937, were unusually a ranchera and a milonga rather than a tango.
7. Ciriaco Ortiz8 days agoDescribed as Ortiz's bandoneón has a conversational, "talking" quality (conversando), achieved by blending a note with its octave rather than a pure tone; he's one of three Ciriaco Ortiz8 days agoDescribed as Ortiz's bandoneón has a conversational, "talking" quality (conversando), achieved by blending a note with its octave rather than a pure tone; he's one of three
8. Oscar Serpa8 days agoDescribed as Niebla del Riachuelo, backed only by guitars, was Serpa's first recording and his only one before joining Fresedo in 1942; his intimate style recalls Agustín MaOscar Serpa8 days agoDescribed as Niebla del Riachuelo, backed only by guitars, was Serpa's first recording and his only one before joining Fresedo in 1942; his intimate style recalls Agustín Ma
9. Enrique Santos Discepolo8 days agoDescribed as Discépolo, known chiefly as a lyricist, couldn't write music and would sing his melodies to musician friends to transcribe; he was still unusual in 1937 for beiEnrique Santos Discepolo8 days agoDescribed as Discépolo, known chiefly as a lyricist, couldn't write music and would sing his melodies to musician friends to transcribe; he was still unusual in 1937 for bei
10. Aníbal Troilo8 days agoDescribed as Troilo's new orchestra made its live debut at the Marabú cabaret on 1 July 1937, though it would not make its first recordings until 1938.Aníbal Troilo8 days agoDescribed as Troilo's new orchestra made its live debut at the Marabú cabaret on 1 July 1937, though it would not make its first recordings until 1938.
11. Juan D'Arienzo8 days agoDescribed as D'Arienzo made 24 recordings in 1937, 23 of them instrumental, because audiences still expected instrumental tango for dancing; singer Alberto Echagüe joined arJuan D'Arienzo8 days agoDescribed as D'Arienzo made 24 recordings in 1937, 23 of them instrumental, because audiences still expected instrumental tango for dancing; singer Alberto Echagüe joined ar
12. Enrique Rodríguez8 days agoDescribed as Rodríguez debuted in 1937 as the leading orchestra outside Buenos Aires, selling well inland (though not in the city), which let him keep recording through 1938Enrique Rodríguez8 days agoDescribed as Rodríguez debuted in 1937 as the leading orchestra outside Buenos Aires, selling well inland (though not in the city), which let him keep recording through 1938
13. Golden Age8 days agoDescribed as "Típica" doesn't mean typical but traditional: a marketing term coined by Canaro and Greco when they shared a band in 1909, meaning a tango band with standard iGolden Age8 days agoDescribed as "Típica" doesn't mean typical but traditional: a marketing term coined by Canaro and Greco when they shared a band in 1909, meaning a tango band with standard i
14. Francisco Canaro8 days agoDescribed as Canaro recording D'Arienzo's own hit La Puñalada as a straight tango, soon after D'Arienzo's milonga version appeared, shows Canaro was out of touch and unable Francisco Canaro8 days agoDescribed as Canaro recording D'Arienzo's own hit La Puñalada as a straight tango, soon after D'Arienzo's milonga version appeared, shows Canaro was out of touch and unable
15. Juan D'Arienzo8 days agoDescribed as D'Arienzo's first broadcast on Radio El Mundo came on 1 January 1937, intensifying his band's beat and helping him break through after a quiet 1935 and 1936.Juan D'Arienzo8 days agoDescribed as D'Arienzo's first broadcast on Radio El Mundo came on 1 January 1937, intensifying his band's beat and helping him break through after a quiet 1935 and 1936.
16. Recording 107228 days agoDescribed as Replayed by popular demand from earlier in the show; Michael's own listening notes call it 'killer band of nuance just holding it together'.Recording 107228 days agoDescribed as Replayed by popular demand from earlier in the show; Michael's own listening notes call it 'killer band of nuance just holding it together'.
17. Recording 102198 days agoDescribed as A fast waltz; by the end the band is audibly losing sync, and the violin solo is correctly identified as Domingo Mancuso's, not Mazzeo's.Recording 102198 days agoDescribed as A fast waltz; by the end the band is audibly losing sync, and the violin solo is correctly identified as Domingo Mancuso's, not Mazzeo's.
18. Recording 108238 days agoDescribed as A bizarrely unusual instrumental introduction, prompting discussion of the band's two separate, non-harmonising violin lines.Recording 108238 days agoDescribed as A bizarrely unusual instrumental introduction, prompting discussion of the band's two separate, non-harmonising violin lines.
19. Recording 80108 days agoDescribed as Magaldi, a major singer who never performed with a dance orchestra, on a theme Michael compares to Troilo's later 'En esta tarde gris': rain (here, a sonata) asRecording 80108 days agoDescribed as Magaldi, a major singer who never performed with a dance orchestra, on a theme Michael compares to Troilo's later 'En esta tarde gris': rain (here, a sonata) as
20. Recording 139338 days agoDescribed as An afterparty pick so the year wouldn't pass without more Fresedo beyond Niebla del Riachuelo; the singer is not named in the broadcast.Recording 139338 days agoDescribed as An afterparty pick so the year wouldn't pass without more Fresedo beyond Niebla del Riachuelo; the singer is not named in the broadcast.
21. Recording 146328 days agoDescribed as A modest seller at the time but, to musicians, a revolution; some mark this recording as the true start of the 1940s Golden Decade.Recording 146328 days agoDescribed as A modest seller at the time but, to musicians, a revolution; some mark this recording as the true start of the 1940s Golden Decade.
22. Recording 146198 days agoDescribed as Composed by Laurenz's bandoneonist friend Pedro Maffia with lyrics by Homero Manzi; Michael points to the dynamic swell in the opening phrase.Recording 146198 days agoDescribed as Composed by Laurenz's bandoneonist friend Pedro Maffia with lyrics by Homero Manzi; Michael points to the dynamic swell in the opening phrase.
23. Recording 111738 days agoDescribed as A ranchera (an invented folk-style rhythm in three, based on the mazurka) — an unusual choice, with the milonga, for Laurenz's first-ever recordings.Recording 111738 days agoDescribed as A ranchera (an invented folk-style rhythm in three, based on the mazurka) — an unusual choice, with the milonga, for Laurenz's first-ever recordings.
24. Recording 146148 days agoDescribed as One of 1937's biggest songs, written by Laurenz; this earlier vocal version differs from his better-known 1944 instrumental remake.Recording 146148 days agoDescribed as One of 1937's biggest songs, written by Laurenz; this earlier vocal version differs from his better-known 1944 instrumental remake.
25. Recording 51298 days agoDescribed as Discépolo, chiefly a lyricist who couldn't write music, still ran his own orquesta típica this year, with his on-off girlfriend Tanya singing.Recording 51298 days agoDescribed as Discépolo, chiefly a lyricist who couldn't write music, still ran his own orquesta típica this year, with his on-off girlfriend Tanya singing.
26. Recording 107228 days agoDescribed as A thrillingly fast waltz (about 73 bpm) where the bandoneón section audibly struggles to stay together; so well loved it's replayed later in the show.Recording 107228 days agoDescribed as A thrillingly fast waltz (about 73 bpm) where the bandoneón section audibly struggles to stay together; so well loved it's replayed later in the show.
27. Recording 101218 days agoDescribed as One of Michael's all-time favourite D'Arienzo tracks: an unusually laid-back walking pace with a backbeat section where the melody takes over.Recording 101218 days agoDescribed as One of Michael's all-time favourite D'Arienzo tracks: an unusually laid-back walking pace with a backbeat section where the melody takes over.
28. Recording 104028 days agoDescribed as D'Arienzo's biggest 1937 hit and the recording that made him famous; written as a tango, turned into a milonga at Biagi's suggestion, and now underplayed comparRecording 104028 days agoDescribed as D'Arienzo's biggest 1937 hit and the recording that made him famous; written as a tango, turned into a milonga at Biagi's suggestion, and now underplayed compar
29. Recording 107328 days agoDescribed as One of D'Arienzo's two biggest 1937 hits, full of the hard 'síncopa a tierra' rhythm defining his new, modern sound.Recording 107328 days agoDescribed as One of D'Arienzo's two biggest 1937 hits, full of the hard 'síncopa a tierra' rhythm defining his new, modern sound.
30. Recording 45908 days agoDescribed as A feel-good Donato number from the film Así es el tango, mocking a poser (a 'gato'); the falsetto 'meowing' is violinist Piovani.Recording 45908 days agoDescribed as A feel-good Donato number from the film Así es el tango, mocking a poser (a 'gato'); the falsetto 'meowing' is violinist Piovani.