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1. Recording 43668 days agoDescribed as An instrumental Donato solo recording showcasing the same bouncy piano feel, played by his brother Osvaldo.Recording 43668 days agoDescribed as An instrumental Donato solo recording showcasing the same bouncy piano feel, played by his brother Osvaldo.
2. Recording 46428 days agoDescribed as From Donato's second recording session ever as a solo leader, after the split; chosen to show the bouncy house piano style of the year.Recording 46428 days agoDescribed as From Donato's second recording session ever as a solo leader, after the split; chosen to show the bouncy house piano style of the year.
3. Roberto Maida8 days agoDescribed as Maida's soft voice, like honey poured over Canaro's fairly square beats, softens the band's harder edges and makes it more danceable, though Charlo (who sang wiRoberto Maida8 days agoDescribed as Maida's soft voice, like honey poured over Canaro's fairly square beats, softens the band's harder edges and makes it more danceable, though Charlo (who sang wi
4. Francisco Canaro8 days agoDescribed as Canaro records about 50 tangos, waltzes and milongas in 1936 alone, roughly double the output of any other band.Francisco Canaro8 days agoDescribed as Canaro records about 50 tangos, waltzes and milongas in 1936 alone, roughly double the output of any other band.
5. Hugo del Carril8 days agoDescribed as Hugo del Carril's phrasing on Me Besó y Se Fue (1936) recalls Enrique Campos's singing.Hugo del Carril8 days agoDescribed as Hugo del Carril's phrasing on Me Besó y Se Fue (1936) recalls Enrique Campos's singing.
6. Mercedes Simone8 days agoDescribed as Mercedes Simone made only a handful of recordings with dance orchestras; her voice is darker than most of tango's other women singers.Mercedes Simone8 days agoDescribed as Mercedes Simone made only a handful of recordings with dance orchestras; her voice is darker than most of tango's other women singers.
7. To ostatnia niedziela8 days agoDescribed as 1936 was a strong year for tango in Poland; this song's Russian-language version, 'Weary Sun', later became the theme of the Stalin-era film Burnt by the Sun, wTo ostatnia niedziela8 days agoDescribed as 1936 was a strong year for tango in Poland; this song's Russian-language version, 'Weary Sun', later became the theme of the Stalin-era film Burnt by the Sun, w
8. Golden Age8 days agoDescribed as Both Odeon and Victor destroyed their old tango master discs around the early 1960s (Victor's believed to be 1962), because the masters were large physical objeGolden Age8 days agoDescribed as Both Odeon and Victor destroyed their old tango master discs around the early 1960s (Victor's believed to be 1962), because the masters were large physical obje
9. Julio De Caro8 days agoDescribed as In 1936 De Caro assembled a symphony orchestra of more than 30 musicians, billed as 'Orquesta Melódica Internacional' rather than orquesta típica, and brought iJulio De Caro8 days agoDescribed as In 1936 De Caro assembled a symphony orchestra of more than 30 musicians, billed as 'Orquesta Melódica Internacional' rather than orquesta típica, and brought i
10. Elvino Vardaro8 days agoDescribed as On the Los Virtuosos recordings, Vardaro is clearly the far stronger violinist; Julio De Caro, chosen for his contribution to tango rather than his playing, hanElvino Vardaro8 days agoDescribed as On the Los Virtuosos recordings, Vardaro is clearly the far stronger violinist; Julio De Caro, chosen for his contribution to tango rather than his playing, han
11. Miguel Caló8 days agoDescribed as Caló's 1936 piano style had already been set two years earlier by arranger Miguel Nijensohn; Pugliese may have been the band's pianist around this time, but onlMiguel Caló8 days agoDescribed as Caló's 1936 piano style had already been set two years earlier by arranger Miguel Nijensohn; Pugliese may have been the band's pianist around this time, but onl
12. Golden Age8 days agoDescribed as Most dance bands recorded mostly instrumentally in the early-to-mid 1930s, with Canaro and Lomuto as exceptions; even Troilo's first 1938 disc was instrumental Golden Age8 days agoDescribed as Most dance bands recorded mostly instrumentally in the early-to-mid 1930s, with Canaro and Lomuto as exceptions; even Troilo's first 1938 disc was instrumental
13. Walter Cabral8 days agoDescribed as Cabral is a fine but overly refined voice for D'Arienzo, a long way from what the band gets the following year with singer Alberto Echagüe.Walter Cabral8 days agoDescribed as Cabral is a fine but overly refined voice for D'Arienzo, a long way from what the band gets the following year with singer Alberto Echagüe.
14. Juan D'Arienzo8 days agoDescribed as D'Arienzo recorded 24 sides in 1936, all with Rodolfo Biagi on piano and only four with a vocalist; almost half were waltzes, and across his 1935-36 two-sided dJuan D'Arienzo8 days agoDescribed as D'Arienzo recorded 24 sides in 1936, all with Rodolfo Biagi on piano and only four with a vocalist; almost half were waltzes, and across his 1935-36 two-sided d
15. Golden Age8 days agoDescribed as Carlos Gardel's body, who died in a plane crash in mid-1935, did not reach Argentina until February 1936, and his final film only opened in April, so his death Golden Age8 days agoDescribed as Carlos Gardel's body, who died in a plane crash in mid-1935, did not reach Argentina until February 1936, and his final film only opened in April, so his death
16. Golden Age8 days agoDescribed as 1936 is the bridge year between 1935, when Gardel's death opened the door to the new tango dance movement, and 1937, when D'Arienzo makes it mega big.Golden Age8 days agoDescribed as 1936 is the bridge year between 1935, when Gardel's death opened the door to the new tango dance movement, and 1937, when D'Arienzo makes it mega big.
17. Recording 105958 days agoDescribed as A famous D'Arienzo track used in the film The Tango Lesson; its 1936 date was confirmed live against discography sources after a listener question.Recording 105958 days agoDescribed as A famous D'Arienzo track used in the film The Tango Lesson; its 1936 date was confirmed live against discography sources after a listener question.
18. Recording 160618 days agoDescribed as A favourite Firpo track the host couldn't let the year pass without playing; its 1936 date was double-checked live against discography sources.Recording 160618 days agoDescribed as A favourite Firpo track the host couldn't let the year pass without playing; its 1936 date was double-checked live against discography sources.
19. Recording 134078 days agoDescribed as One of Stenvoll's all-time favourite Fresedo tracks, with cascading falling melodies and real emotion from Ray, despite poor surviving sound.Recording 134078 days agoDescribed as One of Stenvoll's all-time favourite Fresedo tracks, with cascading falling melodies and real emotion from Ray, despite poor surviving sound.
20. Recording 85778 days agoDescribed as A very sad, sentimental number chosen to close the night on that mood.Recording 85778 days agoDescribed as A very sad, sentimental number chosen to close the night on that mood.
21. Recording 110528 days agoDescribed as A surprisingly danceable De Caro waltz from this experimental period.Recording 110528 days agoDescribed as A surprisingly danceable De Caro waltz from this experimental period.
22. Recording 152428 days agoDescribed as A solo recording by the actor-singer, whose phrasing reminded the hosts of Enrique Campos.Recording 152428 days agoDescribed as A solo recording by the actor-singer, whose phrasing reminded the hosts of Enrique Campos.
23. Recording 138578 days agoDescribed as One of only four Fresedo sides this year, a quiet period for the band despite Ray already being its singer for several years.Recording 138578 days agoDescribed as One of only four Fresedo sides this year, a quiet period for the band despite Ray already being its singer for several years.
24. Recording 119858 days agoDescribed as Opens with bells; from Caló's still-complex, De Caro-influenced 1936 sound, before he simplified his style in the early 40s.Recording 119858 days agoDescribed as Opens with bells; from Caló's still-complex, De Caro-influenced 1936 sound, before he simplified his style in the early 40s.
25. Recording 154698 days agoDescribed as A Firpo waltz prized for its groovy, deep-vibrato violins.Recording 154698 days agoDescribed as A Firpo waltz prized for its groovy, deep-vibrato violins.
26. Recording 162818 days agoDescribed as A follow-up to Canaro's novelty 'tangón' rhythm, tried out at his theatre shows before being recorded; less exciting than the original.Recording 162818 days agoDescribed as A follow-up to Canaro's novelty 'tangón' rhythm, tried out at his theatre shows before being recorded; less exciting than the original.
27. Recording 58888 days agoDescribed as A tango about waking up from illusions, its mood turning dark at the chorus.Recording 58888 days agoDescribed as A tango about waking up from illusions, its mood turning dark at the chorus.
28. Recording 105568 days agoDescribed as The B-side of D'Arienzo's last 1936 disc, quite fast though not his fastest.Recording 105568 days agoDescribed as The B-side of D'Arienzo's last 1936 disc, quite fast though not his fastest.
29. Recording 107828 days agoDescribed as D'Arienzo's final record of the year; an exciting, dust-kicking number with wild violin slides.Recording 107828 days agoDescribed as D'Arienzo's final record of the year; an exciting, dust-kicking number with wild violin slides.
30. Recording 102048 days agoDescribed as A less-often-played D'Arienzo waltz, chosen deliberately instead of the usual top half-dozen; unusual for stressing the second beat of the bar.Recording 102048 days agoDescribed as A less-often-played D'Arienzo waltz, chosen deliberately instead of the usual top half-dozen; unusual for stressing the second beat of the bar.