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1. Recording 101438 days agoDescribed as Dag picked this from a brand-new reissue; it opens with an unusually long spoken introduction, and the bandoneón imitates the whistling signal old-time street pRecording 101438 days agoDescribed as Dag picked this from a brand-new reissue; it opens with an unusually long spoken introduction, and the bandoneón imitates the whistling signal old-time street p
2. Recording 145988 days agoDescribed as Laurenz's own co-composition (with Pedro Maffia) slowed right down from the famous, more energetic 1940 vocal version, giving it a more mature '50s feel.Recording 145988 days agoDescribed as Laurenz's own co-composition (with Pedro Maffia) slowed right down from the famous, more energetic 1940 vocal version, giving it a more mature '50s feel.
3. Recording 41888 days agoDescribed as A deliberately old-fashioned Uruguayan orchestra with a hard 'saloon piano' sound, chosen for Miranda's voice and a lyric both hosts call an early feminist tangRecording 41888 days agoDescribed as A deliberately old-fashioned Uruguayan orchestra with a hard 'saloon piano' sound, chosen for Miranda's voice and a lyric both hosts call an early feminist tang
4. Recording 4998 days agoDescribed as A lyric Dag first misread as an old lecherous man, but which is actually a tragic cabaret girl pretending to enjoy herself while cold and sad inside.Recording 4998 days agoDescribed as A lyric Dag first misread as an old lecherous man, but which is actually a tragic cabaret girl pretending to enjoy herself while cold and sad inside.
5. Recording 111708 days agoDescribed as One of the most beautiful tango melodies ever written, composed by the orchestra's pianist, Francisco De Caro; no dance orchestra is known to have picked it up.Recording 111708 days agoDescribed as One of the most beautiful tango melodies ever written, composed by the orchestra's pianist, Francisco De Caro; no dance orchestra is known to have picked it up.
6. Recording 14008 days agoDescribed as A tribute composed by Alfredo Gobbi for his friend, pianist Orlando Goñi, who played for Troilo until mid-1943; played instead of a Goñi recording because Goñi Recording 14008 days agoDescribed as A tribute composed by Alfredo Gobbi for his friend, pianist Orlando Goñi, who played for Troilo until mid-1943; played instead of a Goñi recording because Goñi
7. Recording 11238 days agoDescribed as Michael calls this the best of Troilo's three recordings of the piece, and maybe the best recording of it by anyone, balancing the band's early vigor against itRecording 11238 days agoDescribed as Michael calls this the best of Troilo's three recordings of the piece, and maybe the best recording of it by anyone, balancing the band's early vigor against it
8. Recording 12808 days agoDescribed as Troilo's only vocal recording of El Choclo; the hosts note the song is one of the few tangos that survived in the catalogue as both a pure instrumental and a suRecording 12808 days agoDescribed as Troilo's only vocal recording of El Choclo; the hosts note the song is one of the few tangos that survived in the catalogue as both a pure instrumental and a su
9. Recording 11278 days agoDescribed as A later re-recording of Malena with Berón, picked to show that tango's single spirit (heard in the 1942 Fiorentino version) has now fractured into separate, incRecording 11278 days agoDescribed as A later re-recording of Malena with Berón, picked to show that tango's single spirit (heard in the 1942 Fiorentino version) has now fractured into separate, inc
10. Rodolfo Biagi8 days agoDescribed as Biagi's 1942 instrumentals, like Bélgica, still keep the choppy, sharply syncopated beat of his earlier style, even as orchestras generally slow down and gain mRodolfo Biagi8 days agoDescribed as Biagi's 1942 instrumentals, like Bélgica, still keep the choppy, sharply syncopated beat of his earlier style, even as orchestras generally slow down and gain m
11. Edgardo Donato8 days agoDescribed as Donato was known as 'the happy orchestra', but Lavocah judges his saddest, bittersweet 1942 recordings (made as the band was collapsing) to be especially strongEdgardo Donato8 days agoDescribed as Donato was known as 'the happy orchestra', but Lavocah judges his saddest, bittersweet 1942 recordings (made as the band was collapsing) to be especially strong
12. Edgardo Donato8 days agoDescribed as A love triangle — singer Horacio Lagos's girlfriend Lita Morales fell for second singer Romeo Gavioli, whom Lagos had introduced to the band — blew up Donato's Edgardo Donato8 days agoDescribed as A love triangle — singer Horacio Lagos's girlfriend Lita Morales fell for second singer Romeo Gavioli, whom Lagos had introduced to the band — blew up Donato's
13. Amadeo Mandarino8 days agoDescribed as Mandarino, Troilo's second singer alongside Fiorentino, left because the studio always chose Fiorentino for recordings, so he joined Manuel Buzón's orchestra toAmadeo Mandarino8 days agoDescribed as Mandarino, Troilo's second singer alongside Fiorentino, left because the studio always chose Fiorentino for recordings, so he joined Manuel Buzón's orchestra to
14. Moneda de cobre8 days agoDescribed as The opening lines of Moneda de cobre ('your father was blonde... your mother was black') allude to the 1864–70 War of the Triple Alliance against Paraguay, wherMoneda de cobre8 days agoDescribed as The opening lines of Moneda de cobre ('your father was blonde... your mother was black') allude to the 1864–70 War of the Triple Alliance against Paraguay, wher
15. Alberto Castillo8 days agoDescribed as Castillo's taunting verse in Así se baila el tango, mocking slicked-back 'pretty city boys', provoked real fights in the audience from offended niños bien.Alberto Castillo8 days agoDescribed as Castillo's taunting verse in Así se baila el tango, mocking slicked-back 'pretty city boys', provoked real fights in the audience from offended niños bien.
16. Malena8 days agoDescribed as Lucio Demare is said to have composed the melody for Malena in fifteen minutes at a café, after lyricist Homero Manzi had given him the words.Malena8 days agoDescribed as Lucio Demare is said to have composed the melody for Malena in fifteen minutes at a café, after lyricist Homero Manzi had given him the words.
17. La cumparsita8 days agoDescribed as An unauthorized lyric added to La cumparsita sparked a lawsuit from composer Gerardo Matos Rodríguez, eventually settled through Canaro's personal intervention;La cumparsita8 days agoDescribed as An unauthorized lyric added to La cumparsita sparked a lawsuit from composer Gerardo Matos Rodríguez, eventually settled through Canaro's personal intervention;
18. Taconeando8 days agoDescribed as Taconeando is a Pedro Maffia composition from the 1930s; Maffia and Laurenz were friends and colleagues in Julio De Caro's orchestra in the mid-1920s.Taconeando8 days agoDescribed as Taconeando is a Pedro Maffia composition from the 1930s; Maffia and Laurenz were friends and colleagues in Julio De Caro's orchestra in the mid-1920s.
19. Pedro Laurenz8 days agoDescribed as Laurenz is one of the great creators of the variación, and uniquely among the big arrangers his variaciones never fully lose the original melody inside the elabPedro Laurenz8 days agoDescribed as Laurenz is one of the great creators of the variación, and uniquely among the big arrangers his variaciones never fully lose the original melody inside the elab
20. Juan Carlos Lamas8 days agoDescribed as D'Arienzo's orchestra always needed a 'tough street voice' (the role Alberto Echagüe normally filled); Lamas fills it in 1942, though Lavocah says he's not on EJuan Carlos Lamas8 days agoDescribed as D'Arienzo's orchestra always needed a 'tough street voice' (the role Alberto Echagüe normally filled); Lamas fills it in 1942, though Lavocah says he's not on E
21. Juan D'Arienzo8 days agoDescribed as D'Arienzo's entire pre-1940 orchestra quit over money, which is how arranger Héctor Varela and pianist Fulvio Salamanca came to define his new 1940s sound.Juan D'Arienzo8 days agoDescribed as D'Arienzo's entire pre-1940 orchestra quit over money, which is how arranger Héctor Varela and pianist Fulvio Salamanca came to define his new 1940s sound.
22. Juan D'Arienzo8 days agoDescribed as D'Arienzo was extremely prolific in 1942, recording around 33 numbers across three different singers.Juan D'Arienzo8 days agoDescribed as D'Arienzo was extremely prolific in 1942, recording around 33 numbers across three different singers.
23. Carlos Di Sarli8 days agoDescribed as Nobody writes violin counter-melodies under the singer better than Di Sarli — dancers who tune into them end up following the violins rather than the voice.Carlos Di Sarli8 days agoDescribed as Nobody writes violin counter-melodies under the singer better than Di Sarli — dancers who tune into them end up following the violins rather than the voice.
24. Alberto Podestá8 days agoDescribed as Podestá, 18, was singing with Caló at the Singapore Club when a waiter handed him a card from Di Sarli's agent mid-show; he gripped it so hard in his pocket it Alberto Podestá8 days agoDescribed as Podestá, 18, was singing with Caló at the Singapore Club when a waiter handed him a card from Di Sarli's agent mid-show; he gripped it so hard in his pocket it
25. Golden Age8 days agoDescribed as Slavery was abolished in Buenos Aires in 1861, but many enslavers first sold enslaved people south to Brazil to recoup their investment; Brazil did not abolish Golden Age8 days agoDescribed as Slavery was abolished in Buenos Aires in 1861, but many enslavers first sold enslaved people south to Brazil to recoup their investment; Brazil did not abolish
26. Golden Age8 days agoDescribed as 19th-century Buenos Aires's water sellers (aguateros), many of them Afro-Argentine, tapped out a distinctive drum call to announce their carts, the way an ice-cGolden Age8 days agoDescribed as 19th-century Buenos Aires's water sellers (aguateros), many of them Afro-Argentine, tapped out a distinctive drum call to announce their carts, the way an ice-c
27. Oscar Serpa8 days agoDescribed as Serpa came from Cuyo (Mendoza province), not Buenos Aires; Fresedo deliberately avoided porteño voices because he wanted a more European sound for the orchestraOscar Serpa8 days agoDescribed as Serpa came from Cuyo (Mendoza province), not Buenos Aires; Fresedo deliberately avoided porteño voices because he wanted a more European sound for the orchestra
28. Elvino Vardaro8 days agoDescribed as Vardaro, who briefly played violin for Fresedo in 1942, is arguably tango's greatest violinist ever.Elvino Vardaro8 days agoDescribed as Vardaro, who briefly played violin for Fresedo in 1942, is arguably tango's greatest violinist ever.
29. Osvaldo Fresedo8 days agoDescribed as Every member of Fresedo's 1942 orchestra was new — his previous band had quit en masse over money after a film opportunity — which Lavocah compares directly to Osvaldo Fresedo8 days agoDescribed as Every member of Fresedo's 1942 orchestra was new — his previous band had quit en masse over money after a film opportunity — which Lavocah compares directly to
30. Los mareados8 days agoDescribed as Troilo brought an old record of Juan Carlos Cobián's melody to lyricist Enrique Cadícamo's house asking for a new lyric, unaware there was already one — produciLos mareados8 days agoDescribed as Troilo brought an old record of Juan Carlos Cobián's melody to lyricist Enrique Cadícamo's house asking for a new lyric, unaware there was already one — produci