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1. Osvaldo Pugliese8 days agoDescribed as In jail, Pugliese had no piano, so he carved the shape of a keyboard into the edge of a wooden table and practised on it every day, saying it was so that his haOsvaldo Pugliese8 days agoDescribed as In jail, Pugliese had no piano, so he carved the shape of a keyboard into the edge of a wooden table and practised on it every day, saying it was so that his ha
2. Alberto Morán8 days agoDescribed as After leaving Pugliese the year before, Morán largely returned to singing at full intensity throughout, abandoning the restrained half-voice ('media voz') that Alberto Morán8 days agoDescribed as After leaving Pugliese the year before, Morán largely returned to singing at full intensity throughout, abandoning the restrained half-voice ('media voz') that
3. Bailemos8 days agoDescribed as Composers Pascual Mamone and lyricist Reinaldo Yiso wrote Bailemos after Yiso witnessed a couple dance one last tango together at a milonga and part in tears, wBailemos8 days agoDescribed as Composers Pascual Mamone and lyricist Reinaldo Yiso wrote Bailemos after Yiso witnessed a couple dance one last tango together at a milonga and part in tears, w
4. Jorge Caldara8 days agoDescribed as Caldara, a bandoneonist and bandleader, left Argentina for Japan for a couple of years during the political difficulties, working as a backing arranger there beJorge Caldara8 days agoDescribed as Caldara, a bandoneonist and bandleader, left Argentina for Japan for a couple of years during the political difficulties, working as a backing arranger there be
5. Milonguero viejo8 days agoDescribed as Di Sarli composed Milonguero Viejo in the 1920s for Osvaldo Fresedo, as thanks for Fresedo's help.Milonguero viejo8 days agoDescribed as Di Sarli composed Milonguero Viejo in the 1920s for Osvaldo Fresedo, as thanks for Fresedo's help.
6. Carlos Di Sarli8 days agoDescribed as Lavocah's own metaphor, from his Di Sarli book, is that a great melodic wash is slowly submerging the staccato, marcato structure of tango in Di Sarli's mid-195Carlos Di Sarli8 days agoDescribed as Lavocah's own metaphor, from his Di Sarli book, is that a great melodic wash is slowly submerging the staccato, marcato structure of tango in Di Sarli's mid-195
7. Roberto Goyeneche8 days agoDescribed as On this 1955 Salgán recording Goyeneche has not yet developed the very personal phrasing he becomes known for later, making it an interesting snapshot of him eaRoberto Goyeneche8 days agoDescribed as On this 1955 Salgán recording Goyeneche has not yet developed the very personal phrasing he becomes known for later, making it an interesting snapshot of him ea
8. Roberto Pansera8 days agoDescribed as Roberto Pansera, who arranged Troilo's 1955 Intermezzo, is the same arranger who changed Eduardo Fresedo's sound in 1950.Roberto Pansera8 days agoDescribed as Roberto Pansera, who arranged Troilo's 1955 Intermezzo, is the same arranger who changed Eduardo Fresedo's sound in 1950.
9. Nelly Omar8 days agoDescribed as After the September 1955 coup against Perón, artists associated with or merely popular among Peronists were banned, including folk singer Antonio Tormo (who wasNelly Omar8 days agoDescribed as After the September 1955 coup against Perón, artists associated with or merely popular among Peronists were banned, including folk singer Antonio Tormo (who was
10. Cara sucia8 days agoDescribed as Cara sucia began life as a brothel tango with a bawdier title and lyric, which Canaro was already performing in the 1910s; the lyric heard in 1955 is a cleaned-Cara sucia8 days agoDescribed as Cara sucia began life as a brothel tango with a bawdier title and lyric, which Canaro was already performing in the 1910s; the lyric heard in 1955 is a cleaned-
11. Orquesta Francini-Pontier8 days agoDescribed as Francini-Pontier broke up amicably in 1955 after ten years together since September 1945; both Francini and Pontier went on to lead their own separate orquestasOrquesta Francini-Pontier8 days agoDescribed as Francini-Pontier broke up amicably in 1955 after ten years together since September 1945; both Francini and Pontier went on to lead their own separate orquestas
12. Ángel Vargas8 days agoDescribed as After finally and permanently splitting from Ángel D'Agostino, Vargas made solo recordings in 1955 backed by the Trío Alejandro Scarpino.Ángel Vargas8 days agoDescribed as After finally and permanently splitting from Ángel D'Agostino, Vargas made solo recordings in 1955 backed by the Trío Alejandro Scarpino.
13. Juan D'Arienzo8 days agoDescribed as By 1955 D'Arienzo has little new to say and is mostly re-recording old material; Lavocah had considered a new 1955 D'Arienzo/Echagüe recording of Trago Amargo bJuan D'Arienzo8 days agoDescribed as By 1955 D'Arienzo has little new to say and is mostly re-recording old material; Lavocah had considered a new 1955 D'Arienzo/Echagüe recording of Trago Amargo b
14. Osvaldo Manzi8 days agoDescribed as Troilo's new 1955 pianist, Osvaldo Manzi, also substituted for Pugliese's orchestra for about six months in 1957, after Pugliese was too shocked to play followiOsvaldo Manzi8 days agoDescribed as Troilo's new 1955 pianist, Osvaldo Manzi, also substituted for Pugliese's orchestra for about six months in 1957, after Pugliese was too shocked to play followi
15. Nuevo8 days agoDescribed as Lavocah calls 1955 the end of tango's golden age: traditional orchestras like D'Arienzo are mostly re-recording old hits, and Troilo manages only about six songNuevo8 days agoDescribed as Lavocah calls 1955 the end of tango's golden age: traditional orchestras like D'Arienzo are mostly re-recording old hits, and Troilo manages only about six song
16. Nuevo8 days agoDescribed as On 16 June 1955 the Argentine military bombed the Casa Rosada and Plaza de Mayo, killing hundreds of civilians; Perón survived that coup but was finally toppledNuevo8 days agoDescribed as On 16 June 1955 the Argentine military bombed the Casa Rosada and Plaza de Mayo, killing hundreds of civilians; Perón survived that coup but was finally toppled
17. Nuevo8 days agoDescribed as Pugliese was arrested in a café on 10 January 1955 with a violinist, both Communist Party members, and was incarcerated for exactly six months, released on 10 JNuevo8 days agoDescribed as Pugliese was arrested in a café on 10 January 1955 with a violinist, both Communist Party members, and was incarcerated for exactly six months, released on 10 J
18. Recording 34018 days agoDescribed as Played last of the three, with the story of its composers witnessing a real breakup dance at a milonga and writing the song about it that night.Recording 34018 days agoDescribed as Played last of the three, with the story of its composers witnessing a real breakup dance at a milonga and writing the song about it that night.
19. Recording 31988 days agoDescribed as A big song of 1954-55 (Miguel Caló recorded it in 1954); played as what Stenvoll calls Di Sarli's especially special take.Recording 31988 days agoDescribed as A big song of 1954-55 (Miguel Caló recorded it in 1954); played as what Stenvoll calls Di Sarli's especially special take.
20. Recording 32848 days agoDescribed as An instrumental Lavocah especially loves for how far Di Sarli stretches the melody, composed by the same man who wrote El Recuerdo.Recording 32848 days agoDescribed as An instrumental Lavocah especially loves for how far Di Sarli stretches the melody, composed by the same man who wrote El Recuerdo.
21. Recording 77118 days agoDescribed as A guitar-backed vals played as one of the few 1955 waltz recordings; Lavocah also mentions Alberto Morán's version of a different vals in the same breath, so thRecording 77118 days agoDescribed as A guitar-backed vals played as one of the few 1955 waltz recordings; Lavocah also mentions Alberto Morán's version of a different vals in the same breath, so th
22. Recording 44688 days agoDescribed as Played as a guess-the-singer game; Stenvoll can imagine it as a Pugliese/Morán number, though it was not recorded by them.Recording 44688 days agoDescribed as Played as a guess-the-singer game; Stenvoll can imagine it as a Pugliese/Morán number, though it was not recorded by them.
23. Recording 144188 days agoDescribed as A second Montero number played straight after the first, with Montero's street-edged, bass-baritone delivery.Recording 144188 days agoDescribed as A second Montero number played straight after the first, with Montero's street-edged, bass-baritone delivery.
24. Recording 8318 days agoDescribed as Gobbi's own composition, called by Lavocah the 'bleeding edge' of 1955 tango; Pugliese liked it enough to record it himself, but not until 1973.Recording 8318 days agoDescribed as Gobbi's own composition, called by Lavocah the 'bleeding edge' of 1955 tango; Pugliese liked it enough to record it himself, but not until 1973.
25. Recording 130688 days agoDescribed as As far as Stenvoll knows, the only recording of Castillo singing La Cumparsita, using the alternate 'Si supieras' lyric.Recording 130688 days agoDescribed as As far as Stenvoll knows, the only recording of Castillo singing La Cumparsita, using the alternate 'Si supieras' lyric.
26. Recording 143188 days agoDescribed as Pugliese's first recording after six months in jail, an 1910s tango whose title literally means 'emancipation,' played with the original on-air glosa that namedRecording 143188 days agoDescribed as Pugliese's first recording after six months in jail, an 1910s tango whose title literally means 'emancipation,' played with the original on-air glosa that named
27. Recording 142848 days agoDescribed as A happy-go-lucky Donato number from 1940, transformed into a rare Pugliese vocal duet.Recording 142848 days agoDescribed as A happy-go-lucky Donato number from 1940, transformed into a rare Pugliese vocal duet.
28. Recording 142788 days agoDescribed as A Gardel-era song from the mid-1920s, also famous from Di Sarli/Rufino, re-recorded to showcase Maciel as the refined heir to Morán's high-octane role.Recording 142788 days agoDescribed as A Gardel-era song from the mid-1920s, also famous from Di Sarli/Rufino, re-recorded to showcase Maciel as the refined heir to Morán's high-octane role.
29. Recording 17308 days agoDescribed as Her first solo recording since splitting from Donato in the early 1940s and withdrawing from public life; a comeback the hosts feel the title fits.Recording 17308 days agoDescribed as Her first solo recording since splitting from Donato in the early 1940s and withdrawing from public life; a comeback the hosts feel the title fits.
30. Recording 35668 days agoDescribed as Played against dancers' memory of Rufino's fast 1939 version to show how much slower and more 'melodic wash' Di Sarli's 1955 sound has become.Recording 35668 days agoDescribed as Played against dancers' memory of Rufino's fast 1939 version to show how much slower and more 'melodic wash' Di Sarli's 1955 sound has become.