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1. Recording 97388 days agoDescribed as Stenvoll skips Francisco Canaro and picks his brother Juan; a very old tango, originally from 1870 by Casimiro Alcorta and later published by Francisco Canaro.Recording 97388 days agoDescribed as Stenvoll skips Francisco Canaro and picks his brother Juan; a very old tango, originally from 1870 by Casimiro Alcorta and later published by Francisco Canaro.
2. Recording 378 days agoDescribed as One of the first recordings of a tango best known from Pugliese and Morán in the mid-1940s.Recording 378 days agoDescribed as One of the first recordings of a tango best known from Pugliese and Morán in the mid-1940s.
3. Agustín Bardi8 days agoDescribed as Bardi composed many tangos while keeping a day job with a railway company; he died around the end of 1941, and Pugliese's first recordings in 1943 include AdiósAgustín Bardi8 days agoDescribed as Bardi composed many tangos while keeping a day job with a railway company; he died around the end of 1941, and Pugliese's first recordings in 1943 include Adiós
4. Emilio Balcarce8 days agoDescribed as Balcarce joined Pugliese in 1948; he later founded the Orquesta Escuela de Tango in Buenos Aires.Emilio Balcarce8 days agoDescribed as Balcarce joined Pugliese in 1948; he later founded the Orquesta Escuela de Tango in Buenos Aires.
5. Alberto Morán8 days agoDescribed as Morán was Pugliese's sole singer after Chanel left in fear in 1948, and said he sang much better live than on records.Alberto Morán8 days agoDescribed as Morán was Pugliese's sole singer after Chanel left in fear in 1948, and said he sang much better live than on records.
6. Jorge Vidal8 days agoDescribed as Vidal's first two Odeon recordings with Pugliese (Isla de flores and Titiriteros) were discarded because of faulty matrices, so only ten were recorded; Puente AJorge Vidal8 days agoDescribed as Vidal's first two Odeon recordings with Pugliese (Isla de flores and Titiriteros) were discarded because of faulty matrices, so only ten were recorded; Puente A
7. Jorge Vidal8 days agoDescribed as In mid-1949 Pugliese's musicians found Vidal singing with four guitars at the Bar Argentino in Chacarita; Vidal was homeless and slept on the snooker table. PugJorge Vidal8 days agoDescribed as In mid-1949 Pugliese's musicians found Vidal singing with four guitars at the Bar Argentino in Chacarita; Vidal was homeless and slept on the snooker table. Pug
8. Feliciano Brunelli8 days agoDescribed as Brunelli, an accordion-led popular orchestra, sold a huge number of records and was probably the first Argentine artist to get a gold disc.Feliciano Brunelli8 days agoDescribed as Brunelli, an accordion-led popular orchestra, sold a huge number of records and was probably the first Argentine artist to get a gold disc.
9. Aníbal Troilo8 days agoDescribed as After 1949 there is a break in Troilo's recording because of a rupture with RCA Victor; he returns with a new Piazzolla-influenced style, leaving some songs unrAníbal Troilo8 days agoDescribed as After 1949 there is a break in Troilo's recording because of a rupture with RCA Victor; he returns with a new Piazzolla-influenced style, leaving some songs unr
10. Julio De Caro8 days agoDescribed as De Caro's comeback runs until 1952 with about two dozen recordings, many new versions of old hits; he called Pugliese his 'spiritual son'. He no longer plays viJulio De Caro8 days agoDescribed as De Caro's comeback runs until 1952 with about two dozen recordings, many new versions of old hits; he called Pugliese his 'spiritual son'. He no longer plays vi
11. Eduardo Rovira8 days agoDescribed as Rovira leads Castillo's backing group in 1949 and arranged Alma de bohemia; he later became as much a vanguard figure as Piazzolla, with jazz-sounding tango recEduardo Rovira8 days agoDescribed as Rovira leads Castillo's backing group in 1949 and arranged Alma de bohemia; he later became as much a vanguard figure as Piazzolla, with jazz-sounding tango rec
12. Osvaldo Pugliese8 days agoDescribed as In 1949 Pugliese got permission to play carnival dances after the ban eased, and the pressure of the state crackdown shows in some tracks, though not in MalandrOsvaldo Pugliese8 days agoDescribed as In 1949 Pugliese got permission to play carnival dances after the ban eased, and the pressure of the state crackdown shows in some tracks, though not in Malandr
13. Osvaldo Pugliese8 days agoDescribed as Pugliese's own style is defined by three works: La yumba (1946), Negracha (1948) and Malandraca (1949). Lavocah argues Malandraca was written first and took sixOsvaldo Pugliese8 days agoDescribed as Pugliese's own style is defined by three works: La yumba (1946), Negracha (1948) and Malandraca (1949). Lavocah argues Malandraca was written first and took six
14. Jorge Maciel8 days agoDescribed as Maciel, whose real name is Carlos Pellegrini, sings with Gobbi in 1949 and joins Pugliese in the mid-1950s; with Gobbi his sound is softer and less dramatic.Jorge Maciel8 days agoDescribed as Maciel, whose real name is Carlos Pellegrini, sings with Gobbi in 1949 and joins Pugliese in the mid-1950s; with Gobbi his sound is softer and less dramatic.
15. Alfredo Gobbi8 days agoDescribed as Gobbi's orchestra is a vanguard band related to Pugliese's style but with less extreme tempo flexibility and small, modest violin solos; its bandoneón drag (arrAlfredo Gobbi8 days agoDescribed as Gobbi's orchestra is a vanguard band related to Pugliese's style but with less extreme tempo flexibility and small, modest violin solos; its bandoneón drag (arr
16. Alfredo De Angelis8 days agoDescribed as De Angelis is better in 1949 than his reputation: even his tangos have a stronger, more intense marcato and less lightness.Alfredo De Angelis8 days agoDescribed as De Angelis is better in 1949 than his reputation: even his tangos have a stronger, more intense marcato and less lightness.
17. Juan D'Arienzo8 days agoDescribed as In 1948-49 D'Arienzo's instrumentals are the interesting part: the sound becomes simpler and clearer, hinting at his 1950s style. The vocal numbers are less conJuan D'Arienzo8 days agoDescribed as In 1948-49 D'Arienzo's instrumentals are the interesting part: the sound becomes simpler and clearer, hinting at his 1950s style. The vocal numbers are less con
18. Julio Sosa8 days agoDescribed as Sosa came from Uruguay by boat in June 1949 and was singing with Francini-Pontier by July, introduced by a friend when there was a vacancy. His brash voice diviJulio Sosa8 days agoDescribed as Sosa came from Uruguay by boat in June 1949 and was singing with Francini-Pontier by July, introduced by a friend when there was a vacancy. His brash voice divi
19. Orquesta Francini-Pontier8 days agoDescribed as Left without singers after Caló poached Berón and Rufino, Francini-Pontier brought back Alberto Podestá and added Julio Sosa.Orquesta Francini-Pontier8 days agoDescribed as Left without singers after Caló poached Berón and Rufino, Francini-Pontier brought back Alberto Podestá and added Julio Sosa.
20. Ángel Vargas8 days agoDescribed as Vargas's backing in 1949 sounds like D'Agostino's because D'Agostino, who sat at the same café every day, would not go on tour in 1947; the band went without hiÁngel Vargas8 days agoDescribed as Vargas's backing in 1949 sounds like D'Agostino's because D'Agostino, who sat at the same café every day, would not go on tour in 1947; the band went without hi
21. Golden Age8 days agoDescribed as 1949 is the last year the lyrical, vocal school dominates Buenos Aires; in 1950-51 Troilo and Fresedo shift to a more instrumental tango influenced by PiazzollaGolden Age8 days agoDescribed as 1949 is the last year the lyrical, vocal school dominates Buenos Aires; in 1950-51 Troilo and Fresedo shift to a more instrumental tango influenced by Piazzolla
22. Francisco Lomuto8 days agoDescribed as Lomuto spent nearly two years in Spain waiting out the difficult time and returned in 1949 with a sound similar to before.Francisco Lomuto8 days agoDescribed as Lomuto spent nearly two years in Spain waiting out the difficult time and returned in 1949 with a sound similar to before.
23. José Basso8 days agoDescribed as Basso, pianist for Troilo after Goñi in 1943, formed his own orchestra in 1949; every pianist Troilo had eventually left to lead a band. Basso keeps good singerJosé Basso8 days agoDescribed as Basso, pianist for Troilo after Goñi in 1943, formed his own orchestra in 1949; every pianist Troilo had eventually left to lead a band. Basso keeps good singer
24. Golden Age8 days agoDescribed as Medleys appear as a way round the shortage of new songs; Stenvoll found at least four this year and notes dancers dislike them.Golden Age8 days agoDescribed as Medleys appear as a way round the shortage of new songs; Stenvoll found at least four this year and notes dancers dislike them.
25. Golden Age8 days agoDescribed as The crisis comes from censorship, which is lifted too late, and a lack of new songs, since lyricists are uninspired by censorship. Many recordings are old songsGolden Age8 days agoDescribed as The crisis comes from censorship, which is lifted too late, and a lack of new songs, since lyricists are uninspired by censorship. Many recordings are old songs
26. Golden Age8 days agoDescribed as 1949 is worse for the tango bands than 1948: more bands give up, Di Sarli stops, Laurenz makes no records and Biagi only four. Lavocah says the 1940s party is oGolden Age8 days agoDescribed as 1949 is worse for the tango bands than 1948: more bands give up, Di Sarli stops, Laurenz makes no records and Biagi only four. Lavocah says the 1940s party is o
27. Recording 13158 days agoDescribed as A Mariano Mores song that would have belonged to Canaro had Troilo not recorded it; Calderón enters first, very tenderly, then Rivero.Recording 13158 days agoDescribed as A Mariano Mores song that would have belonged to Canaro had Troilo not recorded it; Calderón enters first, very tenderly, then Rivero.
28. Recording 144658 days agoDescribed as One of the greatest tangos of the 40s, recorded in Vidal's second session with Pugliese.Recording 144658 days agoDescribed as One of the greatest tangos of the 40s, recorded in Vidal's second session with Pugliese.
29. Recording 142568 days agoDescribed as Morán using his soft mezzo voice; Lavocah says it raises the hairs on his arms.Recording 142568 days agoDescribed as Morán using his soft mezzo voice; Lavocah says it raises the hairs on his arms.
30. Recording 143818 days agoDescribed as By Emilio Balcarce, who joined Pugliese in 1948; listen for the bomba and a strange scratchy violin effect.Recording 143818 days agoDescribed as By Emilio Balcarce, who joined Pugliese in 1948; listen for the bomba and a strange scratchy violin effect.