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1. Recording 35118 days agoDescribed as A Discépolo waltz composed around 1939 that Di Sarli recorded three times, one of only about 20 waltzes in his career.Recording 35118 days agoDescribed as A Discépolo waltz composed around 1939 that Di Sarli recorded three times, one of only about 20 waltzes in his career.
2. Recording 32148 days agoDescribed as Scrambling left-hand piano, a wailing bandoneón opening and an A-B-A-C structure with astounding B and C parts.Recording 32148 days agoDescribed as Scrambling left-hand piano, a wailing bandoneón opening and an A-B-A-C structure with astounding B and C parts.
3. Recording 79488 days agoDescribed as Merello's comeback studio version with Canaro; a no-nonsense lyric ('those who say I'm bow-legged haven't seen me in my nightdress').Recording 79488 days agoDescribed as Merello's comeback studio version with Canaro; a no-nonsense lyric ('those who say I'm bow-legged haven't seen me in my nightdress').
4. Recording 85128 days agoDescribed as A waltz with simple accompaniment, a tango version of an Argentine song later made famous in France as La foule.Recording 85128 days agoDescribed as A waltz with simple accompaniment, a tango version of an Argentine song later made famous in France as La foule.
5. Recording 91448 days agoDescribed as A much more introverted take on a Roberto Rufino composition, with Marino's voice given space as a soloist.Recording 91448 days agoDescribed as A much more introverted take on a Roberto Rufino composition, with Marino's voice given space as a soloist.
6. Recording 14428 days agoDescribed as Mariano Mores' milonga from a 1953 film, rhythmical and playful, danceable partly because there is no singer.Recording 14428 days agoDescribed as Mariano Mores' milonga from a 1953 film, rhythmical and playful, danceable partly because there is no singer.
7. Recording 15548 days agoDescribed as An instrumental in which Troilo leaves out one note of the melody, creating a syncopated feeling.Recording 15548 days agoDescribed as An instrumental in which Troilo leaves out one note of the melody, creating a syncopated feeling.
8. Recording 142968 days agoDescribed as An instrumental that is the only recording of this tango; Camerano's violin solo is called stunning.Recording 142968 days agoDescribed as An instrumental that is the only recording of this tango; Camerano's violin solo is called stunning.
9. Recording 144318 days agoDescribed as A darker, slower rendition of a song owned by Troilo and Fiorentino; arranged by Julio Carrasco, and a performance that escapes comparison.Recording 144318 days agoDescribed as A darker, slower rendition of a song owned by Troilo and Fiorentino; arranged by Julio Carrasco, and a performance that escapes comparison.
10. Recording 144438 days agoDescribed as Morán's last recording with Pugliese, in March 1954; picked for the singer who left the band that year.Recording 144438 days agoDescribed as Morán's last recording with Pugliese, in March 1954; picked for the singer who left the band that year.
11. Recording 101118 days agoDescribed as A waltz composed by Ignacio Corsini that Stenvoll had not heard at milongas; used to show D'Arienzo repeating himself.Recording 101118 days agoDescribed as A waltz composed by Ignacio Corsini that Stenvoll had not heard at milongas; used to show D'Arienzo repeating himself.
12. Recording 8948 days agoDescribed as A slower, glossier D'Agostino with reverb now added to the tape, and a singer who sounds like Ángel Vargas; set against the 1939 version with Rita Morales.Recording 8948 days agoDescribed as A slower, glossier D'Agostino with reverb now added to the tape, and a singer who sounds like Ángel Vargas; set against the 1939 version with Rita Morales.
13. Recording 55718 days agoDescribed as Picked for its rich orchestral texture and the dark voice of Luis Correa; the last chords turn to a major key and change the mood.Recording 55718 days agoDescribed as Picked for its rich orchestral texture and the dark voice of Luis Correa; the last chords turn to a major key and change the mood.
14. Recording 121108 days agoDescribed as The contrast to Muy suave: a hellish lyric, and Podestá's first recording with Caló since about 1943.Recording 121108 days agoDescribed as The contrast to Muy suave: a hellish lyric, and Podestá's first recording with Caló since about 1943.
15. Recording 40958 days agoDescribed as Federico's own composition, a soft and sweet instrumental with a pizzicato opening and, as far as Stenvoll knows, its only recording; chosen as the sweet half oRecording 40958 days agoDescribed as Federico's own composition, a soft and sweet instrumental with a pizzicato opening and, as far as Stenvoll knows, its only recording; chosen as the sweet half o
16. Quintin Verdu8 days agoDescribed as Paris tango musicians played differently for a European audience than for specialists: Verdú's band, known for sweet music, recorded wild, syncopated, ArgentineQuintin Verdu8 days agoDescribed as Paris tango musicians played differently for a European audience than for specialists: Verdú's band, known for sweet music, recorded wild, syncopated, Argentine
17. Eduardo Bianco8 days agoDescribed as Bianco's Berlin La cumparsita includes a piano octave solo like those being developed in Buenos Aires at the same time, so European and Argentine tango musicianEduardo Bianco8 days agoDescribed as Bianco's Berlin La cumparsita includes a piano octave solo like those being developed in Buenos Aires at the same time, so European and Argentine tango musician
18. Julio De Caro8 days agoDescribed as De Caro created the musical vocabulary others built on and made better music with; without what we hear in him there is no Pugliese, no Troilo and no Laurenz.Julio De Caro8 days agoDescribed as De Caro created the musical vocabulary others built on and made better music with; without what we hear in him there is no Pugliese, no Troilo and no Laurenz.
19. Julio De Caro8 days agoDescribed as De Caro, 'god in the late 20s', vanishes from recordings in 1944 for about five years after lending his name to a musician strike that failed; he had been kickeJulio De Caro8 days agoDescribed as De Caro, 'god in the late 20s', vanishes from recordings in 1944 for about five years after lending his name to a musician strike that failed; he had been kicke
20. Golden Age8 days agoDescribed as In 1939 Poland, not Paris, was the epicentre of tango in Europe, with Weimar and Polish cabaret as outlets for emotions that couldn't be expressed in wider sociGolden Age8 days agoDescribed as In 1939 Poland, not Paris, was the epicentre of tango in Europe, with Weimar and Polish cabaret as outlets for emotions that couldn't be expressed in wider soci
21. Por qué razón8 days agoDescribed as At over three minutes, Por qué razón keeps generating novelty with phases that bring the music back before exploding again, something Lavocah says D'Arienzo forPor qué razón8 days agoDescribed as At over three minutes, Por qué razón keeps generating novelty with phases that bring the music back before exploding again, something Lavocah says D'Arienzo for
22. Juan D'Arienzo8 days agoDescribed as The 22 December 1939 session was the last of the Polito band: the whole band, singer included, resigned only in February 1940, over two months later, but the tiJuan D'Arienzo8 days agoDescribed as The 22 December 1939 session was the last of the Polito band: the whole band, singer included, resigned only in February 1940, over two months later, but the ti
23. Juan D'Arienzo8 days agoDescribed as Violinist Matzeo is first violin on the 1939 records, pianist Juan Polito hits the keys harder than ever, and Polito recruited Pedro Caracciolo to double DuclosJuan D'Arienzo8 days agoDescribed as Violinist Matzeo is first violin on the 1939 records, pianist Juan Polito hits the keys harder than ever, and Polito recruited Pedro Caracciolo to double Duclos
24. Alberto Echague8 days agoDescribed as Echagüe has three periods with D'Arienzo: the 1930s peak (best in 1939), a more romantic late 40s, and a much later pastiche with excessive vibrato to hide his Alberto Echague8 days agoDescribed as Echagüe has three periods with D'Arienzo: the 1930s peak (best in 1939), a more romantic late 40s, and a much later pastiche with excessive vibrato to hide his
25. Juan D'Arienzo8 days agoDescribed as Lavocah and Dag think 1939 may be D'Arienzo's best year: sheer intensity (1936 is his playful year, 1951 his explosive refreshing one), with 116 tracks from 193Juan D'Arienzo8 days agoDescribed as Lavocah and Dag think 1939 may be D'Arienzo's best year: sheer intensity (1936 is his playful year, 1951 his explosive refreshing one), with 116 tracks from 193
26. Edgardo Donato8 days agoDescribed as The Donato pizzicato-and-violin style, shared by bands like Ernesto Ponzio's (very big in 1933 but unrecorded), is about to die out, replaced by D'Arienzo's harEdgardo Donato8 days agoDescribed as The Donato pizzicato-and-violin style, shared by bands like Ernesto Ponzio's (very big in 1933 but unrecorded), is about to die out, replaced by D'Arienzo's har
27. Edgardo Donato8 days agoDescribed as 1939 may be one of Donato's best years for dance music; Lita Morales, who sings for dancers, is one of the few women on records from the late-30s típicas, and sEdgardo Donato8 days agoDescribed as 1939 may be one of Donato's best years for dance music; Lita Morales, who sings for dancers, is one of the few women on records from the late-30s típicas, and s
28. Roberto Ray8 days agoDescribed as Ray's last recording with Fresedo is from 3 January 1939; Ricardo Ruiz then arrives.Roberto Ray8 days agoDescribed as Ray's last recording with Fresedo is from 3 January 1939; Ricardo Ruiz then arrives.
29. Osvaldo Fresedo8 days agoDescribed as In Fresedo's orchestra the piano is not the spine of the band: he writes for it like a harp, to decorate.Osvaldo Fresedo8 days agoDescribed as In Fresedo's orchestra the piano is not the spine of the band: he writes for it like a harp, to decorate.
30. Ignacio Corsini8 days agoDescribed as Corsini's Cuartito azul is the best track of 1939, with his bird-like countryside voice, deep melancholy and wonderful guitar accompaniment; Lavocah hears the lIgnacio Corsini8 days agoDescribed as Corsini's Cuartito azul is the best track of 1939, with his bird-like countryside voice, deep melancholy and wonderful guitar accompaniment; Lavocah hears the l