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1. Horacio Salgan8 days agoDescribed as Salgán was a musician's musician whose audience was mainly other musicians rather than dancers; A fuego lento was very influential and picked up by many bands.Horacio Salgan8 days agoDescribed as Salgán was a musician's musician whose audience was mainly other musicians rather than dancers; A fuego lento was very influential and picked up by many bands.
2. Carlos Di Sarli8 days agoDescribed as Di Sarli was an upright, difficult and misunderstood man of few words, who would go quiet for days; his friends said he had gone into his room.Carlos Di Sarli8 days agoDescribed as Di Sarli was an upright, difficult and misunderstood man of few words, who would go quiet for days; his friends said he had gone into his room.
3. Carlos Di Sarli8 days agoDescribed as No me pregunten por qué opens with a spoken introduction by Di Sarli himself, which appears on the first record from his return to RCA Victor; it was unknown unCarlos Di Sarli8 days agoDescribed as No me pregunten por qué opens with a spoken introduction by Di Sarli himself, which appears on the first record from his return to RCA Victor; it was unknown un
4. Carlos Di Sarli8 days agoDescribed as Discépolo could not write music down, so Di Sarli often notated his tangos for him; this is why Lavocah is sure Di Sarli was playing Sueño de juventud (c. 1939)Carlos Di Sarli8 days agoDescribed as Discépolo could not write music down, so Di Sarli often notated his tangos for him; this is why Lavocah is sure Di Sarli was playing Sueño de juventud (c. 1939)
5. Carlos Di Sarli8 days agoDescribed as Di Sarli left Music Hall, where he had spent three years after promises of worldwide exposure that never materialised (and trouble with distribution, since few Carlos Di Sarli8 days agoDescribed as Di Sarli left Music Hall, where he had spent three years after promises of worldwide exposure that never materialised (and trouble with distribution, since few
6. Tita Merello8 days agoDescribed as Merello made her first recordings in the late 1920s and returned to the studio in 1954 after a long pause in the movies; by then she had dropped trying to be liTita Merello8 days agoDescribed as Merello made her first recordings in the late 1920s and returned to the studio in 1954 after a long pause in the movies; by then she had dropped trying to be li
7. Que nadie sepa mi sufrir8 days agoDescribed as The song is older than either the Marino waltz or Edith Piaf's La foule (1957): it was an Argentine song discovered by the French and then re-imported to ArgentQue nadie sepa mi sufrir8 days agoDescribed as The song is older than either the Marino waltz or Edith Piaf's La foule (1957): it was an Argentine song discovered by the French and then re-imported to Argent
8. Mariano Mores8 days agoDescribed as Mores wrote Taquito militar for a 1953 film, and most recordings date from 1954. In the 1940s he did for Canaro what Varela and Salamanca did for D'Arienzo: updMariano Mores8 days agoDescribed as Mores wrote Taquito militar for a 1953 film, and most recordings date from 1954. In the 1940s he did for Canaro what Varela and Salamanca did for D'Arienzo: upd
9. Edmundo Rivero8 days agoDescribed as Rivero, Troilo's previous singer, parted from Troilo on good terms and sang solo with guitars; Stenvoll prefers these to his recordings with Víctor Buccino's orEdmundo Rivero8 days agoDescribed as Rivero, Troilo's previous singer, parted from Troilo on good terms and sang solo with guitars; Stenvoll prefers these to his recordings with Víctor Buccino's or
10. Osvaldo Pugliese8 days agoDescribed as From La Tupungatina and the 1955 recordings (Gallo ciego, Emancipación, Nocero soy), Pugliese's sound opens into the open, joyful, radiant sound of the mature oOsvaldo Pugliese8 days agoDescribed as From La Tupungatina and the 1955 recordings (Gallo ciego, Emancipación, Nocero soy), Pugliese's sound opens into the open, joyful, radiant sound of the mature o
11. Julio Carrasco8 days agoDescribed as Carrasco, usually thought of as Pugliese's third violin, arranged Te aconsejo que me olvides; when Camerano retired he was offered the first-violin chair but tuJulio Carrasco8 days agoDescribed as Carrasco, usually thought of as Pugliese's third violin, arranged Te aconsejo que me olvides; when Camerano retired he was offered the first-violin chair but tu
12. Alberto Morán8 days agoDescribed as Morán left Pugliese embittered in 1954: the orchestra was a musicians' band, singers earned less than the arranging musicians, and the singing was very demandinAlberto Morán8 days agoDescribed as Morán left Pugliese embittered in 1954: the orchestra was a musicians' band, singers earned less than the arranging musicians, and the singing was very demandin
13. Golden Age8 days agoDescribed as Every orchestra had a presenter who introduced the band, often a radio announcer or poet, reciting glosses (poems) to introduce the band, the musicians or speciGolden Age8 days agoDescribed as Every orchestra had a presenter who introduced the band, often a radio announcer or poet, reciting glosses (poems) to introduce the band, the musicians or speci
14. Osvaldo Pugliese8 days agoDescribed as In 1954 Pugliese had four singers: Alberto Morán and Juan Carlos Cobos leaving, and Miguel Montero with Jorge Maciel arriving mid-year. Montero and Maciel firstOsvaldo Pugliese8 days agoDescribed as In 1954 Pugliese had four singers: Alberto Morán and Juan Carlos Cobos leaving, and Miguel Montero with Jorge Maciel arriving mid-year. Montero and Maciel first
15. Roberto Chanel8 days agoDescribed as In 1954 Chanel is finding his own wings away from Pugliese as a soloist and composer; he wrote the music of Oración rante to a lyric by Aldo Queirolo, who also Roberto Chanel8 days agoDescribed as In 1954 Chanel is finding his own wings away from Pugliese as a soloist and composer; he wrote the music of Oración rante to a lyric by Aldo Queirolo, who also
16. Golden Age8 days agoDescribed as Japanese collectors started gathering tango records as early as the 1920s, and Japan kept tango going through the dark decades of the 1960s and 70s.Golden Age8 days agoDescribed as Japanese collectors started gathering tango records as early as the 1920s, and Japan kept tango going through the dark decades of the 1960s and 70s.
17. Juan D'Arienzo8 days agoDescribed as At the end of 1950 D'Arienzo chose to go back to his late-1930s style, rejecting the developments of the 1940s; having gone back a decade, he could not develop Juan D'Arienzo8 days agoDescribed as At the end of 1950 D'Arienzo chose to go back to his late-1930s style, rejecting the developments of the 1940s; having gone back a decade, he could not develop
18. Maruja Pacheco Huergo8 days agoDescribed as Maruja Pacheco Huergo wrote the lyric of El adiós, one of few tango lyrics by a woman.Maruja Pacheco Huergo8 days agoDescribed as Maruja Pacheco Huergo wrote the lyric of El adiós, one of few tango lyrics by a woman.
19. Ángel Vargas8 days agoDescribed as Vargas tried to quit D'Agostino and go solo in 1943 but failed and had to beg for his job back. A 1950s magazine interview quotes him as saying he was finally eÁngel Vargas8 days agoDescribed as Vargas tried to quit D'Agostino and go solo in 1943 but failed and had to beg for his job back. A 1950s magazine interview quotes him as saying he was finally e
20. Golden Age8 days agoDescribed as In the 1950s small kitschy elements creep into tango, and reverb is added to master tapes, giving a glossier sound; the big crossover hit of 1954 was Hernando'sGolden Age8 days agoDescribed as In the 1950s small kitschy elements creep into tango, and reverb is added to master tapes, giving a glossier sound; the big crossover hit of 1954 was Hernando's
21. Golden Age8 days agoDescribed as Stenvoll sees Pugliese and Di Sarli as the two lighthouses of the year, though much of what else he found is not danceable.Golden Age8 days agoDescribed as Stenvoll sees Pugliese and Di Sarli as the two lighthouses of the year, though much of what else he found is not danceable.
22. Golden Age8 days agoDescribed as A law required at least 50% Argentine music in live shows, but because bands cost more than cheap acts, it ended up giving work to second-rate folklore artists Golden Age8 days agoDescribed as A law required at least 50% Argentine music in live shows, but because bands cost more than cheap acts, it ended up giving work to second-rate folklore artists
23. Golden Age8 days agoDescribed as By 1954 tango's wide base of small venues is shrinking, with places like Café Nacional on Corrientes (where Pugliese debuted in 1939) closing; the top layer of Golden Age8 days agoDescribed as By 1954 tango's wide base of small venues is shrinking, with places like Café Nacional on Corrientes (where Pugliese debuted in 1939) closing; the top layer of
24. Recording 13818 days agoDescribed as After-party: a sentimental tango about the narrow old Corrientes street before it was widened; not a milonga number.Recording 13818 days agoDescribed as After-party: a sentimental tango about the narrow old Corrientes street before it was widened; not a milonga number.
25. Recording 34008 days agoDescribed as After-party: Di Sarli and Pomar staring into existential dread, a Discépolo song.Recording 34008 days agoDescribed as After-party: Di Sarli and Pomar staring into existential dread, a Discépolo song.
26. Recording 120148 days agoDescribed as After-party: a waltz with an amazing Podestá vocal, played for the Podestá-Caló pairing.Recording 120148 days agoDescribed as After-party: a waltz with an amazing Podestá vocal, played for the Podestá-Caló pairing.
27. Recording 100858 days agoDescribed as After-party: Lavocah points out that on this tape master you can hear the bandoneonists snapping their instruments shut after running out of air in the first 10Recording 100858 days agoDescribed as After-party: Lavocah points out that on this tape master you can hear the bandoneonists snapping their instruments shut after running out of air in the first 10
28. Recording 91248 days agoDescribed as Closing track, as the show's tradition: one of at least four 1954 renditions, with nice piano and a variation Stenvoll thinks may be Varela himself.Recording 91248 days agoDescribed as Closing track, as the show's tradition: one of at least four 1954 renditions, with nice piano and a variation Stenvoll thinks may be Varela himself.
29. Recording 35358 days agoDescribed as Di Sarli's return to the studio with RCA Victor, opened by a spoken introduction by Di Sarli himself to his friends and 'the music I most love, the tango'.Recording 35358 days agoDescribed as Di Sarli's return to the studio with RCA Victor, opened by a spoken introduction by Di Sarli himself to his friends and 'the music I most love, the tango'.
30. Recording 33978 days agoDescribed as A song belonging to Rufino, reinterpreted by Di Sarli and Serpa; about grief, with a final chord that leaves some light.Recording 33978 days agoDescribed as A song belonging to Rufino, reinterpreted by Di Sarli and Serpa; about grief, with a final chord that leaves some light.