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1. Carlos Di Sarli8 days agoDescribed as By 1958, with few dancers left, the surviving bands become more symphonic and operatic in delivery, as heard in Di Sarli's last recordings with Horacio Casares.Carlos Di Sarli8 days agoDescribed as By 1958, with few dancers left, the surviving bands become more symphonic and operatic in delivery, as heard in Di Sarli's last recordings with Horacio Casares.
2. Carlos Di Sarli8 days agoDescribed as Acuña's Cuando el amor muera is one of the rare Di Sarli vocals without Rufino: when Rufino returned, the stand-in singer was always kept on briefly, but would Carlos Di Sarli8 days agoDescribed as Acuña's Cuando el amor muera is one of the rare Di Sarli vocals without Rufino: when Rufino returned, the stand-in singer was always kept on briefly, but would
3. Alfredo Le Pera8 days agoDescribed as Troilo rated Le Pera highly as a lyricist: just as there is a big four of tango orchestras there is a big four of lyricists, and Troilo said Le Pera was 'numberAlfredo Le Pera8 days agoDescribed as Troilo rated Le Pera highly as a lyricist: just as there is a big four of tango orchestras there is a big four of lyricists, and Troilo said Le Pera was 'number
4. La morocha8 days agoDescribed as In La morocha (1905) the woman makes the man's mate and keeps house, and he rides off as a gaucho and comes home to a tidy house; Lavocah uses it as the naive pLa morocha8 days agoDescribed as In La morocha (1905) the woman makes the man's mate and keeps house, and he rides off as a gaucho and comes home to a tidy house; Lavocah uses it as the naive p
5. Guardia Nueva8 days agoDescribed as Tango lyrics about love grow up over time: early ones (La morocha, 1905) are naive and happily-ever-after; from Mi noche triste (1917) the man is abandoned, andGuardia Nueva8 days agoDescribed as Tango lyrics about love grow up over time: early ones (La morocha, 1905) are naive and happily-ever-after; from Mi noche triste (1917) the man is abandoned, and
6. Recording 149728 days agoDescribed as After-party: a French orchestra plays a Piaf song as a tango, from a record in a listener's private collection; it opens by quoting the first song.Recording 149728 days agoDescribed as After-party: a French orchestra plays a Piaf song as a tango, from a record in a listener's private collection; it opens by quoting the first song.
7. Recording 138448 days agoDescribed as The 'compasita' of the night: a very romantic Fresedo waltz, here with a harp introduction on the new Tango Time Travel compilation.Recording 138448 days agoDescribed as The 'compasita' of the night: a very romantic Fresedo waltz, here with a harp introduction on the new Tango Time Travel compilation.
8. Recording 137688 days agoDescribed as A track with trumpeter Dizzy Gillespie, recorded when he visited the Rendezvous club in 1956 (with Vida mía, Adiós muchachos and Preludio no. 3); not a tango foRecording 137688 days agoDescribed as A track with trumpeter Dizzy Gillespie, recorded when he visited the Rendezvous club in 1956 (with Vida mía, Adiós muchachos and Preludio no. 3); not a tango fo
9. Recording 65908 days agoDescribed as An instrumental by the composer of En sueños, with a Hawaiian guitar and a melody with an 'inherent logic'.Recording 65908 days agoDescribed as An instrumental by the composer of En sueños, with a Hawaiian guitar and a melody with an 'inherent logic'.
10. Recording 163388 days agoDescribed as A Biagi waltz that had everyone dancing in their windows.Recording 163388 days agoDescribed as A Biagi waltz that had everyone dancing in their windows.
11. Recording 141278 days agoDescribed as A dramatic late Pugliese vocal on Polygram, about being torn between two loves; Lavocah notes the lyric dates back to 1932.Recording 141278 days agoDescribed as A dramatic late Pugliese vocal on Polygram, about being torn between two loves; Lavocah notes the lyric dates back to 1932.
12. Recording 12698 days agoDescribed as A nuanced, mature lyric: a man who has had thousands of love affairs but knows he still has more to learn about love.Recording 12698 days agoDescribed as A nuanced, mature lyric: a man who has had thousands of love affairs but knows he still has more to learn about love.
13. Recording 103268 days agoDescribed as Valdez, young in the band, begs for a single minute of love, in a party-piece vowel stretch like his Remembranza.Recording 103268 days agoDescribed as Valdez, young in the band, begs for a single minute of love, in a party-piece vowel stretch like his Remembranza.
14. Recording 104938 days agoDescribed as A high-octane tango; Mauré holds the vowel in 'amor' for about five seconds.Recording 104938 days agoDescribed as A high-octane tango; Mauré holds the vowel in 'amor' for about five seconds.
15. Recording 51418 days agoDescribed as A hit from the stage show La muchachada del centro; Falcón's voice and held notes, and a counter-melody by a muted cornet or trumpet.Recording 51418 days agoDescribed as A hit from the stage show La muchachada del centro; Falcón's voice and held notes, and a counter-melody by a muted cornet or trumpet.
16. Recording 89128 days agoDescribed as Salamanca's own orchestra after leaving D'Arienzo; a lost-love lyric seeing the ex on another man's arm.Recording 89128 days agoDescribed as Salamanca's own orchestra after leaving D'Arienzo; a lost-love lyric seeing the ex on another man's arm.
17. Recording 34868 days agoDescribed as A funny milonga about an old man in love who wears a corset at night and does not smile for fear his false teeth fall out.Recording 34868 days agoDescribed as A funny milonga about an old man in love who wears a corset at night and does not smile for fear his false teeth fall out.
18. Recording 158248 days agoDescribed as Firpo made two recordings with this title in 1929, a waltz and this tango; played as an example of early happy love.Recording 158248 days agoDescribed as Firpo made two recordings with this title in 1929, a waltz and this tango; played as an example of early happy love.
19. Recording 60678 days agoDescribed as A Gardel composition about love's two sides, joy and pain; its theme is forgiveness, and Maida's velvety voice softens Canaro's martial beat.Recording 60678 days agoDescribed as A Gardel composition about love's two sides, joy and pain; its theme is forgiveness, and Maida's velvety voice softens Canaro's martial beat.
20. Golden Age8 days agoDescribed as Rodríguez, the Cuban tres player blinded by a donkey kick as a child, had small success in Cuba because he was black; in New York an eye specialist told him he Golden Age8 days agoDescribed as Rodríguez, the Cuban tres player blinded by a donkey kick as a child, had small success in Cuba because he was black; in New York an eye specialist told him he
21. Vicente Greco8 days agoDescribed as Ojos negros comes from Vicente Greco, perhaps as early as 1910; the Greco family was important in the decade, and Canaro played in the Greco orchestra in 1909-1Vicente Greco8 days agoDescribed as Ojos negros comes from Vicente Greco, perhaps as early as 1910; the Greco family was important in the decade, and Canaro played in the Greco orchestra in 1909-1
22. Juan D'Arienzo8 days agoDescribed as D'Arienzo's first period with Echagüe in the late 1930s is untouchable, but in the second half of the 1940s Lavocah prefers Laborde's voice as the more sophistiJuan D'Arienzo8 days agoDescribed as D'Arienzo's first period with Echagüe in the late 1930s is untouchable, but in the second half of the 1940s Lavocah prefers Laborde's voice as the more sophisti
23. Golden Age8 days agoDescribed as Because record sales were low in the late 1940s, fewer copies survive in good condition, so the period is harder to hear in good fidelity; this is why Tanturi'sGolden Age8 days agoDescribed as Because record sales were low in the late 1940s, fewer copies survive in good condition, so the period is harder to hear in good fidelity; this is why Tanturi's
24. Ricardo Tanturi8 days agoDescribed as Among Tanturi's two singers, Roberto Videla is more conventional (tenor-like) and preferred by dancers; Osvaldo Ribó has a higher voice, reminiscent of Roberto Ricardo Tanturi8 days agoDescribed as Among Tanturi's two singers, Roberto Videla is more conventional (tenor-like) and preferred by dancers; Osvaldo Ribó has a higher voice, reminiscent of Roberto
25. Aníbal Troilo8 days agoDescribed as The Troilo singers were happy and less competitive than at Di Sarli's, where Di Sarli and Podestá/Fiorentino-type rivalry for being number one was common; in TrAníbal Troilo8 days agoDescribed as The Troilo singers were happy and less competitive than at Di Sarli's, where Di Sarli and Podestá/Fiorentino-type rivalry for being number one was common; in Tr
26. Aníbal Troilo8 days agoDescribed as Troilo recorded only eight tracks in 1948, three of them outstanding; there are few milongas and few waltzes in the Troilo discography.Aníbal Troilo8 days agoDescribed as Troilo recorded only eight tracks in 1948, three of them outstanding; there are few milongas and few waltzes in the Troilo discography.
27. Sur8 days agoDescribed as 'Sur' is a code word for the poor south of the city by the Riachuelo, where immigrants landed, and so for the original and authentic; it is why Goyeneche can siSur8 days agoDescribed as 'Sur' is a code word for the poor south of the city by the Riachuelo, where immigrants landed, and so for the original and authentic; it is why Goyeneche can si
28. Golden Age8 days agoDescribed as At this time Mario Soto was the gloss reciter (announcer) of the Pugliese orchestra, and wrote a special gloss for Negracha, read in the programme by guest JesúGolden Age8 days agoDescribed as At this time Mario Soto was the gloss reciter (announcer) of the Pugliese orchestra, and wrote a special gloss for Negracha, read in the programme by guest Jesú
29. Negracha8 days agoDescribed as Negracha is dedicated to a group of black women who followed the band and asked for music with more rhythm. It is an exercise in polyrhythm (3-3-2 against four)Negracha8 days agoDescribed as Negracha is dedicated to a group of black women who followed the band and asked for music with more rhythm. It is an exercise in polyrhythm (3-3-2 against four)
30. Osvaldo Pugliese8 days agoDescribed as In the 1940s three works define the Pugliese style: La yumba, Negracha and Malandraca. They were recorded in that order but written over years, from about 1943;Osvaldo Pugliese8 days agoDescribed as In the 1940s three works define the Pugliese style: La yumba, Negracha and Malandraca. They were recorded in that order but written over years, from about 1943;