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1. Ada Falcón8 days agoDescribed as The 1930 guitar recording Contando Camino, initially assumed to be Ada Falcón, is actually her sister Adelma — the voices sound alike because they're sisters, tAda Falcón8 days agoDescribed as The 1930 guitar recording Contando Camino, initially assumed to be Ada Falcón, is actually her sister Adelma — the voices sound alike because they're sisters, t
2. Roberto Grela8 days agoDescribed as The Troilo-Grela quartet began after Troilo did one duet with guitarist Grela in a 1951 stage show (El patio de la Morocha); the audience demanded an encore, anRoberto Grela8 days agoDescribed as The Troilo-Grela quartet began after Troilo did one duet with guitarist Grela in a 1951 stage show (El patio de la Morocha); the audience demanded an encore, an
3. Aníbal Troilo8 days agoDescribed as The Troilo-Grela quartet began after Troilo did one duet with guitarist Grela in a 1951 stage show (El patio de la Morocha); the audience demanded an encore, anAníbal Troilo8 days agoDescribed as The Troilo-Grela quartet began after Troilo did one duet with guitarist Grela in a 1951 stage show (El patio de la Morocha); the audience demanded an encore, an
4. RCA Victor8 days agoDescribed as Victor was never as good as Odeon, partly because Odeon used German Neumann microphones (now worth about 10,000 euros second-hand) while Victor used RCA microphRCA Victor8 days agoDescribed as Victor was never as good as Odeon, partly because Odeon used German Neumann microphones (now worth about 10,000 euros second-hand) while Victor used RCA microph
5. Odeon8 days agoDescribed as Victor was never as good as Odeon, partly because Odeon used German Neumann microphones (now worth about 10,000 euros second-hand) while Victor used RCA microphOdeon8 days agoDescribed as Victor was never as good as Odeon, partly because Odeon used German Neumann microphones (now worth about 10,000 euros second-hand) while Victor used RCA microph
6. Julio De Caro8 days agoDescribed as After talking pictures pushed live orchestras out of the cinemas, Fresedo and De Caro each expanded their bands with outside arrangers and extra instruments likJulio De Caro8 days agoDescribed as After talking pictures pushed live orchestras out of the cinemas, Fresedo and De Caro each expanded their bands with outside arrangers and extra instruments lik
7. Osvaldo Fresedo8 days agoDescribed as After talking pictures pushed live orchestras out of the cinemas, Fresedo and De Caro each expanded their bands with outside arrangers and extra instruments likOsvaldo Fresedo8 days agoDescribed as After talking pictures pushed live orchestras out of the cinemas, Fresedo and De Caro each expanded their bands with outside arrangers and extra instruments lik
8. Odeon8 days agoDescribed as Facing the Depression, Odeon cut 50 cents off most record prices (previously 3.50 pesos, 3.75 for Gardel) and simplified its magazine advertising typography to Odeon8 days agoDescribed as Facing the Depression, Odeon cut 50 cents off most record prices (previously 3.50 pesos, 3.75 for Gardel) and simplified its magazine advertising typography to
9. Brunswick8 days agoDescribed as The Brunswick label withdrew entirely from the market in July 1932 and had effectively wound up by May; its house orchestra made about 50 recordings between 193Brunswick8 days agoDescribed as The Brunswick label withdrew entirely from the market in July 1932 and had effectively wound up by May; its house orchestra made about 50 recordings between 193
10. Mercedes Simone8 days agoDescribed as Around 1930, a competition crowned Libertad Lamarque the best woman singer and 'queen of tango'; accepting the award on stage, she said the real queen was MerceMercedes Simone8 days agoDescribed as Around 1930, a competition crowned Libertad Lamarque the best woman singer and 'queen of tango'; accepting the award on stage, she said the real queen was Merce
11. Libertad Lamarque8 days agoDescribed as Around 1930, a competition crowned Libertad Lamarque the best woman singer and 'queen of tango'; accepting the award on stage, she said the real queen was MerceLibertad Lamarque8 days agoDescribed as Around 1930, a competition crowned Libertad Lamarque the best woman singer and 'queen of tango'; accepting the award on stage, she said the real queen was Merce
12. Music Hall8 days agoDescribed as Di Sarli's comeback recordings were made for Music Hall, a foreign company whose vinyl records had rights problems and which few people could even play at the tMusic Hall8 days agoDescribed as Di Sarli's comeback recordings were made for Music Hall, a foreign company whose vinyl records had rights problems and which few people could even play at the t
13. Pampa8 days agoDescribed as By 1947 Pedro Laurenz was no longer recording for Odeon itself but for its cheaper second-tier sub-label, Pampa, a sign of how far his commercial standing had fPampa8 days agoDescribed as By 1947 Pedro Laurenz was no longer recording for Odeon itself but for its cheaper second-tier sub-label, Pampa, a sign of how far his commercial standing had f
14. Odeon8 days agoDescribed as By 1947 Pedro Laurenz was no longer recording for Odeon itself but for its cheaper second-tier sub-label, Pampa, a sign of how far his commercial standing had fOdeon8 days agoDescribed as By 1947 Pedro Laurenz was no longer recording for Odeon itself but for its cheaper second-tier sub-label, Pampa, a sign of how far his commercial standing had f
15. Odeon8 days agoDescribed as After the 1931 financial crisis wiped out every other Argentine record label, only RCA Victor and Odeon remained; Odeon signed new bandleaders to three-year deaOdeon8 days agoDescribed as After the 1931 financial crisis wiped out every other Argentine record label, only RCA Victor and Odeon remained; Odeon signed new bandleaders to three-year dea
16. RCA Victor8 days agoDescribed as After the 1931 financial crisis wiped out every other Argentine record label, only RCA Victor and Odeon remained; Odeon signed new bandleaders to three-year deaRCA Victor8 days agoDescribed as After the 1931 financial crisis wiped out every other Argentine record label, only RCA Victor and Odeon remained; Odeon signed new bandleaders to three-year dea
17. RCA Victor8 days agoDescribed as In 1959 Victor appointed Ricardo Mejía, who promoted pop music and had the building with the master recordings cleared out to save money; none of the original tRCA Victor8 days agoDescribed as In 1959 Victor appointed Ricardo Mejía, who promoted pop music and had the building with the master recordings cleared out to save money; none of the original t
18. Odeon8 days agoDescribed as Odeon's recordings were better than RCA Victor's, partly because of a different microphone; a soloist such as Marino stands closer to it than he did in Troilo'sOdeon8 days agoDescribed as Odeon's recordings were better than RCA Victor's, partly because of a different microphone; a soloist such as Marino stands closer to it than he did in Troilo's
19. Roberto Arrieta8 days agoDescribed as Caló's two singers Iriarte and Arrieta left in 1949 to try their luck solo abroad (Iriarte to Chile); Caló then took Raúl Berón and Roberto Rufino from FranciniRoberto Arrieta8 days agoDescribed as Caló's two singers Iriarte and Arrieta left in 1949 to try their luck solo abroad (Iriarte to Chile); Caló then took Raúl Berón and Roberto Rufino from Francini
20. Raúl Iriarte8 days agoDescribed as Caló's two singers Iriarte and Arrieta left in 1949 to try their luck solo abroad (Iriarte to Chile); Caló then took Raúl Berón and Roberto Rufino from FranciniRaúl Iriarte8 days agoDescribed as Caló's two singers Iriarte and Arrieta left in 1949 to try their luck solo abroad (Iriarte to Chile); Caló then took Raúl Berón and Roberto Rufino from Francini
21. Odeon8 days agoDescribed as Max Glucksmann took sole control of Odeon's Argentine business when World War One cut it off from Berlin, building a multimedia empire of label, radio station aOdeon8 days agoDescribed as Max Glucksmann took sole control of Odeon's Argentine business when World War One cut it off from Berlin, building a multimedia empire of label, radio station a
22. Azucena Maizani8 days agoDescribed as Quiroga and Maizani both sang as 'arrabaleras' -- deliberately rough voices of the poor outer barrios -- in contrast to more sophisticated, cabaret-style singerAzucena Maizani8 days agoDescribed as Quiroga and Maizani both sang as 'arrabaleras' -- deliberately rough voices of the poor outer barrios -- in contrast to more sophisticated, cabaret-style singer
23. Rosita Quiroga8 days agoDescribed as Quiroga and Maizani both sang as 'arrabaleras' -- deliberately rough voices of the poor outer barrios -- in contrast to more sophisticated, cabaret-style singerRosita Quiroga8 days agoDescribed as Quiroga and Maizani both sang as 'arrabaleras' -- deliberately rough voices of the poor outer barrios -- in contrast to more sophisticated, cabaret-style singer
24. Odeon8 days agoDescribed as The only way to spot an electrical recording at the time was tiny markings: Odeon restarted its matrix numbering at 1 with a small 'e'; Victor later added 'VE' Odeon8 days agoDescribed as The only way to spot an electrical recording at the time was tiny markings: Odeon restarted its matrix numbering at 1 with a small 'e'; Victor later added 'VE'
25. Victor8 days agoDescribed as The only way to spot an electrical recording at the time was tiny markings: Odeon restarted its matrix numbering at 1 with a small 'e'; Victor later added 'VE' Victor8 days agoDescribed as The only way to spot an electrical recording at the time was tiny markings: Odeon restarted its matrix numbering at 1 with a small 'e'; Victor later added 'VE'
26. Odeon8 days agoDescribed as Victor introduced electrical recording in Argentina on 1 March 1926; Odeon didn't follow until November 1926. Neither label announced it publicly, by a gentlemaOdeon8 days agoDescribed as Victor introduced electrical recording in Argentina on 1 March 1926; Odeon didn't follow until November 1926. Neither label announced it publicly, by a gentlema
27. Victor8 days agoDescribed as Victor introduced electrical recording in Argentina on 1 March 1926; Odeon didn't follow until November 1926. Neither label announced it publicly, by a gentlemaVictor8 days agoDescribed as Victor introduced electrical recording in Argentina on 1 March 1926; Odeon didn't follow until November 1926. Neither label announced it publicly, by a gentlema
28. Maria Blanco8 days agoSpanish version of revision 1Maria Blanco8 days agoSpanish version of revision 1
29. Gabriela Fernandez8 days agoSpanish version of revision 1Gabriela Fernandez8 days agoSpanish version of revision 1
30. TD1x6zy88 days agoSpanish version of revision 1TD1x6zy88 days agoSpanish version of revision 1