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1. Juan D'ArienzoyesterdayDescribed as D'Arienzo's climaxes are about excitement and speed — more notes, faster — while Di Sarli's climaxes are emotional, built by the strings adding intensity of feeJuan D'ArienzoyesterdayDescribed as D'Arienzo's climaxes are about excitement and speed — more notes, faster — while Di Sarli's climaxes are emotional, built by the strings adding intensity of fee
2. Carlos Di SarliyesterdayDescribed as D'Arienzo's climaxes are about excitement and speed — more notes, faster — while Di Sarli's climaxes are emotional, built by the strings adding intensity of feeCarlos Di SarliyesterdayDescribed as D'Arienzo's climaxes are about excitement and speed — more notes, faster — while Di Sarli's climaxes are emotional, built by the strings adding intensity of fee
3. VictoryesterdayDescribed as Lavocah wonders whether Victor was commercially right to refuse Vardaro in 1933: advanced orchestras like Laurenz in 1937 did not sell many records either.VictoryesterdayDescribed as Lavocah wonders whether Victor was commercially right to refuse Vardaro in 1933: advanced orchestras like Laurenz in 1937 did not sell many records either.
4. RCA VictoryesterdayDescribed as The Germaine master carries a technical mistake at about 38 seconds; since it is on the shellac, it was on the original master and neither the technician, RCA VRCA VictoryesterdayDescribed as The Germaine master carries a technical mistake at about 38 seconds; since it is on the shellac, it was on the original master and neither the technician, RCA V
5. VictoryesterdayDescribed as Victor and Odeon are thought to have destroyed their master discs around 1962, believing tango was an old business. LPs started around 1960, so for about two yeVictoryesterdayDescribed as Victor and Odeon are thought to have destroyed their master discs around 1962, believing tango was an old business. LPs started around 1960, so for about two ye
6. Music HallyesterdayDescribed as The Music Hall recording dates for Di Sarli come from CDs by Babasan in Japan, which cannot explain their source; the Music Hall and Takt Art session registers Music HallyesterdayDescribed as The Music Hall recording dates for Di Sarli come from CDs by Babasan in Japan, which cannot explain their source; the Music Hall and Takt Art session registers
7. Enrique CadícamoyesterdayDescribed as Contursi met Susana Viganó, a woman from a village in Córdoba, in 1936, and was beginning to write songs about her while staying with his wife, creating the morEnrique CadícamoyesterdayDescribed as Contursi met Susana Viganó, a woman from a village in Córdoba, in 1936, and was beginning to write songs about her while staying with his wife, creating the mor
8. OdeonyesterdayDescribed as 1952 was the year Odeón introduced tape master recording; several of this episode's Pugliese tracks are re-recordings made that year on the new tape process.OdeonyesterdayDescribed as 1952 was the year Odeón introduced tape master recording; several of this episode's Pugliese tracks are re-recordings made that year on the new tape process.
9. Pedro MaffiayesterdayDescribed as Laurenz and Maffia co-wrote Amurado, one taking the smooth, velvet verse and the other the excited chorus; Michael admits he can't remember which of the two wroPedro MaffiayesterdayDescribed as Laurenz and Maffia co-wrote Amurado, one taking the smooth, velvet verse and the other the excited chorus; Michael admits he can't remember which of the two wro
10. Pedro LaurenzyesterdayDescribed as Laurenz and Maffia co-wrote Amurado, one taking the smooth, velvet verse and the other the excited chorus; Michael admits he can't remember which of the two wroPedro LaurenzyesterdayDescribed as Laurenz and Maffia co-wrote Amurado, one taking the smooth, velvet verse and the other the excited chorus; Michael admits he can't remember which of the two wro
11. RCA VictoryesterdayDescribed as Odeon pressings have lower surface noise and a better balance for singers than RCA Victor; Troilo, Pugliese and Di Sarli recorded for Victor, which is part of wRCA VictoryesterdayDescribed as Odeon pressings have lower surface noise and a better balance for singers than RCA Victor; Troilo, Pugliese and Di Sarli recorded for Victor, which is part of w
12. OdeonyesterdayDescribed as Odeon pressings have lower surface noise and a better balance for singers than RCA Victor; Troilo, Pugliese and Di Sarli recorded for Victor, which is part of wOdeonyesterdayDescribed as Odeon pressings have lower surface noise and a better balance for singers than RCA Victor; Troilo, Pugliese and Di Sarli recorded for Victor, which is part of w
13. Ada FalcónyesterdayDescribed 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 FalcónyesterdayDescribed 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
14. Roberto GrelayesterdayDescribed 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 GrelayesterdayDescribed 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
15. Aníbal TroiloyesterdayDescribed 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 TroiloyesterdayDescribed 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
16. RCA VictoryesterdayDescribed 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 VictoryesterdayDescribed 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
17. OdeonyesterdayDescribed 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 microphOdeonyesterdayDescribed 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
18. Julio De CaroyesterdayDescribed 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 CaroyesterdayDescribed 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
19. Osvaldo FresedoyesterdayDescribed 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 FresedoyesterdayDescribed 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
20. OdeonyesterdayDescribed 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 OdeonyesterdayDescribed 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
21. BrunswickyesterdayDescribed 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 193BrunswickyesterdayDescribed 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
22. Mercedes SimoneyesterdayDescribed 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 SimoneyesterdayDescribed 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
23. Libertad LamarqueyesterdayDescribed 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 LamarqueyesterdayDescribed 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
24. Music HallyesterdayDescribed 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 HallyesterdayDescribed 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
25. PampayesterdayDescribed 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 fPampayesterdayDescribed 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
26. OdeonyesterdayDescribed 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 fOdeonyesterdayDescribed 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
27. OdeonyesterdayDescribed 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 deaOdeonyesterdayDescribed 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
28. RCA VictoryesterdayDescribed 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 VictoryesterdayDescribed 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
29. RCA VictoryesterdayDescribed 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 VictoryesterdayDescribed 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
30. OdeonyesterdayDescribed 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'sOdeonyesterdayDescribed 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