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1. Juan D'Arienzo2 days agoDescribed 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'Arienzo2 days agoDescribed 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 Sarli2 days agoDescribed 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 Sarli2 days agoDescribed 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. Victor2 days agoDescribed 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.Victor2 days agoDescribed 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 Victor2 days agoDescribed 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 Victor2 days agoDescribed 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. Victor2 days agoDescribed 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 yeVictor2 days agoDescribed 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 Hall2 days agoDescribed 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 Hall2 days agoDescribed 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 Cadícamo2 days agoDescribed 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 Cadícamo2 days agoDescribed 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. Odeon2 days agoDescribed 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.Odeon2 days agoDescribed 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 Maffia2 days agoDescribed 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 Maffia2 days agoDescribed 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 Laurenz2 days agoDescribed 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 Laurenz2 days agoDescribed 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 Victor2 days agoDescribed 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 Victor2 days agoDescribed 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. Odeon2 days agoDescribed 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 wOdeon2 days agoDescribed 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 Falcón2 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 Falcón2 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
14. Roberto Grela2 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 Grela2 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
15. Aníbal Troilo2 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 Troilo2 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
16. RCA Victor2 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 Victor2 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
17. Odeon2 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 microphOdeon2 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
18. Julio De Caro2 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 Caro2 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
19. Osvaldo Fresedo2 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 Fresedo2 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
20. Odeon2 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 Odeon2 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
21. Brunswick2 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 193Brunswick2 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
22. Mercedes Simone2 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 Simone2 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
23. Libertad Lamarque2 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 Lamarque2 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
24. Music Hall2 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 Hall2 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
25. Pampa2 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 fPampa2 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
26. Odeon2 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 fOdeon2 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
27. Odeon2 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 deaOdeon2 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
28. RCA Victor2 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 Victor2 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
29. RCA Victor2 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 Victor2 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
30. Odeon2 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'sOdeon2 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