Author Archives: embrujamiento/tangoarchive.com

It’s obvious from this picture that Julio de Caro had a lot of female fans, perhaps a bit too many for his singer Héctor Farrell, who seems to feel a bit shy from all the attention.

Anyone still surprised why his music is so danceable?

Here, three famous orchestra leaders are shown together in what seems a brotherly fashion, although even in the very companionable Argentine culture there must have been some sort of jealousy or rivalry among artists of this level. Jealousy or not, … Continue reading →

According to this image, a certain Antonio Rodríguez Lesende replaced Roberto Rufino for a while as Di Sarli’s singer because of illness. And indeed, there is (just) one 1940 recording, ”Milonga del Centenario” with that unfamiliar voice, or at least … Continue reading →

After his orchestra imploded with everyone leaving him in early 1940, D’Arienzo had to look not only for a new team of musicians, but also for a new singer. Other than some people may think nowadays, the first singer who … Continue reading →

Here is a rare picture of Pedro Laurenz (on the right) together with his late 1930s star singer Juan Carlos Casas. Actually, I don’t remember ever having seen a single picture of this duo on the internet. I love Casas’ … Continue reading →

Yes, these are the men who brought you some of the best dance songs imaginable, for example Di Sarli’s rhythmical instrumentals from around the year 1940, like El Retirao or Viviani, and of course the greatest hits with ”the kid” … Continue reading →

That may be surprising to some: Sassone in 1940 and Alberto Amor (think of Biagi) as his singer? In the best years of tango as dance music, the early 40s, there were so many active orchestras that haven’t left us … Continue reading →

After D’Arienzo was abandoned by his entire orchestra and his singer Alberto Echagüe in early 1940, he wasn’t exactly thinking about giving up on the tango business. After a few months of preparation and hard work, the popular King of … Continue reading →

In 1939, jealous Roberto Maida left Francisco Canaro’s orchestra when the latter accepted two more singers into his orchestra: Ernesto Famá, who had already been a partner before, and a new face, Francisco Amor. These two men would mark the … Continue reading →