Lyricist, journalist and theater author
(17 March 1887 – 30 December 1957)
He wrote a hundred lyrics. Gardel committed to record twelve of them: the tangos “Callecita de mi barrio”, “Cicatrices”, “Compañero”, “Chola”, “La borrachera del tango”, “Micifuz”, “Virgencita de Pompeya (Medallita de los pobres)”, “La cumparsita (Si supieras)”, the foxtrot “La hija de japonesita”, the zambas “La salteñita”, “Machaza mi suerte”, the waltz “Rosal de amor” and the milonga “Tortazos”. Continue reading.
Singer and composer
(13 March 1920 – 12 May 1976)
«His interpretation was dramatic and at the same time, melodic. A peculiar voice, with a baritone-tenor range, pleasant timbre and clear diction, strong voice, melodious and with good intonation, clearly influenced by Gardel». Continue reading.
Poet and lyricist
(25 January 1885 – 22 October 1937)
Lyrics for tango were born around 1914, based on those ones conceived by Pascual Contursi that year and the following years (“De vuelta al bulín”, “Ivette”, “Flor de fango”, “Mi noche triste (Lita)”), and they were growing strong very slowly. So much so that in Carlos Gardel’s repertoire tangos were, until the next decade, a rare bird. There was not even a notion of how to sing a tango, a standard that Gardel was gradually establishing after 1922. That was, precisely, the year José González Castillo truly disembarked in the genre with the lyrics of “Sobre el pucho”, after Sebastián Piana’s music, which was introduced at the talent contest organized by Tango cigarettes.
José Gobello (Crónica general del tango, Editorial Fraterna) stated about this work that, with it «some novelties broke into tango that the tango literary work of Homero Manzi would later turn into true constants. By the way, Pompeya («Un callejón en Pompeya/y un farolito plateando el fango…»); later, the description of the neighborhood and, soon, the enumeration as a descriptive procedure».
But in those lyrics there is something else, metaphor, that springs up in the memory that the malevo devotes to his lost love «…tu inconstancia loca/me arrebató de tu boca/como pucho que se tira/ cuando ya/ni sabor ni aroma da». It is clear that González Castillo was a forerunner, and also that other later lyricists were who deepened those trends. Continue reading.
“Tango que sos un encanto De quien escucha tus sones, Tango que atraes corazones, Con tus dulces cantos Y tus bandoneones. Sos de cuna humilde, Y has paseado el universo, Sin más protocolo, Que tu música y tus versos, Para abrirte paso Has tenido que ser brujo, Por tus propios medios Lograste tu triunfo. Tango que sos un encanto, Hoy vive tu canto, En mi corazón.
¡Tango!, ¡Tango! Tango bravo, tango lindo, Tango noble, tango guapo Tango hermano De mis largas noches tristes, Compañero de mi pobre corazón. Tango bravo, fascinante, ¡Tango brujo!, Tango bravo, combatido, Tango bravo, Tango gaucho Que a pesar de tanta contra Defendiste con altura, Tu bravura de varón.”
“Tango you are an enchanter
Of those who listen your sounds,
Tango you attract hearts,
with your sweet songs
and your bandoneons.
You have humble origins
And traveled the universe
without more attributes
other than your music and your verses.
To open your path
you had to be a sorcerer
with your own resources
you achieved success.
Tango you are an enchantment,
today your song lives
in my heart.
Brave Tango, Beautiful Tango!,
Noble tango, courageous Tango!
Of my long sad nights,
mate of my barren heart.
Fascinating courageous Tango!
Brave Tango, Opposed,
that despite the odds against you,
with loftiness you defend your manly bravery.”